[applause] >> you have done it again. and he will be coming back and again and again and again. we have great programs as i have mentioned in the spring, everyone have a very happy thanksgiving. very, have a wonderful thanksgiving, we'll steal you all again. thanks very much.

up next on american history tv. architectural historian, barry, louis discusses the creation and evolution of new york city 's greenwich village. mr. lewis passed away last month. he thought architectural and design history at the new york school of design and cohosted the pbo series, walking tours of new york. this march or was hosted by the new york historical society in 2016. >> we are so thrilled to welcome back barry lewis to new york historian. he's a architectural historian who specializes in european and american architecture -- he is best known throughout new york for a series of video walking tours presented by channel 13, including the emmy

award winning that -- he's featured in many venues including the university of pennsylvania, the smithsonian institute and the harvard school of planning and architecture. it's where all these great architectural come from, buries classes. before we begin, i would like to ask you if you have a cell phone or electronic beepers please turn it off. we ask for no photography, and now please join me in welcoming barry lewis. >> [applause] they're ordering a special look for the end of the lecture. so we're taking a look at granted village. for those of you who grew up in new york like i, did you all have your own memories of granite village, that's why it's one of my favorite lectures. it never really existed until about 100, 110 years ago.

we will see about that in a moment. we're in new york, on broadway, it's about 1819 and we're looking at the home. no if he had walked up broadway, in about five minutes to be out in the country, that is how small new york was back in 18. ten if he went further, up if you want further up the river, hudson, river look at the scene. this is where christopher street started off from the hudson river. and christopher streak is one of the old roads here in manhattan. much of the old roads were in -- the early 18th century apparently some little buildings went up and the west street by the river. they called it a little foolish but the early 18th century, you see the name greenwich. that's a chutzpah because you know it's a royal suburb. it has these magnificent buildings by indigo, jones the meridian goes through it. but this was a tiny little

borg. they finally got a great building. but was a great building? in the 17 nineties the city built its new gate prison up there. if you got into trouble, you wound up being tried in the city which was down at the battery, you got sent up the river to new gate. when this area finally started getting middle class people in the 1920s, and thirties, they sent it up to new york, renamed, it and they are still being sent up the river. let's see. so with this, map obviously lower manhattan is on the left. the yellow shaded area is basically the built up city between the battery on the, left and what is now city hall park. the red line is the road that they carved out from the waterfront on the west side of the island in the 18th century. but by but they carved it so

that it could reach to granted. it was called the road to granted. some of it was built. inland we call it greenwich street today. please remember that today there's washington street and there's western so there are two streets west of carnage street. you notice the blue line running up the center of the map. that's broadway. it starts out at the bowling green and runs up past the old park, and it's in a vast swamp. it's a swamp that extends from the hudson river. two thirds across the way of the. island it was called the. meadows broadway was washed out, literally. so if you wanted to get out of town he went to the east of perot, would we coal park, row went up the east side of the island. if you are coming from, granted the top of the map, the blind

third is christopher street. you notice that you'd have to go -- to the north south road had to go around the swamp in the 19 tens and twenties, they put in a canal, it's now in a canal, they called it a canal, and they would extend broadway. and now here in this map, we see the blue lines, the blue lines are the grid of 1811. they're not going to build on the grid until the 18 thirties or twenties because it took that long for the city to get the grid. we always say that the court starts with houses, but of course we know instinctively as new yorkers that in fact west of broadway it is not the street that is the beginning of the grid.

you have to go up to these roads. at the northern end of the green area, the scrimmage of any at the border of the screen area. that green area was a series of street systems laid out by different property owners. they got together and they fought the city, because they did not want the grid to rip out their street lines. it's ironic that the section of town already started fighting city hall back in early 19th century, but they did. they got their, way but it worked against them in the 19th century. the 19th century as new york moved up in the granite. people began not wanting to go to bridge the avenue, they said no, different street systems were getting lost, which is what we do today. but we like. it we find a picturesque. we find it pretty sweet. didn't find it sweet. they found a dangerous and

uncomfortable. they basically gave this area over to the irish by the 18 fifties and sixties. by the 18 nineties the times moved, in state for a century, and they have mostly moved on by now. now you notice, broadway has been cut, this allowed developers to develop suburban housing, in the 18 tens, the main road out of town, remember it is on the east side of meadows, they both meet, they both unite broadway and the bow really unite at 14th street and that's where we get union square. it has nothing to do with labor unions. nothing to do with civil war. it has to do with the union of broadway and the berry. by the way, important, you notice the blue line at the southern end of the area. we call it greenwich village.

that green line is the creek. it still runs under, there that is another reason why you have so many different street systems. they had a creek. by the way there are all a lot of minute. as they were called the minute as. and by the mid and became one of the 19th century, first areas where african americans settled in. so that's one of the oldest black neighborhoods actually in the city. okay, now. by the 18 twenties, really the 18 thirties, the 18 thirties forties and fifties precip war new york, the rich lead the old city down by the battery and then move up to these new london style squares, what am i talking about? union square, madison square, washington square, cypress square, ramsey park. you can just imagine. these were the northern suburbs of the city. in the years before the civil war, this is where the wealthy move too. this is what is known as a middle class wealth.

