• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar
  • Read An Issue
  • About
  • Advertising Information
  • Where to Find the Reader
  • Subscribe to our Mailing List
  • Contact Us

Park Slope Reader

  • The Reader Interview
  • Eat Local
  • Dispatches From Babyville
  • Park Slope Life
  • Reader Profile
  • Slope Survey

Mirielle Clifford

Slope Survey: Martin Medina

September 6, 2017 By Mirielle Clifford Filed Under: Slope Survey Tagged With: Park Slope, Slope Survey

The Slope Survey returns for its 5th installment with Martin Medina, owner of Varrio 408 and Rachel’s Taqueria on Fifth Avenue. Medina is commonly hailed as the man who first brought Taquerias to Park Slope. Here, his California dreamin’ helps us kick off summer.

 

What brought you to Park Slope?

I met a woman.

What is your most memorable Park Slope moment?

That’s so many moments. I’ve been here almost thirty years. There won’t be one, there are just too many—opening up in Park Slope on Seventh Avenue, back in 1990. A good day for you is… Being busy.

Describe your community superpower.

Bringing people together and feeding people. Feeding people is definitely what I’ve done here. If you could change one thing about the neighborhood, what would it be? Put a beach right next to it. Or, subtract winters.

What do you think Park Slope will look like in 10 years? in 20 years?

The same, except around us it’ll be built up.

What were your childhood nicknames?

Marty.

What is your greatest extravagance?

My old 1953 Chevy pickup truck.

If you couldn’t live in Park Slope or in Brooklyn, where would you go?

San Clemente, California.

Who is your hero, real or fictional?

There’s so many of them, but I would say Martin Luther King Jr. is one of my heroes.

Filed Under: Slope Survey Tagged With: Park Slope, Slope Survey

The Reader Interview: Activating a Democratic Space

July 19, 2017 By Mirielle Clifford Filed Under: The Reader Interview Tagged With: Celebrate Brooklyn, music, Prospect Park

The Reader Interview with Jack Walsh of the BRIC Celebrate Brooklyn! Festival

Whether you’re enjoying the afro-blues sound of Amadou & Mariam, waxing nostalgic with Talib Kweli, or taking in a film with live scores performed by the Brooklyn Interdenominational Choir, the Wordless Music Orchestra, or Brooklyn United Marching Band, you’re sure to make some new meaningful memories, big and small, at the Festival this summer.

On a rainy afternoon in late-May, the people who make the BRIC Celebrate Brooklyn! Festival possible continued their preparations for the Festival’s 39th season. Jack Walsh, who is Vice President of Performing Arts at BRIC and the Executive Producer of Celebrate Brooklyn!, welcomed me to the Prospect Park Bandshell as the staff closed out for the day. Walsh has been with the Festival for 35 of its 39 years. We sat down at Dizzy’s Diner to discuss a changing Brooklyn, the Festival as a platform for artists’ voices and activism, and Walsh’s favorite BRIC Celebrate Brooklyn! Festival memory.

 

 

Can you walk us through the process of selecting the lineup for the summer? How is this summer different from other years?

Sure. We have a programming team. I serve as the Executive Producer and oversee the whole festival, but I really work in partnership with Rachel Chanoff, the Artistic Director. Under her there are one or two programmers. We feed all the ideas in through Rachel, and she leads the programming team that’s doing the booking and reaching out to agents. Because of Rachel and our partnership over many years, we hope the Festival has an artistic, or programmatic, voice. Even if people can’t quite put their fingers on it, they understand that the selection process is very thoughtful and intentional. That’s broadly how it works.

This year is different in that, while we’re not wearing our activism on our sleeves, a good many of us are pretty active, and upset about what’s happening in the country and the world. There is a bit of intentional social justice activism in the lineup. That’s a little different this year, and as we move into next year for our 40th anniversary season, we’ll see a bit more of that intentionality through some commissioned projects. Every year we do a post-season assessment and talk about what worked, what didn’t and why, looking at data, but it really boils down to artistic choices.

Brooklyn as a borough is becoming more gentrified, the city has some of the most segregated schools in the country, and the country is divided politically. What can the BRIC Celebrate Brooklyn! Festival teach us about bringing people of different backgrounds and ideologies together?

That goes to the heart of the Festival and its origins. We don’t put it out there as front and center as we used to, but there is a mission statement for the Festival, and part of it is to bring people together in a safe, harmonious setting to experience each other’s cultures. Brooklyn is still one of the most diverse places in the United States, but, as you say, it’s getting more and more gentrified. While we have recognized that—we live here and see the changes—we have made a more concerted effort to not just program a Festival where you see diversity on stage, but to program the Festival so you see diversity in the audience. That’s really important. So we put more of an effort on marketing and outreach to communities of color, and think about how it is we can make sure all feel invited and welcome. That’s something we’re very deliberate about, and we’re more or less successful. We’re trying all kinds of things to make sure that happens.

Part of BRIC’s mission is to incubate and present new work by artists. Do you also think of the Festival as a way to incubate new work?

It is. Because of the scale, it’s different. At BRIC, we have a fantastic, smaller-scale program called BRIClab. We give artists workspace for over two weeks to develop projects and present them in workshops. That’s a way in which a lot of work is developed. Because of the scale of the Festival, the way we can incubate work is different.

Here’s one example from this summer’s lineup, which addresses the activism piece and also how we work with artists to help them with what it is they want to work on, or give them an opportunity to do something different. The film Selma, which has been out for over two years, is an incredible, well-done story. The music was composed by Jason Moran, a New Yorker and jazz composer, who’s now the Kennedy Center Artistic Director for Jazz. He’s an incredibly accomplished jazz musician whom we’ve worked with and presented before. This year we approached him and said we’d like to show Selma and have you perform the score live. He was intrigued by that, but then let us know it included a 35-piece orchestra. He doesn’t get to do that often, so we said “why not?” and put a lot of resources into it. It’ll be the only time that score will be performed live with Jason Moran’s trio and a full symphony orchestra. That’s a way in which you can say we incubate work, or at least give artists an opportunity to do something different. There are other examples, but that one really stands out for this summer.

Hopefully that performance will be a way we can get people to wake up and think about what’s happening with voting rights in this country.

Is there anything you want the audience to be especially awake to?

We’re here in Brooklyn. It’s different here than it is elsewhere. We want to be a platform so that musicians and artists can speak their voice. Many times, they’re the best activists. Beyond that, as citizens, we can all be thinking about voting rights, even though the restrictive voting rights measures taking place in other parts of the country aren’t necessarily happening here in New York. But voting rights have been challenged on the federal level, which allows different states to do less to protect those rights, or to be more restrictive in states like North Carolina, which are now actively trying to make it harder to vote, in ways they couldn’t until recently. Here in Brooklyn we can make a difference. We can try to get these rights reinstated on a federal level. It affects the entire country. Showing a film like Selma and celebrating its message is something we can do as a Festival.

We focus on performance, and the experience of performance. A lot of organizations would love to be at the Festival to solicit, fundraise, or get signatures. We don’t do a lot of that, but we’ve consistently allowed voting rights organizations, like HeadCount. We feel voting is a baseline thing in a participatory democracy. Anything we can do to move the dial is a good use of our platform. We’ve embraced that for many years. This year, we’re trying to lean into it more.

People in the neighborhood have a very personal connection to Prospect Park. What role has the park played in the 39 years of BRIC Celebrate Brooklyn! Festival’s history, as a setting or even as a character?

I’ve never thought of it as a character. I was born and raised in Park Slope, and literally spent my life in Prospect Park. People use the Park in ways that are very personal to them, and it certainly is a setting for many stories and memories. That’s something everyone can relate to. The Park has been designed to be and has always been a very democratic space. To activate it the way we do with music, dance, and film is an incredibly special way to use the Park. Most parks are designed to have a place for gathering and music. For me, having worked on the Festival for decades, Prospect Park is most especially a setting for music. But it is a setting for other things, like picnics and gatherings with family and friends, important moments big and small.

What was the most memorable concert in your time with BRIC’s Celebrate Brooklyn! Festival?

I’ve been working on the Festival since 1982, every summer. I’ve worked on every single show, except for four. That’s over a thousand performances. With that as the background, I have to say David Byrne in 2010 was one of the best shows we’ve ever done. For me personally, it was absolutely thrilling. He was on a tour where he was doing a lot of old Talking Heads music. That one is very much at the top of the list.

In terms of others that rise to being super memorable…it gets harder after that. David Byrne is at the top for me, and after that, there are so many other great ones, and it’s hard to choose. Norah Jones was fantastic, in the pouring rain, and St. Vincent, and Sylvan Esso, who’s coming back this summer. Going way back to my first year, 1982, when I was very young, Betty Carter left quite an impression on me. She was a jazz singer who lived here in Fort Greene. Her performance is up there on the “unforgettable” list, partly because it was my first year working the Festival. But she was also a legendary and influential performer with an impactful career. In the early years of the Festival, we presented a lot of jazz singers from Fort Greene, like Max Roach, Abbey Lincoln, and others, and I was there for that. Those are some of the more recent and earlier shows that are especially memorable.

In addition to the screening of Selma, what are you most looking forward to this summer?

