NYC Needs Emergency Snow Laborers!

Sign up now to be an emergency snow laborer and help to remove snow and ice from bus stops, step streets, and other locations throughout the city this winter.
Interested? Please register at one of these DOT garages, weekdays from 7AM until 3PM. Snow laborers will be paid $15 per hour, and $22.50 per hour after 40 hours are worked in a week.
* Flatbush Yard: 2900 Flatbush Ave, Brooklyn NY 11234
* Bronx Yard: 258th Street & Mosholu Ave Bronx, NY
* Long Island City: 5-40 44th Drive, Queens, NY
* Kew Loop Yard: 78-88 Park Drive East, Flushing NY 11367
* Harper Street Yard: 32-11 Harper St, Queens NY 11368

Applicants must be at least 18 years of age, be eligible to work in the United States, and capable of performing heavy physical labor.

All applicants must bring:
* Two small photos (1 ½ square)
* Original and copy of two forms of identification
* Social Security card or Tax ID Number

More info: http://www.nyc.gov/html/dot/html/about/snow-removal-laborers.shtml

 

 

Advertisements

Manhattan’s one-time biggest Little Italy in Harlem

Mulberry Street does a better job of selling itself as Manhattan’s authentic Italian enclave.

But before World War II, the Little Italy of East Harlem had three times the population of the Little Italy centered around Mulberry Street.

In 1930, about 89,000 Italians of various regions lived in mostly crummy tenements from 96th Street to 125 Street East of Lexington Avenue.

 

“In Italian Harlem there was on East 112th Street, a settlement from Bari; on East 107th Street between First Avenue and the East River, people from Sarno near Naples,” writes historian Gerald Meyer.

“On East 100th Street between First and Second Avenues, Sicilians from Santiago; on East 100th Street, many Northern Italians from Piscento; and on East 109th Street, a large settlement of Calabrians.”

Uptown Little Italy’s biggest festival was the feast of the Madonna of Monte Carmelo. Crowds of half

a million would attend. (The photo above documents the festival in 1954.)

After World War II, many of the old tenements were razed to make way for new pu

blic housing projects; Italian Americans moved out as the Hispanic population swelled.

The main drags of East Harlem, 106th and 116th Streets, have long since lost an It

alian feel; the elegant Italian Savings Bank on 116th Street is now a funeral home.

But a few Italian businesses still exist, like famous Patsy’s Pizza, at First Avenue and 117th Street.

 

The Movement Theatre Company performs in Harlem

In a happy coincidence, two East Village theater companies have crossed distances physically and thematically, taking covering ground many New Yorkers don’t. Artists from the downtown identified The Movement Theatre Company (TMTC) have migrated uptown to the Harlem School of Arts to perform their new play Black Boy & The War. Opening this weekend, Black Boy & The War delves into the complicated and inextricable connection between the Black Man and the Black Woman. Meanwhile, The Metropolitan Playhouse, a member of Fourth Arts Block and located on East 4th Street, has brought the spirit of Harlem downtown to the East Village with The Harlem Renaissance Festival. The festival, which closes on January 30, 2011 draws inspiration from Harlem and the literature of the Harlem Renaissance.

About Black Boy & The War/The Movement Theatre Company
This new play from The Movement Theatre Company delves into the complicated and inextricable connection between the Black Man and the Black Woman. With the constant push and pull of love and society’s power to make and unmake one’s identity this piece begs to question, “where will this Black Boy have to go to find his name?”

The Movement Theatre Company [TMTC] is a group of young leaders who seek to create and support diverse representations of people of color in the arts and media. By cultivating artists, we seek to redefine they way the world sees them. TMTC is ready to create work that reflects their experience. They are ready to break the bonds that keep communities chained to ignorance, inactivity and stereotypes.

Black Boy & The War
February 10-20, Thursday through Saturday @ 8:00PM, Sunday @ 2:00PM
Harlem School of the Arts, 645 Saint Nicholas Avenue @ 145th Street

About the Harlem Renaissance Festival/Metropolitan Playhouse
The Harlem Renaissance Festival is a collection of new plays celebrating the spirit of the artists who defined a new era in American letters and an articulation of a cultural moment in America. The plays are inspired by literature – literature that may be from Harlem or about Harlem, it may be poetry or it may be political.