they were leaving the city of the year theme thirties, leaving it to the commerce, to the industry that is coming in and the immigrants. and they're getting out of there and they're moving to these partially ports of town. on the north side of washington square, you can see on the upper left the rose still there today, built in 1831, one of the finest -- probably one of the finest residential complexes in the country, urban residential complexes in the country at that time, when they built this in 1831. walk-in another few blocks north, you're in the country. that is how the small the city was. by the way, west of fifth avenue, the rose east of fifth avenue. west of fifth avenue, this is what washington square north looked like until about 1950, 51. when in order to build the big building there on the bottom of fifth avenue. they demolished these buildings, they basically demolished these two huge greek revival mansions. these two crimes don't houses.

it does give you an idea of how long this area was a partially because the greek revival is the 18 thirties, the eight italians is 18 forties to fifties. so it stayed apart area for quite a long time. now, you've been in that area in the late 18 twenties, early 18 thirties, we are standing on houston street. we're looking west, the street that runs across houston is broadway. so we're looking at basically houston and broadway, the church you're looking at by the way, that same promises. it was built there in 1827 to serve the people who lived around that area, by the 18 seventies, the congregations is way uptown. st. thomas is gave up and they moved up to 53rd street where they still are today. by the way, st. thomas is site, when st. thomas moved in 18 seventies, this would be the upscale shopping district, the upscale theater district. so st. thomas is with probably wrist replaced by very fancy

store. by the 1890s, it's the wholesale district. and they rebuild it again, that site. they might ask to do the building at the corner, there and when they built it in the 18 nineties, in the basement of that building, they had a huge room that housed the cable machinery for the cable cars that run along broadway. they called it the cable building and today, the angelica movie theater is in the site where the cable machinery was. now, on the west side of washington square, now we're talking about very partially washington square, very upscale washington square. on the west side of it in 1936, 37, up those, the second university year in new york, the first was columbia. columbia dates back to the colonial days, colonia cave the men and strictly men in those days there male students a classical education, they taught them 18 greet, they taught them latin, they could talk to cicero, they could pick

them up. well, needless to say that they went home to their business followers. i need you to speak latin. what is? this i want you to make some money. so they decided, the merchants of new york wanted a more modern university and that's why they created and why you. and when they built it in 1836, a.j. davis was the from the building, some people say it was a fellow named -- who in the firm who got the idea of wrapping this brand-new university, ron you university in a rotten country, the wrap it in a gothic revival style that reminds you of cambridge or oxford. and i love the way the we americans think and by the, way the chapel in the middle there is actually modeled on king's chapel cambridge. now, remember it's going up in the nice part of town. when it goes up, wouldn't you know, the stark market crashes. and basically, the canal bloom is over and nyu, where new yorkers, we know and why you. a single building and they

couldn't fill it up. now we know nyu is on its way to being the 51st state. how could this be? one building and they can fill it up? while they couldn't, it was a depression. so they rented the classroom to -- and it became de facto. just by accident, one of the first sectors of but he unionism in new york. let's say you had aj davis, the architect of the building was in their, richard morris hunt the first professionally change architect came home from paris. his first studio is in there. winds will home, or do i have to explain winds low home or. he's in there. samuel f. b morris, who does -- he was the hard presser for and why, you we norm for the morris code. john draper, a pioneer photography takes assisted to the roof, photographs are, creates the first -- world's first outdoor photograph portrait so this building was alive when artists. they, of course identified with

the building but remember, right around them, including the people who own the house is wealthy upper east side new york. it's just a single building is identifying with artists. that's the way it works. here's a photograph of it. it was taken down in the 18 nineties by the way, and replaced by the building that's their today, great art galleries in that building. when they were replaced in the 18, industry was moving in from broadway and lafayette street and they really brought el moore you that their main building would eventually be some kind of a factory. and they were concentrating on their new campus. this is the 18 nineties, 19 zeroes, with a new campus in the bronx, which is now bronx community college, beautiful campus. when this building came down in the 18 nineties, richard morris hunt, when mentioned had a studio in there, he was heartbroken, heartbroken because this was his youth coming down. i want to say richard welcome to new york, you know what i mean right? you know when you hung out when you are young.

so there anymore, physically, probably not. that's the way the city works. and, a good map of this area gives you a better area as a matter of fact of just how pre-1811, that part of the city is. the part of the city that -- i never know where i am. it's just part of being in the village. you notice west of sixth avenue, southwest of greenwich avenue, south of -- there is gone zero streak, granted to avenue and that represents the hold east west roads and you see, it actually becomes the northern frontier of pre-1811 new york. and it is ironic that a, the hard-line begins over the street. and when you stand at the southern end of that, you look downtown it is ironic, you're standing in, you're standing over here. you're standing in the post 1811 new york and you're looking into pre-1811, premodern york. it just works out that way but that is the way it works out.

now remember, washington square was east of sixth avenue, the lower west side was west of sixth avenue. never the twain did meet. if you grew up on washington street, you lived in washington square, you know new york works. i've never gone past second avenue, i don't know what's their. i mean, that's the way the city works. so they never went past sixth avenue, and i mean the whole of russia moved into west of sixth avenue. they wouldn't know, they just wouldn't know. now, and in 1857, a new central bohemian-ism went up and that was on tenth street. just east of sixth avenue and the north side of the street. it lasted 100 years and today it's a red brick apartment building. this was the studio building, richard morris hunt and designed it, it was a wealthy new york businessman who was the patron, one of our first art patrons. it's the first building built in the united states built for artist to those. now, remember we are a pure

country. and the arts in this country, the visual arts were kind of frowned upon, most americans assumed, you earn artist, you just want girls to take their clothes off, we know where you are an artist. but, this was devoted to serious art and it was really designed, it's basically two-storey high studios, three sets of them, the height of a four story building off to the right. three sets of two-storey high studios, wrapped around a central room that ran the height of the building with a huge skyline. and you could use that central room for all kinds of our shows, exposition's you no whining cookies, that kind of thing. there were doors between the studios and on the weekends, that it was open house for people to come and shop for art. the artist opened all the doors and that made people could circulate around the entire building, so it's not just for making art, it's four selling art. a yankee building. it's a very yankee building. and, if you saw the fun of it, very plain brick.