The closing night show with Youssou N’Dour from Senegal will be extraordinary. Youssou is a global ambassador of culture. His music at its core crosses boundaries and borders. This show is emblematic of what we try to do at the BRIC Celebrate Brooklyn! Festival, to bring people together “under the big tent,” if you will. He comes to New York every year or so, but this will be one of his first free shows in New York. We intentionally programmed it to close the season. We’ve been trying to get him forever and finally got him.

Is there anything you’d add for our readers?

You enter the park at 9th Street and Prospect Park West, so in many ways it’s Park Slope’s Celebrate Brooklyn! Festival. It is for the whole borough, but there is a real special connection to this neighborhood. Many people here support the Festival and become members. Our Friends of Celebrate Brooklyn! program has a thousand people in it who all support the Festival, and many of them live in Park Slope. It’s gratifying to see that because it means we’re really connecting with people. They feel that connection and want to repay the favor by supporting the Festival. There are a lot of people who come again and again, which is really special.

I’d say to everyone reading the Park Slope Reader, the Festival is there for you, come out, take advantage of it, make it your own, support it if you can. Otherwise, come and bring your friends, and spread the word.

Do you have any advice for artists who want to engage with those issues of displacement and gentrification?

Artists have voice, and a platform. What they choose to speak about is their choice. But I think that artists can move the needle on issues in ways that other people can’t. If that’s at the core of your artistic practice: good for you, keep it up, get stronger, do it louder. If it’s not in your practice, and you’re concerned about issues that affect your neighborhood or society, I would say, sharpen your pencil, get a bit of a tough skin, and start to put yourself out there more. Because, again, artists can say it in ways that can encapsulate the message for other people, and that has a unique multiplying effect. I just encourage it. If you’re already doing it, do it bigger, better, louder.

It’s interesting. We’ve talked about gentrification. The Festival was founded at a time when Brooklyn and Park Slope weren’t such fine places to be. It was meant to bring people together to celebrate Brooklyn, and it was part of an effort to “revitalize” Brooklyn. “Revitalization” was a popular word then. Now, the tipping point has come and gone. Gentrification has almost come and gone. Now it’s more like displacement. That’s happened in Park Slope. This place we’re sitting in has been here for a long time, but it wasn’t always Dizzy’s. I struggle with that; being born and raised here, I’ve seen waves of change.

Really, change is inevitable. Change is good. But being an active participant in the change is key.

Filed Under: The Reader Interview Tagged With: Celebrate Brooklyn, music, Prospect Park

SLOPE SURVEY: GEORGE CONSTANTINOU

July 6, 2017 By Mirielle Clifford Filed Under: Slope Survey

George Constantinou, who is most notably “Husband and Daddy to 5-year-old boy/girl twins,” launched Bogota Latin Bistro in 2005 and Miti Miti Modern Mexican in 2014, along with his spouse Farid Ali Lancheros. In this latest installment of the Slope Survey, Constantinou shows both his entrepreneurial and community spirit.

 

WHAT BROUGHT YOU TO PARK SLOPE?

We didn’t come to Park Slope so much as it came to us. We searched high and low through Brooklyn for our dream location. The space that houses Bogota Latin Bistro presented itself after having exhausted our efforts, wondering if we’d ever find a home. Finally in 2004, after looking at 50 locations, 141 Fifth Avenue showed up.

WHAT IS YOUR MOST MEMORABLE PARK SLOPE MOMENT?

One is the first time I experienced the annual Fabulous 5th Avenue Fair, while Bogota was still under construction. The neighborhood was so welcoming and couldn’t wait for us to open. I still see some of those faces in my restaurant 12 years later. Having my family asked to be Grand Marshals for the annual Brooklyn Pride Parade certainly was another memorable moment. Farid and I with the kids in the back seat of a convertible with pride flags and a bubble machine driving down Fifth Avenue waving to the crowd was amazing.

A GOOD DAY FOR YOU IS…

A busy night, when both restaurants are packed with happy guests and my staff is hustling and bustling to deliver a great product and experience. Sometimes you can find me at Bogota’s host stand or in Miti’s kitchen making sure things are running smoothly. The energy of a busy restaurant is a natural high. I cap off this good day at the bar of one of my restaurants having some fish tacos or bandeja paisa.

DESCRIBE YOUR COMMUNITY SUPERPOWER.

My restaurants offer guests an opportunity to escape from the busy, stressful life of NYC. Guests come to have fun and socialize with their friends, family, and loved ones. To have created an environment like that, which is both profitable and personally rewarding, is pretty powerful. Another superpower: my contribution to the Brooklyn economy. I provide jobs to over 85 employees, 95% of whom live in Brooklyn, so that money stays local.

IF YOU COULD CHANGE ONE THING ABOUT THE NEIGHBORHOOD, WHAT WOULD IT BE?

Cheaper rents, both commercial and residential. Barclays Center has impacted Park Slope’s retail landscape, not necessarily positively. A wave of businesses that opened at the same time we did are no longer around. Higher rents will only attract the chains with deep pockets to survive the crucial first years of the start-up phase. I hope the new restaurants coming in will add to Park Slope’s charm.

WHAT DO YOU THINK PARK SLOPE WILL LOOK LIKE IN 10 YEARS? IN 20 YEARS?

NYC is changing at a rapid pace, and always has been. Park Slope will change, too. I can’t predict how, but I hope it still has the charm brought by independent businesses. Also, Park Slope has always been a diverse community. I hope it stays that way, and people aren’t priced out.

WHAT WERE YOUR CHILDHOOD NICKNAMES?

The mean Long Island kids called me Georgie Porgie; Butterballs, as I was a chunky kid; and Ghandi Presley, because of my great brown skin and great hair that always had gel in it.

WHAT IS YOUR GREATEST EXTRAVAGANCE?

I mostly spend money on food and my kids. I also plan on traveling this year, maybe to Colombia, Cyprus, Hawaii, and Las Vegas.

IF YOU COULDN’T LIVE IN PARK SLOPE OR IN BROOKLYN, WHERE WOULD YOU GO?

Unfortunately, we no longer live here. Last year, Farid and I moved our twins to South Orange, NJ, a nice town with plenty of room for the kids to run around. South Orange’s diversity reminds me of Park Slope circa 2005. We’ll probably open up our third restaurant in South Orange. Now I commute to Park Slope 4 – 6 days a week, so I spend most of my time here.

WHO IS YOUR HERO, REAL OR FICTIONAL?

My heroes always change depending on what’s going on in the world. Anyone who commits a random act of kindness or stands up for injustice anywhere is my hero. I was recently inspired by an article about Eartha Kitt, who spoke out against the Vietnam War while at a White House Ladies Luncheon in 1968, which made Lady Bird Johnson cry. As a result Eartha Kitt’s career suffered for a few years. This act of bravery makes Eartha Kitt one of my heroes.

 

Filed Under: Slope Survey

DISPATCHES FROM ALBANY: THE READER INTERVIEW

May 10, 2017 By Mirielle Clifford Filed Under: The Reader Interview Tagged With: election, local politics, Park Slope, State Assembly

The Reader Interview with Assemblymember Robert Carroll

Spring of 2017 has been a tumultuous time for the New York State Legislature. Having missed the deadline to pass a new budget, the Assembly and the Senate voted for an emergency extender budget. This placeholder, in effect until May 31, prevented a shutdown of the state government but left many questions unanswered.

In the midst of this uncertainty, and between votes on the Assembly floor and meetings with colleagues, Assemblymember Robert Carroll was kind enough to speak to me in early April. Assemblymember Carroll, elected in 2016, may be new to the Assembly but not to politics. He has been involved with the Park Slope Civic Council, Community Board 7, and was the youngest President of Central Brooklyn Independent Democrats. He now represents Assembly District 44.

Our conversation touched on the concerns of his District, the Young Voter Act—a bill Carroll crafted in collaboration with three Bard High School students and that would, if passed, lower the New York State voting age to 17—and Raise the Age. Raise the Age is an unnecessarily controversial effort to ensure that individuals under the age of 18 will not be prosecuted as adults for non-violent offenses. As of this writing, the Assembly has voted to raise the age, but the Senate has not.

Assemblymember Carroll’s take on how young voters, and young people, should be treated reveals his faith in the ability of the community to determine what’s best for the whole. As the story of Kalief Browder—a young man whose life and death speaks to the necessity of Raise the Age—becomes more widely known, one can hope that the resolution of this issue will no longer be considered a roadblock to the passage of a budget, but, as Carroll calls it, “a necessary good.” Albany could certainly use a bit more of Carroll’s optimistic practicality.

 

Robert Carroll speaking on the assembly floor.

 

What do you hope to accomplish for your district in your first term?

Originally I was hoping that we were going to be able to pass a progressive and transparent budget, one that prioritizes New York City public schools, our infrastructure, and also making sure that necessary services to our senior centers were fully funded, as well as bigger picture items, like raising the age of criminal culpability to 18 from 16, making sure we bring electoral reforms to the state of New York, and that we open up our election process.