Under the leadership of Artistic Director Alex Roe since 2001, the nineteen-year-old Metropolitan Playhouse has grown into an institution recognized for both artistic excellence and cultural significance. Guiding the company’s growth has been a clear vision of the rich portrait that theater paints of the culture that creates it. Reflecting society’s values, aspirations, and character, theater offers, as does no other art, a doubly rich perspective. On the one hand, it is a window into the character of the time of its creation. On the other, it is always contemporary, because every performance of a play is a new creation for its own time. Connecting us with our past in the light of our present, America’s theater gives invaluable insight into our cultural identity.

The Harlem Renaissance Festival
January 17-30
Metropolitan Playhouse, 220 East 4th Street

About Fourth Arts Block
Fourth Arts Block (FAB) is the leadership organization for the East 4th Street Cultural District, working to improve and promote the East Village/LES as the destination for diverse, experimental culture. To learn more about the Fourth Arts Block, please visit http://www.fabnyc.org.

Read more: http://offoffbroadway.broadwayworld.com/article/The_Movement_Theatre_Company_performs_in_Harlem_20110126#ixzz1CG15xTTA

Harlem Word: Dr. Carlton McGregor talks about getting screened for prostate cancer

Dr. Carlton McGregor, an internist and pulmonary (lung diseases) specialist who works at New York Presbyterian Hospital, found out he had prostate cancer after getting a thorough medical exam in fall 2009. His blood test for prostate cancer came back elevated, and due to his family history of prostate cancer (his father had it), he decided to get a biopsy of the prostate. The result of the biopsy showed mid- to serious cancer even though he didn’t have symptoms. Dr. McGregor thinks it’s important for men to get screened for prostate cancer. Read more about screening in the article below!

Q: Who should get screened for prostate cancer?

A: If you have a family history of prostate cancer, you should get screened. The doctor should take a family history to learn whether or not prostate cancer is in your family. If you’re age 40 and older you should also get screened. If people in your family were diagnosed with prostate cancer at an earlier age, such as in their 30s, you should consider getting screened before age 30.

Q: How can a man get screened for prostate cancer?

A: You should have a digital rectal examination and a Prostate Specific Antigen (PSA) test at your yearly doctor’s appointment to screen for prostate cancer. A man should know his PSA levels-just as he should know his blood pressure, weight, and cholesterol. You especially need to know your PSA if you have a family history of prostate cancer.

Q: What are some reasons why men would not get screened for prostate cancer?

A: Men, particularly men of color, may be concerned about the digital rectal exam, which involves the health provider inserting a finger into the rectum to check the size and shape of the prostate. An enlarged prostate or one that has a lump on the surface may be a potential indication of cancer. Some men resist screening because it is somewhat uncomfortable. Others may have concerns about the exam itself-maybe because they think they are being sexually assaulted. Still others may have fears because they are afraid of what the provider may find and what the treatment may due to their sexual performance. However, with education and care provided by sensitive, understanding health providers, men can be screened effectively. Additionally, the blood test (PSA) is an important tool used to assist in the screening process.

Q: What is the controversy regarding PSA tests?

A: The controversy is the question of what you should do when the PSA levels are high. Something important to consider is your age when you are diagnosed. If you are in your 40s and you have an elevated PSA, a prostatic biopsy may be needed to see if you have prostate cancer or not. Depending on the stage of cancer, that will determine what kind of treatment you may have. I think that you need to know exactly what you have before the disease becomes too advanced and spreads to other parts of your body.

Q: Where can people get screened in Harlem or Northern Manhattan?

A: You can get screened at your doctor’s office. Any internist or urologist can perform the digital rectal exam and PSA. If you don’t have a primary care doctor, you can get it done at any internal medicine clinic in Harlem, or at Columbia Medical Center.

To read more about prostate cancer, Dr. McGregor recommends visiting the Mayo Clinic Prostate Cancer website.

Harlem Hospital Doctors Threaten to Strike

Doctors at Harlem Hospital are threatening to strike over issues arising from the city’s decision to loosen the hospital’s ties with Columbia University, union officials said Monday.