1857, plain red brick. this is a punk building, i mean those days, what can we do? this is hudson river brick. you would slap plaster over it and you score the plaster to make it look like marble and then you marvelous it and you would think it's marble palace. not this building. it was just the hudson river brick, it was what it was and by the way, look at the circle in the square decorations, it's almost like a precursor to 1930s streamline style of the 1930s. it was a wonderful building, torn down in the 19 fifties. this is a building that should've survived. by the way, here is one of the studios that might be richard morris hunt, but i'm not sure. who is the architect of the building and moved his studio over to this building. but look at the ceiling height. remarkable two story height of studios, about 40, 50 years later, we had a fashion in the city in the 19 zeroes and tens for studio apartments. two-storey high living rooms, sleeping balconies, kitchens

underneath. here on 77th is one, 67 street as a whole bunch of them. central park south is one of them. these are the studios. today, of course, they close to the apartment is basically a walk-in closet. and you're supposed to be happy that you are living in new york, you know, you are hip. but probably the idea for those original studio apartments of the 18 nineties, 19 zeroes and tens probably came from the studio building because it was still up. he was still up until 1953, i went to meet somebody who lived in there at the end of his career, at the end of his six existence. they were old thrown out of the building came down. here are prince of uptown, middle class people coming downtown to ten street. this is the 18 seventies, you can tell by the dresses. these people who are shopping for our, they are probably living in 57 to treat. probably livid belichick, at 57 street. this is probably inside the four story hide glass skylight main room and here's another

view of them looking at our in the studio. i'm sure that the artist provide people plenty of art. now, i don't know if this is an artist or actually this lady's husband, but the artists that these people are dealing with, the artist that hung out the studio building a respectable artists. ok, they had floppy bows, and they look like an artist. but they came from respectable families, respectable people could talk to them. only a few blocks away where they're not respectable artists. walt witman, openly gay and a damning can, not exactly -- and he and others would hang out in 1857, 1858, swiss german by the name of -- his last name was -- he opens up a bar. it's under the west side walk of broadway around brown street. and these characters, women was

openly gay eight american, this actually is a lot of clothes for her. she had all kinds of outfits, she was kind of the chain bonjour of the day. and, she love to wear pantaloons, long before catherine run around in them in the 1930s. she smoke cigars, long before -- so she was quite a girl she. had quite a career. but these were the -- by the way they call themselves that. they identified with the bar, not with the neighborhood. what was above them? the sidewalks of broadway was the luxury shopping district in the 18 fifties, it was the luxury theater and shopping district. they didn't identify with that at all. they were literally underground. okay, 1878, the sixth avenue l opens the l train system of new york electric argo in philadelphia was a true l train system. not a subway. this is 1878, little wooden cars, about ten seats, two

track lines, it took you forever to get the harlem but it was better than the streets, that's for sure. when the l opened on sixth avenue, it basically visually gave us what we already understood. east of sixth avenue was washington square, west of six avenue was the lower west side. nobody ever crossed that line. now, the people from west of sixth avenue might cross the line to work as a servant in washington square. but believe me, the people in washington square never went on the other side of sixth avenue, they definitely knew. that now, in the same period, 18 seventies, the l train with here on the lower right, it opens in 1878, you notice it's going past the practically brand new -- a 1976, they put up a courthouse and in those days, courthouse is all over new york city because the courts basically served whatever crime was committed in their district. they had a court houses all over the city. so they built this courthouse in 1876, by the way because of where was located in 1906,

since we know harry -- because stanford white was murdered in madison square garden was a madison square which was nearby. in 1876, they rebuilt the whole block which had always been taken up with the jefferson market, the farmers market for that part of new york city. they gave they gave the farmers a market call, then they -- in the days that people had no wrist watches, a pocket watch was expensive, then the court have backed up to a police headquarters, whenever i see this i picture giuliani showing the purple on the sand, and he ends up in a jail cell. he's a happy man. basically this complex came

down except for the courthouse which is still in operation. off in the side of, present the women's house of detention. i don't know how many of you have fond memories of the detention house. back in the early 1970s, i can tell you that the verbal love letters of the girls on the side walking into the house of detention was one of the colorful aspects of being in the village back in the 1960s and 70s. when they tore doubt the women's house and detention they were going to build back at building. this became a garden, as it is today. now the jefferson courthouse, one of my favorite buildings in the city. we used to think this to be the ugliest part of american architectural history, it was half co-designer of central park did this after ten, 15, years this is a punk building. it's a building that shows off

its structure. plain hudson river red brick. just like the studio center in the eighties. plain red break. plain white limestone shows it off. again like a woman going up without her dress, it became the root of modern design in the 20th century. form follows structure. now this is the other version of form follows structure. with all of that decoration. in the 19 seventies or 1960s it is empty. the courthouse is out of. there of course like any other building was slated to be demolished. maria live nearby, in the future she is going to become -- she's going to fight to save soho, their first fight as a preservationist was to save this building. she saved and in the 1960s it was turned into village georgia