[pullquote]Time will tell which bills will pass, and which ones won’t, in the New York State Legislature this year, but one can only hope that future legislation will build “towards a more just and fair society.[/pullquote]Obviously we’re still having these big picture conversations; raising the age is still a necessary good, and hopefully we will get it by the time this is published. It’s a reform that will make our society more just. It’s something that is right, makes sense, and is practical. It has hit a lot of roadblocks, and that’s one of the reasons why we don’t have a state budget. Whenever you’re trying to reform a system, or whenever you’re trying to change something, there are always people who are inherently afraid of that change and will not want to go and do it.

I am looking forward to still working on those issues, and making sure we find ways to bring about real electoral reforms. That’s something I’ve done as an attorney and worked for as an activist and I think is necessary.

 

New York state is one of two states where a person 16 years of age or older can be automatically prosecuted as an adult. At the same time that Raise the Age is front and center in Albany, you’ve introduced the Young Voter Act to lower the state’s voting age from 18 to 17. Does our state need to change the way it looks at young people in general?

Yes. On the one hand, our outlook is paternalistic towards young people. On the other, when people make mistakes early on, we can brand them for life, putting them in a system that will basically make it impossible to right their life. This impacts communities in a whole host of ways, for generations. The Assembly bill for Raise the Age is not saying that there aren’t repercussions for violent, heinous crimes; it’s not stopping somebody who has killed or raped someone from facing real serious repercussions. The Assembly bill addresses cases where, for example, a young person commits a burglary that is non-violent, but because that crime is categorized with other violent crimes, they’re treated like an adult and could possibly do years and years in prison and have a felony record to their name. No one is condoning that action, but if we put a 16 or 17 year old in prison for years, it only hurts the rest of us.

It’s going to be harder for that person to reintegrate into society as a functioning individual, and become employed. That creates other burdens for society. That person could commit other crimes, could go on some form of public assistance, they could lose their relationships with family and friends and become disconnected. It reverberates throughout and hurts communities. That’s why Raise the Age is so important.

 

Speaking to PTA leaders.

 

And it couples directly with lowering the voting age. Some people think, ‘shouldn’t they be the same? If someone is not mature enough be tried as an adult, then surely they’re not mature enough to vote.’ That’s a false choice there, because Government tries to reinforce good habits all the time.

By lowering the voting age to 17, all students can at least vote once before they go to college, or go out in the world to work. So we foster that habit. Then it’s on them, to continue to participate. But we jumpstart that person’s engagement in civic and political life. There’s a lot of good research out there that if you start voting before you’re 25, you’re very likely to become a lifetime voter. If you start voting after you’re 25, you’re not likely to. That was in The Economist back in February. In 1972, over 50% of people 18 to 25 voted in that year’s presidential election. In 2012, it was around 38%. We’re seeing this steady decline in youth participation in elections, but we want to reverse that and help people become regular voters.

And you’re not a regular voter if you only vote every 4 years for president, and if you’re not voting in local elections: midterms, State Assembly, State Senate, City Council, and mayoral and gubernatorial elections, and also primaries in New York. Most elections in New York City and in the suburbs are decided in the primaries. Most years in New York you can vote almost every year, once in September, and once in November. We’re going to have a big election in New York City in September for all those citywide offices, and a general one in November. We’ll also be voting on a constitutional convention.

We need people to participate in all of these elections. I’m a big believer that the whole collective, the group, is rather smart, and in tune with what’s going on. I’m not cynical. There are some people who believe that voters aren’t intelligent, that they’re easily manipulated by power brokers, or will only vote in accordance with certain aspects of their identity. If they’re young, then they’re easily swayed by their parents. I don’t believe any of this. Voters do tend to go towards issues that are better suited for the whole. All elected officials should be trying to get as many people out there to vote as humanly possible. It’s simple – we’ll get better outcomes when more people vote.

 

What has most surprised you about being in the Assembly so far?

There are days when you feel progress is being made, and that you’re moving forward. And then there are days when you feel there are entrenched forces all around and nothing will change. That kind of dichotomy, where it can switch on and off, can be frustrating. You can feel very heartened one day, and completely frustrated the next day. The other surprising thing—which is somewhat amorphous and hard to pin down—from day to day those things can be almost the same. You can have a person surprise you from one day to the next. You might say to yourself, ‘I never thought this person or this organization would champion this issue,’ and then you think, ‘Why is that person now doing this?’ You forget it’s three-dimensional, with different parts moving.

There are some really good things that the New York State Assembly and the Legislature has done lately, from minimum wage, to stopping hydrofracking. But with something like Raise the Age, you wonder, ‘why can’t we figure this out?’ The Assembly is very good on it, but the Senate is being pretty difficult on it right now. Why can’t we come up with something that’s reasonable? It’s not an unreasonable point to make, or issue to bring to the forefront.

So overall, it’s not as great as it is on its best day, nor is it as bad as it is on its worst day.

 

The 44th District is pretty diverse. How do you balance your different constituents’ needs?

My district is wonderful. We’ve got Park Slope, Windsor Terrace, Kensington, Victorian Flatbush, Ditmas Park, parts of Borough Park, and a little bit of Midwood. There are people who are very new to Brooklyn, who have just moved into all parts of my district from far and wide. There are some people moving to Park Slope, Victorian Flatbush, and Windsor Terrace who are maybe professionals with means and money. Some people are moving to Kensington and Coney Island Avenue from Pakistan and Bangladesh. There’s a large Orthodox Jewish population in Borough Park, and in the district there are also people of Irish, Italian, and Puerto Rican descent who have have been here for years and years. I grew up in the district, in Windsor Terrace and Kensington. Brooklyn is the only home I’ve ever known.

There are multigenerational homeowners here, and immigrants, and people who are brandnew who might be called gentrifiers. That’s the way neighborhoods are created in New York. If you’re a New Yorker, you understand the city is always in flux. And when you get down to the core issues, people are worried about the local subway station, the local public schools, making sure the neighborhood is safe and affordable and that city services are working.

A great thing about this district is that a lot of people are concerned about building towards a more just and fair society. It’s not just purely a matter of, ‘what the government is doing for me.’ They understand that we’re all in this together and that we need to bring everyone along with us.

 

Reading to children at Windsor Terrace library.

 

The previous Reader Interview: http://www.psreader.com/issue/issue-59/the-reader-interview/enriched-landscapes-the-reader-interview-with-susannah-c-drake-on-cleaning-up-the-gowanus-canal/

Filed Under: The Reader Interview Tagged With: election, local politics, Park Slope, State Assembly

Enriched Landscapes: The Reader Interview with Susannah C. Drake on Cleaning Up the Gowanus Canal

January 31, 2017 By Mirielle Clifford Filed Under: The Reader Interview

The Gowanus Canal Sponge Park™ opened in the fall of 2016. Facing the Canal at the end of 2nd street, the park was designed by DLANDstudio Architecture + Landscape Architecture to clean up the Canal’s notoriously polluted waters. I spoke with Susannah C. Drake, DLANDstudio’s founding principal, who—as a registered architect, landscape architect, and an adjunct professor at the Harvard Graduate School of Design—offers a unique perspective on the topic of green infrastructure and the design challenges that are unique to New York City.

 

 

How does the Gowanus Canal Sponge Park™ work?

When we came up with the idea, I didn’t want to go into a neighborhood and say, I’m putting a wetland in your backyard. That wasn’t going to fly, nor do you want to have a true swamp in your backyard. But we do want a landscape that can absorb more surface water runoff, to prevent it from going into your cellar, creating puddles on the street, taking all of the detritus from the street and putting it into our water bodies, and killing wildlife. We wanted to create a landscape to absorb that water. So the term “Sponge Park™” refers to an absorbent landscape. We designed it as a park space, a garden with very absorbent soils that will take all of that water and help make it available to the plants, which will evapotranspirate the moisture and keep it out of the waterway and your cellar.

The Gowanus Canal is a Superfund site.

It seems like this design could be replicated in a lot of different street-ends throughout the city.

Right. When we did the original master plan, working with the Gowanus Canal Conservancy, we designed a system for all of the areas around the Gowanus. We got a grant from the New York State Council on the Arts (NYSCA) to do this initial planning work, and we tried to find every available absorbent surface. We discovered there was this setback that city planning was putting into law where you would have a 40-foot setback from the waterfront plus a 10-foot supplemental walkway. Initially, we thought, this is great. We have all of that landscape available to make Sponge Park™’s. But one thing that differentiates the Gowanus Canal and other industrial canals from a waterfront like Battery Park City is that they’re industrial landscapes which tend to have buildings abutting the waterfront, so you can’t have that continuous walkway or open space. We saw that as a potential opportunity to thread the green infrastructure, or thread the enriched landscape, back into the community. One of the first places we saw an opportunity to do this was at the street-ends, where the land was available and there were no buildings. And so we created this prototypical Sponge Park™ street-end that could be replicated. We’ve done some GIS (Geographic Information System) analysis of other street-ends around the city and found there were a couple of hundred places where this same design could be implemented. The Department of Transportation is really excited about that and they were looking at how much it’d cost to implement it on a broader scale. We’ve been calculating how much water it will actually manage and it manages millions of gallons of water per year. So it could have a very meaningful impact.

DLANDstudio’s fundraising process struck me as unique. Is it unusual for an architecture studio to be working with government agencies and non-profits?