Leaders of the physicians’ union at the hospital, Doctors Council S.E.I.U., said negotiations broke down on Friday. They said that more than 75 percent of the 200 doctors at the hospital had authorized the union to call a strike, and that a meeting would be held Thursday to set the date. The doctors’ current contract expires at the end of the month.

For decades, Columbia’s medical school hired doctors from Harlem Hospital under a contract with the city, but this year the city began re-evaluating some of its affiliations to save money and reassert control of the management of the municipal hospitals.

Harlem Hospital will retain its academic affiliation with Columbia, meaning that doctors can still have faculty appointments and teach Columbia’s medical students. But the doctors will no longer be Columbia employees.

They will be employed by a private corporation chosen by the city, Physician Affiliate Group of New York, which also manages doctors at Lincoln Medical and Mental Health Center in the Bronx.

Union leaders said doctors were angry at the prospect of losing some pension benefits provided by Columbia as well as college tuition discounts for their children: 100 percent of tuition at Columbia and half of tuition at other colleges.

Ana Marengo, a spokeswoman for the city’s Health and Hospitals Corporation, which runs the public hospitals, said officials thought Physician Affiliate Group offered “a fair package that includes comparable pension benefits.” She said the tuition benefit would be maintained at the current level for one year and then phased out. “High-cost tuition reimbursement for physicians’ children is a benefit that cannot be sustained,” she said.

She said that the city had assured current Harlem Hospital doctors of continued employment; the union said it had not seen the guarantee in writing.

“Most of us are here to serve, we’re not here to get,” Dr. Carol McLean-Long, a union leader at the hospital, said. “But you have to have something to offer them if you cannot offer them money.”

And doctors said the academic affiliation was worth much less now that they were no longer receiving the same benefits as other university employees.

“The affiliation is in name only,” said one attending physician, who asked not to be named for fear of retribution by hospital management.

Highly trained specialists, he said, had little incentive to stay at Harlem when they could get better benefits or earn more by working for Columbia University Medical Center or in private practice.

Dr. Matthews K. Hurley, an internist and union leader, said the Columbia benefits allowed Harlem Hospital to recruit competitive physicians and researchers despite relatively low salaries. He said that at least 30 senior doctors have opted to resign or retire rather than continue working under a private corporation that “doesn’t have the track record” or prestige of an Ivy League institution.

Ms. Marengo, of the city, disputed the assertion that the Columbia issue accounted for the retirements. She said that a strike would be “unnecessarily disruptive,” but that the city would make arrangements to “keep essential services running at Harlem Hospital,” sending in doctors from other city hospitals or hiring new ones.

The last strike by the doctors’ union was in 1991 and lasted 36 hours, after the city proposed eliminating several departments at Woodhull Hospital in Brooklyn. The community joined doctors in picketing the hospital, and the city dropped its plan.

The Red Rooster in Harlem Will Open on Friday

Marcus Samuelsson

Following months of speculation, the cock will crow on Friday when the Red Rooster finally opens its doors. Florence Fabricant reports that Marcus Samuelsson’s Harlem restaurant will initially serve dinner and then expand to serve both breakfast and a $16 three-course prix fixe lunch menu. (Quoth Samuelsson, “Restaurant Week lunches for $24 are not relevant in Harlem.”)

Expect comfort food like fried chicken and a few Scandinavian dishes like gravlax and meatballs, the latter made according to Samuelsson’s grandma’s recipe. The bi-level restaurant – whose dining room is dominated by a semicircular copper bar – will also include a performance space where Samuelsson will give cooking classes. Click through for a look at the menu.

There is a menu on thewebsite http://blogs.villagevoice.com/forkintheroad/2010/12/the_red_rooster_1.php

Deadline Looms for Taller Boricua in East Harlem

Fernando Salicrup joins in chants of “El Barrio no se vende! El Barrio’s not for sale!” on a Tuesday night at the Julia de Burgos Cultural Center. But the

Fernando Salicrup, director of Taller Boricua, defends his group's legacy at the Julia de Burgos Cultural Center on Nov. 30. Posters by organizers from Movement for Justice in El Barrio hang on the wall. (Photo by Jason Alcorn)

director of the East Harlem arts organization Taller Boricua sounds more resigned than righteous, astonished that this is what it’s come to: He remains locked in a two-month fight with City Council Member Melissa Mark-Viverito and the New York City Economic Development Corp. over Taller Boricua’s lease on a 4,000-square-foot room at the cultural center.