-- in the renovation, he was a lovely man, people thought that he was crazy, because in america you don't recycle, things you demolished them. patrick than recycle old buildings, he said no, he did a number of projects, but my favorite is the jefferson courthouse. -- a wonderful man, long gone from, us but still, bleaker street to show you how different these populations were. the street when it was the main street of the italian village, you are seeing it before laguardia took away the push guards and made them illegal. he hated the push cards. he said it made everything look so junkie. so that changed. public or street was always, for years and years and years, the town of grand village, and if you go back, you can still find, some of the italian shops are still left.

remember, the italians that shopped on the bleeker street, they lived on the streets, none of us would have gone to meant that test street back then. we would have avoided it like the plague. if you don't want drugs or prostitution you wouldn't go there. in only a few years and new generation of middle class young people are going to discover the neighborhood and start moving in. they are going to debate with a new name. granted village. none of these people in the photograph have ever heard of it. it was fascinating that in the 1919 tense, in this apartment was a young couple they said they were living in grade village. in the next department was another couple, they were living in the lower west side. look at this, it's right off of, tenth if you are looking at the courthouse. now you can see in the photograph, there is a slum. alley middle class people would

not be caught dead there because if they were caught, -- it becomes the center of feminism. patrick place became famous by the 19 tense for feminist enters that they had. louise probably came over, maybe at the st. vincent, maybe a goldman. they were a feisty bunch. the women of the 19th. hands they gave the man a run for their money already. look at how different blocks for. believe me, the people who lived at it street and fifth avenue, they never went over to patrick place. when i was a kid, we used to run around the villages teenagers and we can always recognize the incoming of the poet. of course he was the new york king so we never went over to him and bothered him. it was only tourists and people in jerseys.

anyway this is the whole of the world. from a few blocks away. paris is that. way that's why enjoyed that city. it has the same feeling. by the way, the pre-civil war rich would not move out of washington square until the end of the 19th century. that's why in 1989, when it was the height of the inauguration, they built a plaster version of -- spanning fifth avenue and eighth street. then the bums were left around washington square. by the way, if you want to know what their life was like read henry james washington square. a movie from the 1940s, -- oh my. what a movie. we are not home mariah. that is one way of getting rid

of them. anyway, they love the idea of an art because i think that they felt that by the 1890s, it's already the 1890s, the uptown rich, they would reach vanderbilts mortgage, they built the downtown rich built a permanent arch, they had -- design. it of course it became the symbol in the future of what would be crunch village. as a matter of fact, that would be the arch that in 1916 supposedly john sloan and a bunch of his friends broke into the arch. there's a staircase and a roof at the top. they declared the independent republic of kurdish village. but that is not one that was built in 1891. that's not what they were thinking of an 1891. here is another map. there's washington square. remember six five an. you the dmz zone. here's the lower west side. but it will change in the 1900 with the new generation of young people discovering this

area. now what is happening is the tether men's and the italians are moving up from the lower east side by five points of their gradually moving up from being on the southern and of washington square. on the east side factories are moving in from broadway and lafayette. and on the west side, of course you have the old pre 1911 city, which is older, immigrant, and italian. so washington was surrounded by three sides by the ghetto but on the fourth side where the old houses where the bombs of washington square were still hanging on. when the young people of the 1900 to 19 tens discovered the area, they were all avenged middle class kids, the more ravish ones settled into the cheap housing south of washington square, they do go south of washington square, it becomes the main street for these young people. that's where the cafés were. that's where the bumps were

where they hung out and got drunk. the off off broadway theaters where there. mcdougal street so it there. it became the main street by the way. now you notice, sixth avenue begins at bleeker. greenish avenue runs north. what's going to happen is in the 19 tans with the expansion of the subway, seventh avenue you will be plowed to the heart of the middle of the village, in 1917, it had been so i slide from the rest of manhattan which is why the student generation loved it. it is suddenly on everybody's map. it's so easy to get. there it's going to change everything. wait. we're getting ahead ourselves. in the 19 tense this new generation coming in is ready to produce a whole new kind of culture. it is very much seen in additions of this magazine called the masses. it was a socialist magazine founded in 1911.

but in 1912, two young guys took it over. max, and -- they completely did it graphically. they did it in a spectacular way. they understood that the 20th century was all about the visuals. they redid the magazines to visually grab you. several years later it lasted nearly five, years they were socialists, they were shut down by the government, the government tried to -- throw in jail for sedition. they never got anywhere. the government in 1917 made them the most famous guys in america. and they put cornish village on the map. we'll get to the animal meant. this is the beginning. this is back in 1912. this is a 1912 addition. but the graphics of the magazine are absolutely sensational. it's a beautiful i can't believe it's a socialist magazine. i grew up a socialist.