[pullquote]One thing that was so magical about working in Gowanus, that I really appreciated over the last 10 years, was that there were so many different voices and people who really cared about their neighborhood. [/pullquote]We created a completely different paradigm of practice, where we basically look for things that are broken in the city. Sometimes those discoveries happen because of discussions with non-profits who tell us, Hey, there’s an issue in our community and we want to figure out some solutions. Sometimes it’s just from running or biking around the city and seeing something that seems like a design opportunity. But we look for those opportunities and relationships. Then we find sources of funding to first develop some of the planning work and then ultimately fund some of the design development and construction drawings, and then we’ve raised money for for the construction. It’s completely different than a normal procurement process. It’s been fruitful and it was particularly fruitful for my firm because I had been practicing for about 15 years before I started my practice, but my practice was seen as that of a young woman-owned business. The work I do is in the infrastructure space, which tends to be controlled by massive engineering firms, and architecture firms started to find landscape architecture and infrastructure interesting as well. So the competition is quite fierce from huge firms that have been around for a long time and have a lot of built work. But I felt I had a different, important voice to communicate, and that I had the experience to do the work. It wasn’t like I was naive to what it takes to do public work. So I came up with this method of applying for grants from environmental organizations and getting significant amounts of money to build these prototypical green infrastructure systems. So we did the Sponge Park™ and we also did one that we call HOLDS in Flushing Meadows Park. These are ideas, they’re experiments, prototypes that will need to be adjusted as we move forward and think about broader implementation. The point is to use the grant money to enable innovation that can’t happen through a normal procurement process. But it’s completely different. It’s a wacky paradigm. Nobody does this. Nobody did this. Now it’s so funny because the big architecture firms who would get the jobs anyway are all starting little non-profit arms, which is frustrating.

Is this procurement process trickier, or more bureaucratic, than the conventional method?

Every public project is filled with bureaucracy. I have to say the Department of Environmental Protection (DEP) was very patient with me although we drove each other crazy for a while. But they were patient. What was really exciting was that there was an overall vision for creating green infrastructure supported by the Bloomberg administration and the DEP during that administration, that has carried forward into the de Blasio administration. There’s a recognition of the need for these kinds of new strategies that enabled a willingness to experiment. So that was good, but it was tricky because these government entities aren’t set up to receive big grants of money from a random private firm and then give it back to that firm. That’s a tricky thing. It’s hard to figure out how to make that work through a public process. But meanwhile I did all the work to get the grants. I wrote the grant proposals and did all of that on my own dime. So in a way I’m providing great benefit to the city by doing this. It’s not like we’ve made any money doing the project. It’s been all about the research and development of an idea.

Do you think that procurement process encourages more input from stakeholders, the individuals who are actually affected by these designs?

Yes. I did some work up in the Bronx with the Bronx Council for Environmental Quality, and it was pretty great in terms of engaging kids and the community in the development of one of these innovative structures. I think the kids really learned a lot. City agencies can do a lot of really good work. We shouldn’t necessarily try to subvert everything they do because there is a very beneficial public process that can make great parks and playgrounds and make things happen. But to the degree that you can use these kinds of systems to augment initiatives that are happening, like the vision of the city, I think it’s really great. Or if a community group has a vision, as a designer if I can help them realize that vision, it’s really rewarding for me, and for a lot of other designers who care about the communities in which they live. It’s a pretty great method for giving grassroots communities power to implement something, but we do have to remember we also have city council operating on behalf of the public to make things happen. But if you can combine the work of that community group with the work of city council, then you can get something really exciting going because you have more power. So using it as leverage is really the most valuable situation.

I love the idea of THE BQ GREEN project, which hopes to unite the neighborhoods that were divided by the Brooklyn Queens Expressway (BQE). Was there a similar process for that idea?

[pullquote] I’d like to see more women leading firms. There are some very talented women out there leading architecture firms and landscape architecture firms. [/pullquote]I have to give a lot of credit to the New York State Council on the Arts. When I started my firm I applied for a grant from NYSCA to look at capping the BQE over in Cobble Hill and Carroll Gardens, which is pretty close to my office. I developed this vision for making a new park space there, which attracted the attention of city councilwoman Diana Reyna. She invited me to participate in an RFQ (Request for Qualifications) for looking at her neighbourhood and potentially doing something over there. Her neighborhood, Southside Williamsburg, is where BQ GREEN ended up getting developed. We won a competitive bid against some really talented architects and developed that idea. It was really the result of a very involved community process, with a lot of meetings with different stakeholders and groups that didn’t necessarily always want to show up at the same meetings, so we had to have separate meetings for different constituents. We also just went out to the playground and talked to people because we weren’t getting enough voices. So we started talking to people on the street, at church, and at school drop off and pick up. We got a lot of input and found that the community really wanted active recreation space. They had playgrounds for little kids, but they didn’t have space that would keep middle school age kids active and occupied. That was important because the neighborhood has a lot of gang violence. Diana Reyna told a very poignant story about being in the playground as a little kid and hiding behind a water fountain just to avoid being caught in the crossfire between two competing gangs who were having a shootout. So that stuck in the back of our mind. We thought, let’s get the kids out on a sports field instead, really unite the neighborhood, and eliminate, or start to blur the territorial boundaries between two competing neighborhoods, or two different constituencies. I feel like that project has a lot of great potential benefits. Along with Diana Reyna, El Puente, Los Sures, St. Nick’s Alliance, and the Open Space Alliance, we’ve all been trying to make it happen, without necessarily selling out the neighborhood to real estate development interests. So we’re trying to get the city to do it just because it’s the right thing to do. And that’s a really hard lift. But the Borough President has put I think two million dollars into the potential development of it and Diana Reyna has been working tirelessly to try to make it happen, and so has the Open Space Alliance of North Brooklyn. So they’re really pushing to try to make it happen now as well. It’s funny because it’s getting out there and it’s becoming something that feels real. That’s an exciting thing to have something that started as this planning study and vision really driven by the community start to become something that people feel is inevitable.

Plants in the Gowanus Canal Sponge Park.

Your studio really emphasizes interdisciplinary design. Why do you think interdisciplinary design is something to advocate for?

I studied architecture and landscape architecture at Harvard and I got registered in both, and I’ve always wanted to have an interdisciplinary practice. I hire people that have really varied expertise because I feel that it makes a rich environment for the development of design work. You know you can have just smart people coming together and bringing their expertise if you have people who have experience in, say biology or engineering, or we had one woman who was an astronomer, another woman with a background in religion. I had a sculptor bringing their expertise to the design. These people make it so much richer, more interesting. And so I’ve always really focused on maintaining that interdisciplinary atmosphere in the office and trying to do projects that really bridge the disciplines. And that’s a challenge. It’s not something that is really fully understood. There’s always a desire to have these these teams that represent a lot of different disciplines, but having an all-in-one office is very fluid and valuable.

Are sustainable architecture and design becoming more common, either in New York City or generally?

Definitely. It’s much more prevalent. A lot of the ideas that I’m able to make happen are things that people were talking about in the early ‘70s, when I was a little girl. It comes out of the environmental movement. But I think part of the reason those environmental initiatives didn’t take hold in a meaningful way in cities up until now is that there wasn’t an integration of the natural system and the urban system in a way that really could work. So I think there’s a greater understanding of the need for the integration of a greater level of formality—and by that I mean formmaking—with the the function of an ecological system, a greater hybridity between the engineering and the ecological and the architectural to make something really beautiful. When I say “beautiful,” I know that wetlands are beautiful in a particular context. But I think it’s important to understand the civic nature of cities and to have an expression that is a bit stronger or more formal.

What can a reader or average person do to encourage that sustainability, and that integration?

A great book just came out called Nature and Cities: The Ecological Imperative in Urban Design and Planning, published by the Lincoln Land Institute. It has all the top landscape architects represented talking about their approaches to nature and cities. So I would say that’s a perfect primer. The chapter I wrote is excerpted in the magazine Land Lines. It’s a good read. Not to put in a shameless plug for the book, but it’d be a really good primer.

How would you describe the status of women in your industry?

Do you think things are changing right now? I’d like to see more women leading firms. There are some very talented women out there leading architecture firms and landscape architecture firms, in particular. Andrea Cochran is an amazing role model as well as Gustafson Guthrie Nichol, though at GGN, they don’t like to describe themselves as being a woman-owned business. They just say, we are designers who happen to be women. It’s kind of a macho profession. I think the only way we’re going to advance is if more of us decide to take the initiative and start our practices and really take on these leadership positions. Part of that is how you create your own identity. You have to choose to be a leader. If you choose to be a leader you have to really follow up on that, and it’s a lot of work. There’s a lot of nuance. I have a number of friends who are partners in large firms. They have an interesting perspective because they’ve said they never really felt any issue about being a woman, until they made partner. Then they felt like they were treated differently, like they were only able to get to a certain level within the upper partnership ranks. I try not to dwell on it too much, but I am aware of the issues. I’m always aware when I get interrupted more than my male colleagues. I’m aware when I hire somebody who has less experience than I do who is male, and people think they’re the boss. It’s frustrating, but I just deal with it.

Has teaching influenced your work, or do you think of them as separate spheres?