“We created this space,” he tells the 30 or so people in the room. “We were the ones who put it together… And we’ve done all of this work, not for one year, two years – we’ve done this for 40 years.”

He goes on, “Now our reward for being there is that they’re going to take us out and replace what we do with a younger group because we’re too old. What is that about? How can you say that?”

The event, “A Night on Gentrification and Displacement in El Barrio,” brings Taller Boricua together with Movement for Justice in El Barrio, a neighborhood tenants-rights group. The tenant organization has rented space from Taller Boricua before, but this is the first time the two groups have worked together. Nellie Bailey of the Harlem Tenants Council and Tom DeMott of the Coalition to Preserve Community also speak, protesting what they see as the wholesale auction of Harlem to the highest bidder.

“We’ve been saying for years that the attack against the neighborhood is not limited to housing,” Juan Haro, an organizer with Movement for Justice, says the next day. “Now arts and culture organizations are able to make the link.”

He adds, “In the past, maybe it wasn’t quite as clear that the struggle against displacement is a broad struggle.”

The language of protest is familiar to Salicrup. Forty years ago, he and other artists fought urban renewal and inadequate city services alongside The Young Lords, a Puerto Rican nationalist group. Salicrup recalls drawing posters for a fight that, by and large, the neighborhood won. Still, both Salicrup and Taller Boricua have long since fallen into a comfortable routine.

“As we grew older, we became an institution,” Salicrup says. “We pretty much fell asleep in the driver’s seat and we crashed.” An artist, he focused on creating a space for artwork in East Harlem. That’s what Taller Boricua remained. “Then we hit a lamppost that was Melissa Mark-Viverito. And that lamppost woke us up.”

On Sept. 30, the city development corporation, which operates the building, issued a Request for Expressions of Interest at Mark-Viverito’s request. Under the new plan, Taller Boricua will retain its classrooms, office space and exhibition galleries, but a multipurpose room on the first floor is eligible for transfer to new management, along with a city-managed, second-floor theater. The organization has been a tenant since its founders helped establish the center in 1996.

The theater, currently operated by the city, is hardly used. A lack of soundproofing prevents simultaneous events from being scheduled in the theater and the community room directly below, while the fire code limits occupancy to 162 people, too few for many performances. The theater also lacks a sound system and stage lighting. A new tenant that controls both spaces – and, critically, has enough money to make upgrades – would significantly increase the number of programs the cultural center can host.

“We want to make sure that there is a level of active, engaged and consistent cultural programming, a comprehensive cultural vision for that center, and those two spaces would allow that to happen,” Mark-Viverito said at a public forum in October.

Taller Boricua isn’t waiting until Friday, when it and other groups will submit proposals to the development corporation. Last weekend, it opened a new gallery exhibition, “See What I Mean,” and hosted a children’s theater company. The popular live-music dance party, Salsa Wednesdays, continues, and a three-part Nuyorican poetry series began Thursday.

“Because of what happened, they’re doing more programming,” says Celia

Ramirez, who sits on the Cultural Affairs Committee of Community Board 11 and is preparing a competing proposal to move into the cultural center.

Sitting in her office, Ramirez talks about the future of the Julia de Burgos Cultural Center with the confidence of someone who knows the rules of the game, if not how it will turn out. In her work with East River North Renewal Inc. and the summer-long East Harlem Multi-Cultural Festival at La Marqueta, Ramirez has worked closely with both Mark-Viverito and the development corporation.

She rattles off the kind of leadership and experience she believes the center needs and currently lacks: “Technical expertise, business management, proposals, city funding, theater.”

Three others who all live or work in East Harlem will join Ramirez in submitting the proposal: Felix Leo Campos, a media producer at AfterDark CATV Productions; Yma Rodriguez, vice president of Puertorriqueños Unidos; and Edwin Marcial, director of Teatro Moderno Puertorriqueña.

“The dominant thought in the neighborhood,” says Campos, “is that management of the space should remain in this community.”

Ramirez adds that this is an opportunity for artists to collaborate. “We’re willing to work with other people, and we’re hopeful that whoever wins will be, too.”