they ate if you can meet. love the danced. horribly they never danced at permits fuzz. i would never be a socialist. that's for sure. john sloan, the painter, he's actually looking at sixth avenue, sixth avenue begins at bleeker, they had to run down bleeker and then south, at the courthouse of course, it is typical of john sloan's paintings, he is painting simple, everyday views of the city. one of these guys doing? they're trying to pick up these girls. this is every day life. it's this generation of painters that discover factories, immigrants, and every day life on the street. the earl called the ash can school. 1913. the emory show. the one being at lexington and 28. they have the famous armory

shell. these guys become famous of course in the united states. that arm ratio. three minute -- women put it on. we will see in a moment where they are. this is jon sloan. here's max eastman on the left. eastman along with -- transformed the masses and really made it -- they think that the layout of the masses had a lot to do with the way that the new yorkers laid out in the middle of the 1920s. it probably is very much based on maxes ideas. on the right he is with his sister. that is not his wife. that's his sister, crystal eastman, they came from new york to minister parents, very progressive minister parents. then in the early 19 tens, max eastman married a young tuition girl, ida, she wanted to keep

her maiden name, big deal, back in those days it was a big deal. newspapers got a hold of. it they had photographs of the mailbox. -- oh my goodness gracious. what did the photo said? if women are allowed to keep their maiden name this will lead to loose morals, sexual promiscuity, and divorce. we know from 100 years later they were right. but having a good time. so thank goodness the victorian age is over. what about this couple? that's john on the left. louise ryan on the right. both very strong people. talk about very much equals. i don't really know who -- they were at each other all the time. but they had great respect for each other. he goes to russia to see firsthand the communist revolution. she goes with him and she does reporting for which he got tremendously good reviews. he dies in russia of typhus.

they wrote the famous book about the communist revolution. he was already disillusioned with communists. she comes back to new york by the way. she marries a third time. her first husband was boring. everybody divorcing a spouse was boring you would imagine the divorce rate -- found her in bed with a woman. they voiced her. so she had a complicated life. this was 100 years ago. please, if you know history it's been done. everyone hung out. mcdougal street was where among other things, the playhouse settled, they were founded in province ten, in 1960 they came to new york city. they settled on mcdougal street. for whatever reason, mcdougal

street blow washington square took place for where all of them bohemians hung out. the term bohemian goes back to the 18 forties. the french dreamed it up when the middle class kids were coming to paris. they were doing the starving artist routine. they live on the crust of bread for three days, and they would always be jumping around from apartment to apartment so the people set out there like egyptian everybody knows they saw and the gin she's came from bohemia, which is now in the czech republic so they call these young guys bohemians and in the 18 forties, a frenchman by the name of him huge a road, i don't know if it was a play or novel or both, but he wrote it's the life of -- scenes of the bohemian life. some of you think, that sounds familiar because puccini, 40 years later did the opera and we have rent forever. now, this province town playhouse starts with a tradition of off of broadway

turned into theater that runs in the village all through the 20th century [interpreter] . back in that era, this was around 1916 when it opens up, 1924 vincent mole is going to open to terry lane theater. over on the west side there, it's still there today. when i was a kid, down there was circle in the square, what about in the 1960s when i was a teenager, joe geno was a great pioneer in alternative theater and then right after him, -- elaine stewards's open on the east side of the street. joe chinos cappuccino was on corny aaliyah street, when i was a teenager ways to go there, we used to sit on the floor and the actors would be sweating on you. it's why i'm not a terrific fan. anyway, but this was all on mcdougal street. and right next to the province

don playhouse was police. the first real bohemian playhouse those when based on a border. it was a place to eat. and there are poly herself, beating her crowd. this is obviously caricature from the 19 tens, all of the bohemian celebrities, i don't think any of you recognize any of them and i certainly don't. we which shows you famous pleading in this day in age is about three minutes or two and a half seconds. but the only person i know in this whole caricature is roy dell, and he was the partner. and it's -- the government you go out after in the 1917 sedition trials. but the government lost almost every single one of them and in the room above police, there was room for rent. that is where floyd and max eastman began their addition of the masses. they started there, they move the greenwich avenue. in the room above police, the paradox he club. one of the first feminist clubs.

the women start to heterodox a club and also upstairs the liberal club. the liberal club which actually invited w. de be dubois's care come down and join them which was a big deal back in the early 19 tense. this is what the real policies looked like. now, this started a tradition, on mcdougal street for kind of bohemian cafés. a number of those cafés were run by gays, it goes back in the 1920s, gays were pretty open about their lifestyle. it was very much accepted, that is all going to change in the 1930s with the coming of repressive laws and a whole different set of the social values. the fact is 1930s will change things but this is the 19 tents, the 1920s when it was very relaxed, to be gay was no big deal. the number of famous granite phillips personalities were basically bisexual. speaking of which, this is vincent ballet. she was quite a character. we mostly know her from her poetry. she walked into a room, man fell in love with her, if a

women fell in love with her, she fell in love back with both of them. she was all over the place. interesting enough, by 1925 she leaves the village, goes often marries, moves there are -- new york, she and her husband had an open marriage but they truly loved each other. they were very much a sole couple and whatever they did on the side with their business, but they really loved each other. and one up dying within a year of each other, 1949 she dies, 1950 he dies. so interesting person. at the st. vincent -- to women, a typical woman, the new women of the granite village of the 19 tens and twenties. and now, north of washington square, with the bet of houses were, the more expensive living was. this is on the right maple dodge. she was married to a dentist in buffalo, she didn't find that to exciting so she came down to new york and this was her days. she was a wealthy woman, she lived at ninth and fifth, she

had her own silent, you know, she had her own regular get together, one of the first in the 20th century. she brought together all kinds of writers, actors, she even had one of the black writers from harlem who used to come down here. which is interesting because in all of the reading that i do of the bohemian -- you don't hear about too many blacks from harlem, their harlem renaissance was already starting in the early 19 tans but there wasn't too much mixing as far as i could see. so, she really -- she's kind of interesting that she invited her down there. which he was graded, we are not sure. but she certainly looked good posing and that she did very well. and by 1915, she was with the village and she went off to new mexico, i think she went to dallas or santa fe, i can't remember which. but she was off somewhere else. now, north of washington square