[pullquote]I’m a little bit concerned that as the development pressures push into Gowanus, the amount of open space won’t necessarily be maintained and there might be a loss of that (INDIVIDUAL) expression. [/pullquote]It definitely influences the work. I love teaching and influencing the next generation, and I like bringing people from my academic world into the practice. I’ve had a number of my students come and work with me. It’s been great to watch them grow and develop the ideas that started to germinate within the academy, and then came to fruition through our practice. A number of those people have actually gone on to become teachers themselves, which is is both great and challenging because you don’t want to lose good people. At the same time I want to see people grow. So I’ve really enjoyed it, and I feel I get a lot of ideas from teaching and also, frankly, from traveling to different cities, because I’ve been an adjunct in a lot of different places. I’ve seen a lot of different things which has been helpful.

Are there things you’ve seen in other cities that you’d bring to New York if you could?

I don’t know. New York is so big that it’s really hard to think about implementing some things that work in smaller cities here. I find it remarkable when planners look to a city of 200,000 people and start to apply a system, that would work there, to New York City. To a certain degree, some of those systems work, but sometimes they just can’t because of the scale and population density. It’s a tough environment for plants, and for bicyclists. There’s a need for design here that really understands the scale of operations and that the systems in the city need to keep moving in order to make this place vital. It’s tricky because there are a lot of beautiful things that I see in smaller cities that just wouldn’t work here.

You said in an interview that landscape architecture is always shifting whereas with architecture, you finish a building and it’s finalized, and that you like moving between those different modes.

It’s satisfying to build something and then have it be complete when you’ve finished building it. Whereas with landscape architecture, you’re seeding change. It’s like if you’re having a baby and you need to raise it to be an adult. That’s what being a landscape architect is like. There are a lot of things that can go wrong with that baby along the way unless it’s taken care of and nurtured, and educated or tended to. So it’s nice to work in both and be able to to have the satisfaction of creating something where you can achieve a certain level of perfection immediately and recognize that, and then other cases where you’re actually making something for the next generation.

 

The Gowanus Sponge Park was designed as a public park space.

Urban design seems similar to landscape architecture in that it has to shift and respond to change.

The profession of urban design actually grew out of the profession of landscape architecture. Landscape architecture happened first. There was a profession of architecture. Then in the United States, in the late 19th century, the profession of landscape architecture was born with the creation of all of our great parks. There were clearly beautiful landscapes created in Europe and Asia and all over the world, but landscape architecture involves landscapes that were specifically designed for public use. That’s an American idea and an American profession that was established by, among others, Olmsted and Beatrix Farrand, who was the only female founding member of the American Society of Landscape Architects. Landscape architecture as a degree program started at Harvard around the turn of the century. And then urban design as a degree program started of a couple of decades later, maybe even three decades later, at Harvard. So it’s a newer profession, but urban design co-opted a lot of the work that landscape architects do. So they’re related. And there is a program in urban design at the Graduate School of Design at Harvard that is an MAUD program, and you can come into your MAUD program or MLAUD program with either a degree in architecture or a degree in landscape architecture and you get that urban design degree that has a bit of a qualifier of whether it’s landscape or architecture. But all the students are working together.

Is there anything you’d add for people in Park Slope or Gowanus?

One thing that was so magical about working in Gowanus, that I really appreciated over the last 10 years, was that there were so many different voices and people who really cared about their neighborhood. They saw a great opportunity to make open space with a character that reflected the neighborhood and to actually affect the design. So our master planning work was really intended to be very flexible, so that it could provide a framework for individual expression for its ultimate implementation. I’m a little bit concerned that as the development pressures push into Gowanus, the amount of open space won’t necessarily be maintained and there might be a loss of that expression. Part of the expression had to do with craft and people who were making things, and the fact that it was this industrial neighborhood. Maybe that’s a bit of a romantic vision, but it’s an exciting vision. And it’s something that makes you feel like you’re part of that place. And I know cities have to transform and are very organic. I mean my ancestors actually had a farm in Gowanus. There’s a creek that was named after my family that now all goes into a CSO. So there has to be an ability to embrace change. But I just hope with that change, the Gowanus area will be able to maintain its wonderful diversity.

 

In Drake’s mind, the Gowanus Canal Sponge Park™ and many of the studio’s designs are an “opportunity to thread the green infrastructure, or thread the enriched landscape, back into the community.” One can hope that this kind of thinking takes hold on a broader scale.

Filed Under: The Reader Interview

Slope Survey: John Tucker

November 25, 2016 By Mirielle Clifford Filed Under: Slope Survey Tagged With: Brooklyn, Park Slope, Rose Water

Restaurateur, devotee of local, seasonal food, and one of Edible Manhattan’s “Dads We’re Loving,” John Tucker was the perfect fit for the Slope Survey’s third installment. Here, the owner of Rose Water muses on a changing Park Slope, getting away, and the surprising qualities that make a hero.

 

What brought you to Park Slope?

I’m as Slopian as they come: my wife and I came over the bridge in 1999 with a two-year-old in tow, looking for square footage, green space, good school, and a community of like-minded tree-huggers. We checked every box, and within months many unexpected benefits appeared, like the Food Coop, and the notion that the neighborhood might support a restaurant like the one I opened in 2000.

What is your most memorable Park Slope moment?

Rose Water’s opening day was big, but not specifically a Slopey moment. My most memorable moments are about coming together as community – happy times in the park at Celebrate Brooklyn and the PopUp dinners, or Halloween and baseball parades. Even sad gatherings, such as grieving together at Beth Elohim over the tragic loss of a wonderful boy. Handing out food at Green and Healthy Night at PS 321, and watching kids perform at MS 51 with Mr. McEneny’s drama department. There’ve been many, many memorable moments for me in my village.

A good day for you is…

I own and operate a long-running Park Slope business that I’m proud of, and I help run a Brooklyn non-profit youth soccer program. A good day includes both, and also watching my sons play soccer. But, in the summer when the kids are away, my best days are spent upstate, swimming in the Plattekill Creek with my wife and our dog.

Describe your community superpower.

I’m very fortunate to have had the time and energy to be a volunteer youth sports coach, referee, and administrator for many years. And I’m proud to be considered an asset to my community as a small business owner that supports local schools, charities, and nonprofits.

If you could change one thing about the neighborhood, what would it be?

Diversity. When I moved to Park Slope in 1999 there was more racial, ethnic, and cultural diversity, which was a big draw for me. New York City is still a vibrant and wondrous place, but less interesting than when I arrived from Detroit in 1986. Particularly in this contentious election season, I’d love to be in charge of a magic wand that promotes tolerance, inclusion, and understanding.

What do you think Park Slope will look like in 10 years? in 20 years?

Wet? Hopefully it’ll be many decades before the Gowanus Canal stretches from Fourth Avenue to Hoyt Street. Meanwhile, I worry the neighborhood will continue to lose interesting mom-and-pop shops in favor of chains, and become more pricey and even less diverse. I hope I’m wrong, because I want to keep living here.

What were your childhood nicknames?

Johnny.

What is your greatest extravagance?

I raid the Rose Water wine cellar fairly frequently and drink well above my life station. Or, perhaps it’s my “country house,” which is a travel trailer that never travels—it sits on a campsite near Saugerties, New York.

If you couldn’t live in Park Slope or in Brooklyn, where would you go?

Besides Provence? A barrier island on the Gulf Coast of Florida that has no bridge, no cars, no roads, no commerce, and a beautiful, mostly unpeopled beach where I like to look for shark’s teeth. I also love the Catskills, and I could see myself in all those places, but I refuse to imagine not having a home in Brooklyn, too.

Who is your hero, real or fictional?

My dog. We never disappoint each other, he’s never told a lie, and he’s always reliably and irrationally pleased to see me. Mostly, I feel like people are too human to be heroes. That said, I think ALL educators are the bomb!

 

RW_PSReaderAdRev

 

Check out the last Slope Survey: http://www.psreader.com/issue/issue-57/slope-survey/slope-survey-elise-long/

Check out our website: http://www.psreader.com

 

Filed Under: Slope Survey Tagged With: Brooklyn, Park Slope, Rose Water

The Reader Interview with Sally Kohn on Election 2016 and Beyond

October 26, 2016 By Mirielle Clifford Filed Under: The Reader Interview Tagged With: election, equality, interview, sally kohn

“Equality is Not a Zero-Sum Game”

On a muggy day in in late Summer, I sat down with Sally Kohn, columnist and CNN commentator. I picked her brain about the presidential election, Dog Whistle politics—rhetoric that uses coded language to convey a message to specific segments of the population—and Kohn’s idea of emotional correctness, as presented in her 2013 Ted Talk. For Kohn, emotional correctness refers to “a daily spiritual practice” that consists of trying “to find compassion for the people I not only disagree with, but who are fundamentally lacking in compassion for me and my side.”  By Mirielle Clifford

Kohn is currently working on a book that’s informed by that notion of emotional correctness. Throughout our conversation, Kohn showed how the choice to examine the systems at play, instead of simply blaming individuals for actions we may not agree with, can lead to a much more productive understanding of our current political landscape.

How do you think this election will be remembered? 

Either as the beginning of the end, or the beginning of the beginning. It’s very hard to say, in this universe of political thinkers and talkers. Everybody always says, ‘this is the most important election of our lifetimes.’ We’ve all heard this before. This actually does feel like an important one, in an existential way, in terms of the future of both parties’ ideologies which are being wrangled with in really interesting ways, and in terms of the future of American values and identity. Belonging and inclusion or exclusion are being wrestled with in fundamental ways. Fundamental precepts of democracy, voice, respect, and civility are facing unprecedented turmoil in this election.