Both this group and Salicrup agree that money remains the biggest question mark about the cultural center’s future. The city has promised to increase the theater’s occupancy to 254, but it has not committed to pay for soundproofing or the other needed improvements. Annual rent to the city for just the first-floor space is currently $28,000 per year, unchanged since 1996.

Any tenant will face significant upfront costs before it can start to recoup its money through ticket sales and rental fees to outside groups, currently $230 per day.

“There has been a lot of expressed interest,” says Mark-Viverito, who hopes that the city will share how many proposals it receives and what is proposed. “It’s my hope and expectation that with community consultation and feedback, a good decision will be made by the city.”

“I’m not a theater person,” says Salicrup.  On Friday, the development corporation will start deciding whether he’ll get the chance to learn.

By Jason Alcorn on Dec 13th, 2010

VISIONS: From Senegal to Harlem

Weston United’s Gallery M opens new show of work by artists Willie Torbert and Mahamadou Savane

New York, NY (PRWEB) December 9, 2010

Gallery M, a contemporary arts gallery based in Harlem, announces the opening of a new exhibit by American artist Wilie Torbert and Mahamadou Savane, who was born in Senegal. The gallery, located on West 125th Street, not only shows the work of established and emerging artists, but it is also a space where the work of Weston’s consumers can be exhibited–a vital part of the recovery program for the non-profit’s residents. Weston United is this year celebrating 25 years of serving the most vulnerable in our community – those who are homeless and suffer from mental illness. The history of the organization is rooted in the community, especially members of St. Philip’s Episcopal Church, one of the great traditional houses of worship in the neighborhood.

The new show at Gallery M opens on Saturday, December 11th and the exhibit will continue until February 15th, 2011. The show was curated by Maketa Dorothy White and is presented in cooperation with D’Zora House Salon.

ABOUT THE ARTISTS
Willie Torbert is an African-American contemporary artist best known for his figurative intensely colorful painting. His work is included in the private collections of a number of well-known celebrities including Russell Simmons, Spike Lee, Natalie Cole, Patti Labelle and others. Torbert studied at New York’s Pratt Institute, City University and Medgar Evers College, and his work has been exhibited at The Town House Gallery in Washington, DC and a number of New York galleries, including the Eric Robertson African Art Gallery and Broome Street Gallery.

Torbert has also shown his work at the Apollo Theater and in corporate exhibitions at Chemical (now Chase) Bank, Colgate-Palmolive and Pepsi-Cola in New York City, and has received numerous commissions.

Mahamadou Savane is an artist and programmer who moved to the United States from Senegal, where he was born. His work is best characterized by an intensely colored, graphic, yet abstract style. Savane has been painting for a number of years and has studied in Minnesota. He is inspired by his African heritage and his American experience, as well as the journey that has brought him here.

“We are delighted to have an opportunity to show the work of these two talented artists,” said Jean Newburg, CEO of Weston United. “Gallery M is enormously important to our community and the mission of our organization.” she added.

Gallery M is located at 123 West 135th Street between 7th Avenue and Malcolm X Boulevard in Harlem. Gallery M was founded in 1986 as part of Weston United’s outreach program and is a contemporary fine arts gallery that shows art by emerging, established, and outsider artists. The gallery focuses on presenting work by African American, Latino, and mentally ill artists. Residents of Weston United are employed as gallery assistants and learn vocational skills and gain valuable work experience. Previous exhibitions have included works by AA Bronson, John Bankston, Larry Clark, Ellen Gallagher, David Hammons, Adrian Piper, Kara Walker and Andy Warhol, to mention a few.

The Gallery also conducts free talks with the general public and school groups. Mahamoud Savane will give a talk at Gallery M on Wednesday December 15th, from 3-4pm and Willie Torbert will speak on Saturday, December 18th from 3-4pm.

This exhibit opens on Saturday, December 11th, 2010 from 5-8pm and will be on show until February 15th, 2011.
Please call Sandra Wheeler, Gallery M manager, at (347) 297 5402 or email her at swheeler(at)westonunited(dot)org to confirm daily opening hours.
For press inquires, please contact Susan Towers at Nice Partners at (212) 929 6423 ext. 12 or email susan(at)nicepartnership(dot)com.

Harlem Meer; It’s Near! Have you Visited Lately?