and the wealthy bohemian. the women bohemians who love -- lived and north of the square. people don't live north of the square and there is your fabulous whitney. what an interesting lady. she came from this uptown rich family, she went downtown and created a second life. she had both lives at the same time, thank goodness no facebook no twitter. so she -- which he did in the village, stayed in the village. and she got herself and old stable on mcdougal alley and she turned it into an artist. she got the idea from another artist, more on that in a moment. she was a sculptor, but not terrific but she was also a great collector of modern art and by the late 19 twenties, she creates her artist studio in a stable and about 19 seven or eight. 20 years later, she's built up an incredible collection of art, modern art, she offers it to the metropolitan museum of art and say, are you crazy? you would think we would want

garbage? and so she opens the whitney museum on eighth street in 1930, how interesting, right? so whitney house now left the home, which is now the 1960s, they're now on guns worth street and who is in that when you museum? but the metropolitan museum of course. now, this is the lady that started all of that. here she is in view -- there she is at her work desk, there she is a few years later in front of her interesting screen but i have no idea who did it. you can guess, but i have no idea. but, she is going to create the whitney museum. her artist studio is down here. this is mcdougal ali. and actually, we are looking east because if we were looking down the middle heavily there, it's still there today. the white brick to avenue would be right over there. the stables on this side of the alley would-be for washington square north houses, the stables on this side of the

hollywood before eight treated hudson's. it was an artist, i don't remember his name, back in 1900, 1899 who was the first to turn one of these tables into an artist studio. he got other artists to join him, but when you came down in 1907 and join them. across the way, for a number of years and he was there until they got too small and he moved to long island city. now, she is going to gradually let her collection grow, she's going to break through to the house on eighth street which that stable was built for. here they are constructing what will be the new whitney museum and here is opening up in 1930. today, it's the studio building. it's the studio art school and it's a lovely place and one of the last places in greenwich village, nearly devoted to the making of art. and they are lovely people, i wish them the best with the rising in real estate values, who knows how long they'll be

there. but i really do wish them the best wonderful people. and this is the entrance that looks like doctor david, he walked innovate into this studio school. he would still see that today, here is the original whitney. i love it barebones, simple brick. it's just what it was. really different of what marcellus gave them in the 1960s. and this studio school, if you walked in today, would look exactly like this portion but of course you don't have the sculptures but it looks exactly like that today. now, and back of the studio, so your coming in for mainstream. so in the back of the studio school is the stable that courage food and whitney boat in 1970 and turned into a studio and an artist studio. this is that stable in 1917, when he hired a fellow by the name of robert chandler. nobody, chp and earlier. a wild and crazy guy, he came from one of those we need for our families and he was on the mayflower he probably would've sunk it. but, he would plaster who just

so. he really did her fireplace in chimney and her ceiling. by the, way it was all done in poly, chromosome done in berlin color somewhere in the 20th century they whitewashed the whole thing today the studio building, the studio school is trying to raise the money, they don't have a lot of money. to trying to raise the money to restore this room today to restore it, we are at least going to be something fabulous to walk into. if you look closely at the fireplace and chimney, you'll notice the flames rising up, look closely at the flames and you will see devils and you will see which is and you will see god knows what, a few more drinks and i don't know what else you're going to see and if you get to the ceiling, here's the chimney rising up through the ceiling. there is a smirking sun at the far left of the ceiling. and the rate of the sun cut across the ceiling and cut through the clouds. and in among the clouds, here is just one of you, okay i don't know if you can see this too well, there's a sting ray,

now in front of the sting ray looks like a small shark. okay, look what's holding on to the sting ray is a nude man who looks like he's going through the flames of hell. there is a poor price, probably. there is another new, jane nude male looking like he's going to -- through the fires of hell. i mean, their own serpent, i mean you could lie on the floor there and his party and look at this ceiling and you can trip, probably. but anyway, the day they restore this it's going to be an amazing piece and we thought we were so crazy when we were hippies in the sixties and the kids world dancing on the canal there, they think they're all crazy. but really, it just shows you, i mean craziness comes with every generation, it just has a different look to it. now, whole of that is going to change with the coming of the new subway line, the original subway on the left, it bypassed

a greenish village but in 1913, they laid out on a whole new bunch of lines and the west sideline was extended from times square down through the militia of the village under seventh avenue. and this isolation that you see is going to disappear with the coming of the subway. and, the trial, the three trials of sedition for these guys in 1917, remember they were against the war that's why we got into the more. while the government never convicted them, and that the government made them the most famous people in the united states and this was the 16th century, most people would say, earned them at the stake! but this was the 20th century so most people said, i'm going to get myself a bus ticket, i'm going to new york and i'm going to go to greenwich village because i want to see this bohemian lifestyle that they're talking about and maybe i'll -- maybe some of it will rub off. and suddenly, greenwich village was on the map. everybody in america wanted to get on the bus and train to