Which way does it go from here? I think it’ll keep getting worse in some of these regards, but it could be the moment where, historically we’ll look back and say, this is when it started to turn. The profound ugliness, elitism, and exclusion of the racial bias-fueling politics of the right for the last forty years probably won’t end after November. But this could be the moment we look back and say the wool was pulled off the disguised wolf and America saw it for what it was. I hope that’s the case, but I’m not sure.

You wrote for CNN that “so many Americans see the advancements of others as a strike against themselves.” Why do you think that is?

How much time do we have? This could be the entirety of the interview, trying to understand this. I’m careful not to say that people who support Donald Trump, or who are against affirmative action, or who think we need a wall between the United States and Mexico are racist. First, I think “racist” is a loaded word that shuts down the conversation. Second, it locates the whole conversation in the personal, while what we’re going through as a country is bigger than that.

This is about forty plus years of politics—largely fed by the right, but not exclusively—responding to the progressive successes of the New Deal in helping to build the white middle class. These politicians thought, ‘we can’t attack those policies on their face because they’re so effective, but we don’t like them. What are we going to do?’ When the Civil Rights movement came along, and Lyndon B. Johnson tried to expand these New Deal policies, which specifically excluded African Americans, the Right saw an opportunity to exploit and fan white racial resentment, to turn it against public policy the Right didn’t like.

So you had Nixon, Reagan, and this practice called the “Southern strategy,” but which was really a national strategy, of Dog Whistle racial politics. ‘We’re not going to say Black people are inferior, or endorse segregation; we’re going to move away from that. But we’ll talk about law and order, welfare cheats, and cadillac-driving Welfare Queens.’ If you’re Bill Clinton, you’ll talk about Super Predators.  They tried to feed into the notion, or create the notion, that by making our country more equal, by creating opportunity for people of color and Black people in particular, that you’re taking something away from white people. Your schools will get bad, your neighborhood will get dangerous, your property values will decrease, you won’t be able to get that job.

It fascinates me when I hear white liberals say off-handedly when they don’t get a job—‘Oh, they probably gave it to a person of color.’ No, they probably gave it to a white person. We know the statistics. If there are five job openings, and one goes to a person of color, the inclination as a white person is to say, ‘Oh, the person of color took my job,’ as opposed to the four other white people. The assumption is that you, as a white person, and the other white people, were entitled to the job, but the person of color only got the job because of affirmative action. White people reading this, even the good Clinton-supporting or Sanders-supporting liberals, can hear a kernel of truth—they’ve thought these things, too. Certainly it’s something to be held accountable for as an individual, but it’s not just about individual bias. It’s also about these social, political, and economic systems that have encouraged white people to think of equality as a zero-sum game.

There’s a great, unattributed quote: ‘When you’ve only ever known privilege, equality feels like oppression.’ That’s true.

This is also how you end up with an economic system where working class and middle class white folks vote for elite economics, which is mind-boggling unless you understand this notion of racial hierarchy and racial supremacy, which is very much in place today.

Can’t actually figure out what to do about it. If you point it out, half the country will say, ‘Sally, you’re the racist for bringing it up.’ It’s like blaming the person who pulls the fire alarm for starting the fire. But you can’t solve a problem if you don’t talk about it.

In your Ted Talk, you talk about emotional correctness. I think we could all use more of that every day, but do you have advice for someone who may have a hard time cultivating that emotional correctness because there’s so much at stake? I’m imagining a member of the Black Lives Matter movement who feels that ending police brutality is a matter of life or death for them, and then you have people vilifying them for questioning the police’s tactics.

I’m working on a book that’s informed by the idea of emotional correctness, the Ted Talk, and how we can be less uncivil and mean to each other in small ways and in massive ways, in terms of actual hate and violence. Part of my work with the book is me interrogating these questions, like, how much of this is naivete? There are times when incivility could be seen as being in furtherance of justice, but I maintain that there aren’t. That’s where I am the moment, and have been for a while.

If we look at the history of social justice movements, long before Black Lives Matter, there have been these tensions, the tensions between Martin Luther King’s idea that ‘Hate cannot solve hate; only love can do that,’ and Malcolm X, the Black Panthers, and a very understandable desire to fight fire with fire, literally and metaphorically.

I personally, spiritually, and ethically fall on the side of peace, love, kindness, and civility as the antidote to hate, violence, and cruelty.

For me, the answer is try to lead by example with my own life and share those ideas, but that’s a far cry from proscribing that everyone should act that way in every single situation. It’s a personal choice. Now, there are some interesting and real tensions in social justice movements that I support, like Black Lives Matter or immigrant rights. There are dimensions of these movements that are more on one end of that spectrum than the other. That’s both an individual decision to make and a movement-wide struggle which is sort of healthy. For me, I try to find compassion for the people I not only disagree with, but who are fundamentally lacking in compassion for me and my side. So far I’ve found that effective.

I’ve been talking to people who have left movements of hate, like former white supremacists. One common thread in their transition out is that someone they would never have expected it from showed them compassion, like an African-American woman showing compassion to a white supremacist. I take that as a good sign.

Emotional correctness is a daily challenge. To me, it’s a daily spiritual practice. I could pick up my Twitter feed and find fifteen tweets that it would be so fun and gratifying to tweet rude, nasty responses to. It would probably feel great—I don’t know, I haven’t done it—but only for a few minutes.

I have a seven-year-old, and one thing you try to teach your kids is not just delayed gratification, but that you can make choices that aren’t just satisfying in the short-term but that are good for you, your family, and everyone around you in the long-term. I feel that way not just about social media but about being a public voice in general. Yes, you can say the thing that would be gratifying and cathartic in the short-term, that would get you the most clicks and the most airtime, but are you actually doing good for society and your own soul in the long-term? I don’t think so.

How do you explain thorny or even painful political topics to your daughter?

She’s only seven. By the time this comes out she’ll be eight. She’s very excited. She’ll also have pierced ears, so look out, Park Slope, when you see that bling walking down the street.

I realized this the other day when I did a CNN interview on Skype in my in-law’s basement, which one can do. Everybody wanted to watch it, because my in-laws wanted to see their basement on TV. We all watched it, including my daughter and her little aunt and uncle who are around her age. We were talking about some god awful thing Trump had said. I felt ashamed watching it, though not for anything I’d said. I pride myself on helping my child to be informed, engaged with the world, and thoughtful, in age-appropriate ways. This was one of the moments where I thought, I’m not sure if I want her to know this, that people are saying these things, and someone running for President is saying these things.

It’s a hard time to talk to kids about politics. The same thing goes with what’s happening around race and racial bias in this country. People, including well-meaning liberals, think the way to talk to their kids about race is to teach them to be color-blind. That’s not practical, first of all; it’s not the world we live in. Secondly, the elevation of color-blindness as a solution to racial injustice in this country is a right-wing adaptation intended to serve their agenda. As in, race can’t be a factor in affirmative action or public policy.

The same way we talk to our daughter about gender is the same way we talk about race. She picks up gender cues all the time—pink is for girls, blue is for boys; boys are good at this, girls are good at that. When we see these things in movies or in books, we say, ‘you know, the thing I don’t like about this is…’ and we help her deconstruct her environment, and think thoughtfully about the world as it is and the world as it should be, as opposed to letting her live within her metaphorically and literally lily-white bubble.

There’s an interesting conversation around police. As a white parent with a white kid in a somewhat diverse but still fairly privileged community, especially for New York City, my instinct is to teach my kid, if you’re ever in trouble, you can go to the police. But I don’t want to instill the notion in my child that ‘the police are always a good thing, so if someone is critiquing the police, then they’re necessarily wrong.’

We have to help our children understand from the very beginning that their perspective isn’t the only one in the world, which is incidentally really hard to do with little narcissists, which all seven-year-olds are. Like all of us, when I was a kid and didn’t finish the food on my plate, I was told, ‘there are starving kids in Ethiopia.’ It was very distant, but there are starving kids in New York, too, and we try to help her see that. There are things we’re fortunate to be able to expose her to, through travel, through having a diverse group of friends, through going to a racially and economically diverse school, but also in the way we talk to her, to help help her situate herself and deconstruct the world around her. That’s what makes a good citizen.

But she’s only seven. How do you explain Donald Trump to a seven-year-old?  How do you tell her, ‘you can’t talk this way. Even though Donald Trump said it, you can’t say it.’ My kid thinks that being President must be the greatest thing in the world, and you would have to be a pretty special person—a great role model—to run for President. The Right has made the same critique about rappers. Fine, some valid points, but what about your presidential candidate?

Some people say that you shouldn’t vote for ‘the lesser of two evils,’ but should vote your conscience, even if that means abstaining. What would you say about that in this election?

I’m going to say this as clearly and as non-judgmentally as I can—if you do not do everything you can to get Hillary Clinton elected this November, I think you have some soul-searching to do. This includes not just voting yourself, but spending your time, money, and talent to elect Clinton and defeat Donald Trump.