The northeast corner of Central Park, 110th Street and Fifth Avenue New York City, NY. An 11-acre lake surrounded by a rugged landscape of woodlands and dramatic rock outcroppings.

Why It Works

The Meer (Dutch for “lake”) is the idyllic setting of the Charles A. Dana Discovery Center, one of the Park’s four visitor centers and home to a wide variety of the Central Park Conservancy’s free family and community programs. The serene naturalistic landscape of the Meer and stunning views of its picturesque surroundings entice visitors in from nearby Fifth Avenue and 110th Street and encourage them to linger, observe, and explore. Add to this the Dana Discovery Center, built in 1993, and you have the perfect complement to the 65-acre landscape: a focal point for information, amenities, and programs.

What Makes Harlem Meer a Great Place?

Immediately accessible from Fifth Avenue and 110th Street, the path around the Meer is a pleasant alternative for people en route between Harlem and the Upper East Side. The Dana Center, just inside the Park on 110th Street and Lenox Avenue, is just a few hundred feet from the 110th Street subway station on the 2/3 line. While it is highly accessible to the immediately surrounding community, the Meer remains one of the better kept secrets from most users of the rest of the Park. This is due to the extreme natural topography of the northern portion of the park—the rugged landscape of the North Woods lies between the Meer and meadows to the south but those trail enthusiasts who make their way north through this rocky woodland will discover the Meer on the other side. Wandering to the southeastern end of the Meer, visitors may stumble upon another best kept secret: the beautiful Conservatory Garden, located inside the Park at Fifth Avenue and 105th Street.

Many visitors consider the restored Harlem Meer one of the Park’s most beautiful landscapes, and great care has been taken in its restoration to encourage visitors to spend time there. Seating along the pathway that sweeps around the outside of the shoreline invites passers-through to sit and stay a while, and enables parents to enjoy the view while monitoring children in one of the perimeter playgrounds. The landscape itself is designed to be inviting and accommodating. A cove in the southeast corner of the water has steps going down to the water’s edge. There visitors can sit surrounded by native plants roses, hydrangeas, pickerel weed, and irises that spill down the slope and to the water’s edge. The small beach is another feature that encourages visitors to experience the shoreline.

By far the most popular activity of the Meer is unstructured enjoyment of the landscape: exploring nature, observing wildlife, picnicking and just relaxing along the shoreline. Two perimeter playgrounds are frequented by families with young children. The Dana Discovery Center is home to a wide variety of the Central Park Conservancy’s free family and community programs, including park-related tours and exhibits, catch-and-release fishing, summer jazz concerts, and other seasonal events (such as the Halloween Pumpkin Sail of candlelit Jack O’Lanterns across the Meer).

The Meer is proof that places which inspire delight and curiosity bring people together. The beauty and serenity of the landscape have an undeniable transformative effect, creating a sense of shared appreciation and breaking down any barriers even between strangers, who frequently are moved to share their observations and inquiries with one another.

History & Background

Central Park north of 96th Street is more rugged and picturesque than its southern counterpart. The pre-Park northern terrain was naturally wilder, with large rocky outcroppings amid low-lying areas. When designer Frederick Law Olmsted and Calvert Vaux first surveyed the proposed park land, they decided that a rugged terrain would be the ideal complement to their southern pastoral vision. They also decided that it would be far too costly to reshape the natural northern geography. In fact, pragmatism dictated the extension of the Park from its original northern border of 106th Street to 110th Street; development of the rocky and swampy area would have been impractical, so the swamp was transformed into Harlem Meer and the surrounding woodland came to include a planted Ravine and rustic waterfall. A 1940s reconstruction changed the Meer’s existing soft grassy shoreline to a concrete and fenced edge, but in 1993 the Central Park Conservancy completed a restoration that returned the shoreline to Olmsted’s original vision, with a miniature sandy beach added for whimsical effect. A small island was created in the southwestern corner of the Meer, replacing an original island that was lost when part of the lake was filled for the construction of Lasker Rink and Pool in 1966. The naturalization of the shoreline, reintroduction of a wide variety of native plants, and the creation of “Duck Island,” provide an endless supply of visual interest and have transformed the 65-acre landscape into a haven for people and wildlife.

Article Source: http://blog.pps.org/great_public_spaces//one?public_place_id=572&type_id=1