come to new york, forget the metropolitan opera, forget the metropolitan museum, they wanted to come down and see greenwich village. and so granted village was on the tourist map, it immediately became a tourist trap. on the south side of washington square, he would hire friends, put them in a paint covered smock, put them in some crummy apartment or some studio, throw finished paintings around and then bring in tourists from midtown or from out of town and this was an artist who are of greenwich village, the real a grand which village, had we heard this and go to williamsburg, you would've gone the same thing, i'm sure. and, here's our 1924 map, the rim apps all over the place! i'm going to show you the real of when greenwich village. it doesn't sound like 2016, i mean i'm going to give you the real scandal. i'm going to tell you the real story. there is washington square. i remember, when it was redone, greenwich village suddenly the

whole area was greenwich village. six avenue was no longer dmz zone in between the right side and the wrong side. it was all greenwich village. mcdougal street became the main street where whole -- you had all those tea shops run by days, you had the apartments don't play house, you had police. when i came along in the 19 fifties and sixties, it was the -- this is where we went to see bob dylan when he first came to new york, peter, paul and married the first year they were here. the first year they were together, joe and bias. the café -- anyway, we saw mcdougal street so you see, even in the 1920s, we dougall street was the heart of the commercial part of greenwich village. there was a second kind of subsector and that was christopher street and church and square and that's what goes to the subway. and that became a second center and that became identified

during the 20th century. and of course, that's where the stone wall is going to be built in the 1960s. and, you went down to the village to see the bookstores. and, you went down -- you would get a guide. of course the guide would say oh i know the secrets. you can see from the dresses, the little cafés on mcdougal got more touristy, they had to have a theme long before disney gave a theme to every restaurant. so this is down the rabbit hole, she is wearing a sloppy dress. of course you couldn't be on the part the floor with the bourgeois, you had to be in the basement. and there she is. of course old furniture, is old furniture founded the street.

it smashed, purposely. so here's another place. he is all dressed up, i love the sky, he is nuts. he's probably looking for another pirate. so that was the great thing about granted village. you know, you found your own kind. you found who you wanted to find, and that's how people loved greenwich village. you'll see what happens in a moment. everybody had their favorite place in grinch village. broke wall exposed brick. wall decorations hanging from the ceiling. mismatched property. that was the dime. a little hang. out a little eating place. it was all linen tablecloths. men are all in tuxedos.

his tie and jacket, three piece suit, many layers of clothing, they're letting it hang out. the drag balls at webster hall. everyone thinks that such a new thing. in 1913, there was a patterson strike. the granite village people. one of the few instances where they got together for a political purpose. what did they? do they had a drag fall. they heard webster ball. the kids go there for midnight shows and it was so popular that they started to have them all the time, and the drag falls at webster hall were famous. sometimes they had them two times a week. finally they kill them off. you think were so clever today.

we are transactional. whatever. no they had it all, until the 1930s closed down and the result was that the village became popular. but we know the story? the village becomes popular. developers. can they get these places and they turn them into places for middle class people from uptown who want to be hip. doesn't the sound like williamsburg or bush were today? it's the same thing. by the 1920s the village has become bourgeois. the days of the bohemian seem to be over, and you have number one fifth avenue on the left. the west side of washington square becomes apartment. eleanor roosevelt, that is one of the buildings she did. for sure. but it is not a sign that the building has become gentrified. remember used to have the museum on eighth street. and you have the school of social research which built its headquarters on the 12th street,

1930, one i just went by it. i'm an alumni actually of the school. joseph in 1931 give it a village touched by doing the industrial look. this is very popular. not at all 1920s. very 1930s industrial look. here it is in a photograph on the right. you know that theater? it's a wonderful theater. it's still in operation. it's a wonderful theater. it's a very german estate, the way the stage jumps out of the, audience the seat around the, stage it reminds you perhaps of media -- i musical which is three years later, this is only 300, by the way this is the lobby, the theater is on the right. not much of a lobby, but he knew what to do with, it and

the new school amazingly had, to not, one two mural cycles. we are in new york to get mural cycles? you get them initally. france. not new york. you get slush funds in new york. you get financiers in new york. the new school in 1931 asks very different artists to do these. this is kansas city. this is thomas. he does america today, meaning 1920, eight 1920, nine when he went across america and he sketched it. he was a very much a guy from kansas. he was very hung up on being mr. macho. later on in life he became part of the right wing and it's interesting in this visual essay of america, and the 1920s there are some very far out images that are quite controversial with the right wing crowd. the way he's sketch the women,

the dancers, the workers. four years it was auctioned. luckily within the last few years the museum bought it, and last year they showed it in a room on the left, and today it has its own room. it can finally be appreciated. for the new school. she is hired. along with a communist painter, and he is painting social justice in the world. he was using as eating room, it cafeteria, some kind of dining room. today it's used as a classroom. he did it in fresco. now his work is in oil. his work is in america. he was mr. right wing. and -- was a communist. by the, way it's to, bad you can really see this because of

security problems today, but it is a wonderful, wonderful, totally and wraps you because it runs around the whole, room and we are in new york do you get fresco unless you go into the museums? i have to does explain to -- an italian kid knows what fresco is but americans don't. we're yankees. we're puritans. we don't do this kind of thing. communist to this kind of thing. a risk oh, doing his work, by the way, when he is doing this work, a fellow communist, fellow mexican communist painter,, rivera is doing a painting that was destroyed, rivera got his revenge when he went back to mexico city and he painted this in mexico city. that's the rockefeller center miracles slightly changed. by the right there is lennon as he was in the original. i can't really find it.