I’m a lifelong left-wing progressive. I agree our two-party system is broken, that the Democratic Party is too beholden to corporate interests, too hawkish, that a lot of these dynamics around Dog Whistle politics harken back to Bill Clinton. I’m not naive about the past and present structural issues in the Democratic Party, and the challenges and blindspots of Hillary Clinton in particular.

That said, elections are about choices. If we had a multi-party system, which I really wish we did, it would go a long way to address issues like the current hyper-partisanship. But when you have two parties, you have a choice. You pick one or pick the other. Any action you take is picking one or the other. I’ve admired Jill Stein for a long time. I find what she’s doing now unconscionable. Donald Trump isn’t Jeb Bush. If this was Jeb Bush, and we said, ‘Ok, it’s time to teach the Democratic Party a lesson. We’re going to use this as a teachable moment to transform the party for the future, and so it’ll stop taking these issues and these voters for granted.’ I’m down. But this isn’t that time.

And thinking like that assumes that the only way to have power or influence in this two-party system is by withholding votes. Look at the influence that Bernie Sanders had on the party platform; it’s the most progressive platform in history for either party. You can say, ‘look, you’ve  had influence by being at the table, and you can continue to do so.’ If Clinton wins, constituencies that weren’t involved in helping her get elected will have less input. When we talk about a broken political system, that’s what we’re talking about. We’re talking about, ‘who helps?’ We’re never going to have as much influence as big money, but if you didn’t help, if you weren’t there, you have no influence. Clinton has already moved to the left in this election, but the larger point is, you can engage in that struggle, but you can’t win it. I’ve talked to people on the left who insist they’re not going to vote for Hillary. Some of those people have the luxury to do that because Trump’s policies won’t affect them. They’re not immigrants who will be deported or whose families will be broken up, they’re not Muslims who will be treated with suspicion and whose loved ones won’t be able to come into the country.

Also, we can walk and chew gum at the same time. You can support Hillary Clinton. I don’t think she’s the lesser of two evils. When you look at what she stands for and what Sanders and Jill Stein stand for, there’s 80% or 90% overlap. There are real, serious issues around which we should still be struggling, but to cast those disagreements as overly broad is disingenuous and in the case of this election, very dangerous.

I get emotional about it. I was a Hillary Clinton critic, I remain a critic, I was a Sanders supporter. But you don’t go and elect a protofascist hatemonger and call yourself a Leftie. Clinton wants to raise taxes on the rich; Trump wants to give away $7 billion in tax giveaways to millionaires and billionaires. Clinton believes in public education, while I think Donald Trump wants to get rid of the Department of Education. These are fundamental things. The edges of the conversation are essential, but I think the core of agreement between Sanders, Stein, and Clinton is profound, vast, and not to be overlooked.

What was it like to be at the Democratic National Convention?

It was very helpful, inspiring, and positive. I learned things about Hillary Clinton I didn’t know. Her record fighting school segregation early on, the work she’s done for foster kids in New York City, her deep commitment to children with disabilities, and to 9/11 victims’ families, survivors, and first-responders. I used to question whether Clinton was a progressive. The Convention challenged me, in that I don’t think she’s a progressive on certain issues, but on other issues, she is. It’s dangerous if we become too dogmatic. And she’s the first presidential candidate to talk about getting rid of the Hyde Amendment and expanding access to abortion. In my book, that’s progressive. So the Convention made my image of Hillary Clinton more complex.

It was also incredibly inspiring to me, in the juxtaposition with the Republican National Convention, which was not only frightening because of Trump’s rhetoric, but also decisively white. That reflects choices made by the Republican Party post-1964, to be the party of white people, and they’re succeeding. Going to the DNC helped me appreciate that the Democratic Party is a diverse, pluralistic party that’s largely led by women of color, in terms of the Convention and now the DNC itself with Donna Brazile. Appreciating the social and political significance of that made me proud to be a democrat.

Did the anti-Clinton mood wane?

Yes. People needed to get it out of their system. Bernie did a good job going group to group, talking to folks. A larger percentage of Sanders supporters now support Hillary than her supporters supported Obama in 2008. It continues to strike me that some of these Bernie-or-bust people were very pro-Obama, and Hillary is running to the left of Obama, or at least his governance for the last seven years.

Has your work as a community organizer influenced your current work in media?

Yes. Organizing is about communicating ideas to people, helping make ideas accessible and understood. That carries over.

What do you think is the most pressing issue for Park Slope residents to be involved in? 

There’s something about the complacency of liberalism, that everyone in Park Slope should be thinking about. There’s the notion that ‘we live in a progressive bubble, so we’re good.’ Demographically, it’s a diverse community, but there’s a fair amount of hierarchy and segregation in Park Slope. Are people thinking about the overwhelming whiteness of PS 321 and the implications of that? Are they thinking about their nannies and housekeepers, how much they’re being paid, and whether they’re getting paid sick days? As liberal Park Slope people, we say, ‘Of course we support raising wages and paid sick days,’ but are we doing that for the people who work for us who, in this neighborhood, are largely women of color? Systems of inequality and patterns of bias are about systems and structures, but they’re also about us. I’m not saying, put on a hair shirt. Don’t walk around feeling guilty and suffering. But everyone can ask what they can do in their own lives, not to mention their own companies and investments. We can ask ourselves, am I investing in companies with diverse leadership in terms of people of color and women? In every facet of our personal and professional life, can we all look at how we can do 20% better? What kind of difference would that make? Especially for people with privilege and power, which people in Park Slope tend to have.

What is your favorite part of living in Park Slope?

I love running into friends, knowing people on our block, having neighbors we hang out with. I do love off-leash hour. I wish it were an hour later on weekends. I love small businesses. I love the walkability. A lot of what I love is about city life in general, but there is a really lovely sense of community and belonging that’s delightful.

As the weather cools but the presidential election heats up this fall, we can hope that the values of community, belonging, inclusion, and civility are given their due.

Filed Under: The Reader Interview Tagged With: election, equality, interview, sally kohn

Slope Survey: Elise Long

September 13, 2016 By Mirielle Clifford Filed Under: Slope Survey Tagged With: community, dancing, neighborhood, Park Slope, q&a, resident, Spoke the Hub

EliseHaitianArt1For our second Slope Survey—inspired by Marcel Proust and his eponymous questionnaire—we turned to longtime Park Slope resident and Founder/Director of Spoke the Hub Dancing, Elise Long.

What brought you to Park Slope?  I was living on the Lower East Side in the late 70s. My fiancé felt it was too unsafe and refused to join me there; maybe it was, but it was all I could afford. We then received a brunch invitation from friends renting a brownstone floor-through on Prospect Park West. It felt like a mansion, with stained glass windows and beautiful woodworking. It wasn’t much more expensive than my tiny, roach–infested hovel off Avenue A with the bathtub in the kitchen and toilet in the hall. Also, considering the amenities of Prospect Park, the library, Botanic Gardens, BAM, the Brooklyn Museum, and relatively cheap rents (yes!), our decision to cross the river was a no-brainer, a decision I’ve never regretted. What is your most memorable Park Slope moment? My most memorable moment in recent times, which happened to be in Park Slope, was that gorgeous blue-skyed morning of 9/11: first hearing the sirens, then watching the smoke and towers tumble from my roof, searching for lost friends, lining up (and being turned away) at Methodist Hospital where I tried to offer my rare O negative blood, and the following unsettling days and weeks. I was—and still am—grateful for my steadfast Park Slope community of friends and neighbors. A good day for you is … Minimal time on the computer! Describe your community superpower.  I think I’m pretty successful at bringing diverse communities together and persuading reluctant bodies of all ages onto dance floors to do the Brooklyn boogaloo. If you could change one thing about the neighborhood, what would it be? Less real estate offices and nail salons, please. That’s two things, but you get my drift. What do you think Park Slope will look like in 10 years? in 20 years?  How I’d like the neighborhood to look is different than how I think it will actually look. 4th Avenue will probably be like Park or Madison Avenue, flanked by a Grand Canyon of giant building complexes. But hopefully there’ll be more green spaces and mature trees to balance those concrete citadels. What were your childhood nicknames? I have always had to put up with “Carrot Top/Gingy/or Hey Red!” from strangers. My mom still calls me Leela, don’t ask me why.  What is your greatest extravagance? Orchestra seats at BAM every now and then. Or traveling around the world. I’m saving up for Bhutan.  If you couldn’t live in Park Slope or in Brooklyn, where would you go? I can’t imagine NOT living in Park Slope, but I spend a lot of time in Philly. I do love all the rivers, parks, history, and public art works gracing that fair city. I also feel like I could be the love child of Isaiah Zagar, the manic mosaic creator of the Magic Gardens, so maybe I have legitimate Philly DNA. Who is your hero, real or fictional? As a kid, Abe Lincoln was my imaginary “friend” and most-admired hero. We must’ve been studying the Civil War in school and he caught my imagination. I used to take him on imaginary tours around our house in California to show him modern day conveniences. I’d show him our kitchen faucets—wasn’t it amazing that we had hot running water on demand? I told him if you put a letter in the mailbox, it’d end up at Grandma’s house across the country in a few days. I demonstrated the use of zippers, telephones, washers and dryers, radios, and TV’s. He was very impressed, and I was pleased to impress him with all these modern day inventions and quality of life “things” we as a people had produced post-Reconstruction. After reading Team of Rivals as an adult, he became my hero all over again, but I no longer give him house tours.