somewhere in there, david rivera painted rockefeller as a syphilis of germ. i mean he really got back at rockefeller. he didn't deserve, that but anyway, that's another story. if you ever go to mexico city you might be interested. the mean mural work in mexico city is excellent. it gives you an idea of the tensions of that decade. a very difficult decade. the depression fascism. musical politics. really a grim decade, isn't it ironic that in that decade as one the village got its mojo back. this is one in the late 1930s, the village vanguard opens up, i was fascinated when we did an interview with the owners of the village vanguard i did not notice that it was expected for me poacher meeting.

it was a jazz, club when you are a teenager no one car to do in new york. you couldn't get 12 if that's what she wanted to do. the village vanguard, there is the owner on the left, he died in the 1980s, his wife took over another border runs, it so it's not a family operation. in the lower right in the late 1940s, the vanguard was the scene for the weavers, who started the whole cult trend, the folk sinking trend of the 19 fifties and sixties, they were caught up in the anti communist hearings. so they had to disband. but they really are the basis of peter, paul, and mary, bob dylan, all the different folks

jars of the 19 fifties and sixties. they started, it by the way in the village vanguard they had a colony, one of the great comedians who died young. in the 19 fifties, bernstein who later became famous for his musical talent. -- those of you have a certain age. they did great shows. all of this happened at the vanguard, wood about this club with the ground floor of this building, off of sheridan square, 1938, marty, eight shoe salesman opens up café society. café society was the first integrative nightclub outside of her alum. they were segregated but not all of. them the first integrated club outside of harlem was café society. he used to go to jazz at the cotton club, and he can understand why in harlem that fox had to sit behind their peers, couldn't see anything. he said i'm going to open it up

to the public. anyone can come. and upper left is really holiday at the café society. there's josephson he's also caught up, his brother was a communist so the club had to close down by the late 1940s, early 19 fifties, a record made from the cotton club, one of the cotton club gm sessions. not gotten. club café society jam sessions. some of you may remember when he had the eat street university, he brought back alberta hunter. i was so lucky i saw her about six times. she was in her eighties. i saw her a few times. she was wonderful. she was from the old school. and you just don't have the kind of sinking anymore. i'm [interpreter] sorry, you just don't have it anymore. we were so lucky to have her. bunny josephson brought her back. i don't know where this is actually. but the reason that i put it in,

i think granted villages not getting enough credit for integrating your city. i was a kid in the 19 forties and fifties, i grew up in white, new york that was ethnic new york, a whole other thing. but there were no blacks round, at least where we were. you did not hang out with black. people very simple. i was a teenager, we'd go to mcdougal street. we take out and the jazz clubs. we go to the folk clubs. it was all integrated. it was the first time in my life that i would socialize with black people. i had no problem with. it it took me two seconds to adapt, and that was, it it was a done deal, after that was the civil rights movement. screaming alabama, montgomery, and all of that. i like what is the problem? they don't have greenwich village in their lives. that's the problem. we don't give enough credit to granted village for integrity. new york at this point if you go to times square you probably had a all white organization. i can tell you that when i was

in my thirties, i was talking to a black eye in my 30s, he told me that he was growing up a black in harlem in the 19 fifties the rule was no blacks south of adjutant street after dark unless had a job. so that's the way the world worked. ask any black person here and they will tell you that though it worked. so greenwich village integrated us and i really thank them for. it and it was in the 19 forties and fifties, you get a whole series of clubs. ironically run by jews and. italians but did they showcase? decent blocks. i mean here we are today in a whole different world. i saw barbra streisand. i think it was the bones. for then she came out, i looked at, her i said to my friend, are you sure about this? she had all the used clothing. nobody wore secondhand

clothing. she had a jewish i was that she wouldn't fix. i said i don't know about. this she is a little cookie. she opened up and saying. can you imagine hearing that voice in such a small venue? oh my gosh it was just extraordinary. i saw all of these guys. richie, bob dylan, peter, paul, and mary. a young barbra streisand. i saw all of them. you know something you can show up at the venue ten minutes before the show, you pay or, money walk-in. now before the event if to go to -- >> every ticket is taken. who needs that? so of course the other pioneer in the village, of course was the decision. this is christopher street right here. christopher street station of the one to three lines opened up in the late 1960s.

a whole different scene took place them before. the windows were not boarded up. the winds were open. you could see inside. the people went there and they were every type of person you can imagine. it did not care who knew they were gay. it was the late sixties. it is one of the reasons why in june of 1968 these guys fought back, the cubs came, in and raided the joint. they would regularly read them. they fought back. they cannot possibly imagined that one date there would be game eric schneberk. you can possibly imagine. that i can tell you in 1968, in the 1970s by the way, along with a gay scene in the village, charles, he died of age in the 19 eighties, but in the 1970s, and the same spot that café society was located in in the 1930s charles had the theater of the ridiculous. and he was brilliant and funny, hysterical, we were laughing like crazy. we had wonderful times on his

theater. down on sheridan square. and of course, who would know back in june of 1969 that the gay movement would achieve what it had achieved today? i end up with the scene in 1960, one 1960, we know what she is doing. but i love this woman on the left. this is what we used to call a coed -- you don't hear that name anymore. we used to call that a coed. she's now a. woman a young woman. she's dressed like a sorority girl but with no sunglasses, inside she is a hip check. why is she hip checked sitting there in washington square in early 19 sixties? because if you generations earlier, these people on the upper right gather together on mcdougal street and basically they created the first of america's bohemian greenwich village. thanks very much.