Filed Under: Slope Survey Tagged With: community, dancing, neighborhood, Park Slope, q&a, resident, Spoke the Hub

There’s No “They”

August 23, 2016 By Mirielle Clifford Filed Under: The Reader Interview Tagged With: Alice in Wonderland, Brooklyn, events, free, history, July, King Lear, Old Stone House, Park Slope, performance, Piper Theatre, showcase, summer, The Iliad

THE READER Interview with Kim Maier on our Cultural Patrimony

The Old Stone House has been many things a baseball clubhouse, a warm place for nineteenth century gentleman to gather after iceskating, a casualty of urban blight, a rallying cry that brings neighbors together, and now, a vibrant public space. In May, I spoke with the Executive Director, Kim Maier, about the Old Stone House’s summer programming, its history, and its commitment to accessibility in a changing Brooklyn.

Maier in front of the Old Stone House, which proudly displays a Maryland flag. Credit: Mirielle Clifford
Maier in front of the Old Stone House, which proudly displays a Maryland flag. Credit: Mirielle Clifford

What’s happening at the Old Stone House this summer? 

As Park Slope’s town square, we’re always trying to create great programming. In July we open with our annual summer programming with Piper Theatre. Our Equity Showcase production is Psycho Beach Party by Charles Busch, which is a fantastic take on the early 60’s beach blanket bingo movies, looking at different views on gender, personality, and psychosis. These Equity Showcase Productions have been a wonderful way for us to support young emerging Equity actors, and non-Equity actors as well, and to bring a high quality of performance to an actor’s space that’s not usually accessible.

The Piper Theatre workshop shows are also very exciting. We’re doing two musicals this summer: Blood Brothers and Joseph and the Technicolor Dreamcoat, along with Alice in Wonderland, Beastmaster, and King Lear, which will be directed by Rob Parker from Scotland’s Gordonstoun School. The younger kids are doing The Iliad and The Odyssey.

You have an exhibit on view in the gallery until June 20, called “Partners/Parents/Pets.”

Our goal is to create a lot of avenues for entry and to attract a really wide audience. We have our history exhibit which focuses on life in 18th century Brooklyn. But we also have three contemporary shows a year looking at everyday life in Brooklyn, like our current, contemporary portraiture show.

The show considers who gets to have their portraits painted and explores the link between economic privilege and art. Does the House explore this theme often?

One thing we focus on here is access. We’ve looked at park space and play space, how parks are developed and how land is taken, how parks are maintained—based sometimes on the economic levels of communities—and how vocal community participation can lead to good public programming. Though that’s something any community could take on, it tends to happen in more affluent communities where people feel they have a voice. So we try to encourage people everywhere to have a voice, and set a model that can be replicated in any community.

In a 2014 interview with the Park Slope Stoop, you said “The Battle of Brooklyn today is a battle for a sense of place.” Do you think that battle has changed since then?

It’s the same. The history of New York is one of constant development and continuous change. But for me, having lived in Park Slope since 1983, it used to be a community of writers and artists and was much more affordable. It’s still a wonderful family community, but not as accessible to the creative class. I think a lot about Brooklyn and its sense of itself as a creative community, and how we can continue to support that.

How do you view the Old Stone House’s position in that “battle”?

The park’s improvement has created a lively, welcoming public space that allows for a very heavy level of interaction, from handball and soccer to concerts. In one space, you’re able to access a lot of different kinds of activities that aren’t necessarily available elsewhere … not to mention the fabulous history.

Creating a beautiful space is for the benefit of the many. The few benefit more richly, in a way. But working to benefit the larger community through accessible programming is one way of balancing out the inevitable facts that if you create a beautiful park, the housing around it will flourish, more people will want to live here, and that creates an economic impact that might shut other people out. It’s hard. We’re very aware of it, and that’s partly why we do a lot of free or low-cost public programming.

The Old Stone House couldn’t fix that economic issue.

Right. We support affordable housing and we’re focused on issues of income inequality. But we can’t change the fact that the city is Supply and Demand.

And always has been.

Since 1683.

Have you always been interested in Revolutionary history?

I grew up in Massachusetts and probably visited every historic home on the Eastern Seaboard, but I wasn’t really interested in pursuing history. These historic homes were off-putting. I never had a sense of the families that lived there. The issue of class was never directly addressed. You never got a true look at how the economy of these homes was managed. I remember thinking at Monticello that that beautiful site was run on the backs of enslaved people. That was certainly never talked about when I was a kid.

Coming in here, it feels warm, welcoming, and lively. But how would you address a reader who’s thinking, “hmmm, an historical house … maybe not.”

You should always feel free to walk in the door, because these public institutions are yours. They’re supported by all of us through our tax dollars, by individual donations, and by our programming. They belong to all of us. They’re our cultural patrimony. Today more than ever, this idea of engaged citizenship is really important. The Revolution was the start of that. The Battle of Brooklyn was fought by people who came from all over to fight for an ideal they had no idea was going to evolve and triumph, but they came anyway.

The House was the clubhouse for the original Brooklyn Dodgers, right?

Yes. The Brooklyn Baseball Club had a few different names—the Bridegrooms, the Superbas—but they were all part of this corporation that became the Dodgers. Hopefully, in our next phase of exhibit development, we’ll be able to do an outdoor exhibit on our baseball history.

By 1883 there was a ballfield here, a big grandstand, and an elevated train. By the late 1800s, the ballfield had fallen into disrepair, and they built a new one, which they used for ice skating. They would flood the field in the winter and skate by gaslight. The House, still in its original location, was both the clubhouse for the baseball team and also the gentleman’s club for winter skating. But it had gotten quite decrepit. By the time they had finished using the field, they were climbing in and out of the windows to get in.

Gradually the tenements along 5th Avenue were built up, and the House became a fill site. It was still used for recreation, though. Buffalo Bill’s Wild West Show came through. It was a very active open space, with a really active working-class community.

Has anything in the House’s history surprised you?

I’m surprised it fell into such disrepair. When it was originally built in the 1930s, it was a Robert Moses-Jane Jacobs kind of smackdown because Moses wanted to build this playground as part of an enormous expansion plan. Residents who knew the site’s history wanted a formal memorial to the Maryland soldiers who had taken a stand here. Moses was not interested in this kind of preservation at all. But they persevered and made him compromise by digging up the foundation stones and constructing this building that mimicked the original. But like so many other parts of the city, the House went by the wayside and was really destroyed. It wasn’t until the late 1980s, when a small group of neighbors came together and lobbied the Borough President for funding, that it was repaired. If not for them, this whole history would have disappeared. When I moved to this part of the neighborhood in 1991, I had no idea of this site’s history. I was a typical user in a lot of ways. I was surprised by the disrepair, too, given that the Battle of Brooklyn was the first official battle fought by the United States Army in August of 1776.

Do you have any advice for the “typical users” of Brooklyn on why it’s important to preserve Brooklyn’s historical sites? How can they help?

We’re responsible for the well-being of our communities. There’s no they—we are the voters and the engaged citizens. If you care about the cleanliness of your block, the stability of your home, or the giant development coming in, you need to pay attention to what’s going on around you.

It doesn’t require going to every community board meeting. But it behooves you to read the local paper, to meet your neighbors, and to understand who lives on your block. In the end this is your home. The reasons you moved here will only continue to exist if you take responsibility for it.

As I left the Old Stone House, I was grateful to have been reminded of what engaged citizens can achieve.

Filed Under: The Reader Interview Tagged With: Alice in Wonderland, Brooklyn, events, free, history, July, King Lear, Old Stone House, Park Slope, performance, Piper Theatre, showcase, summer, The Iliad

SLOPE SURVEY

June 21, 2016 By Mirielle Clifford Filed Under: Slope Survey Tagged With: bicycles, Brooklyn, Dixon’s Bicycle Shop, Dr. D’s Lounge, interview, Marcel Proust, neighborhood, Park Slope, Survey, Union Street

DAVE DIXON

For our first Slope Survey—inspired by Marcel Proust and his eponymous questionnaire—we reached out to Dave Dixon, co-owner of Dixon’s Bicycle Shop and D’s Lounge. Dixon’s, which has graced Union Street for 50 years, is Park Slope’s oldest family-owned bike store. It seemed only fitting that Dixon help us kick off the Survey.

What brought you to Park Slope? I was born in Brooklyn, and my parents bought a brownstone in Park Slope. What is your most memorable Park Slope moment? My most memorable moment in Park Slope would be running home from my Dad’s shop, while a gang fight was getting ready to start in the middle of the street. This was in the mid ‘70s. A good day for you is… A good day for me is being able to fix bikes. Describe your community superpower. Just keeping busy, making sure that everyone is pleased with my service and that everyone can get to their next destination. If you could change one thing about the neighborhood, what would it be? I would set up more fun things for kids and grownups to do. What do you think Park Slope will look like in 10 years? in 20 years? In 10 to 20 years, I think the Slope will look a lot more crowded, with all the new buildings going up. What were your childhood nicknames? One of my childhood nicknames was the Butcher because of my big appetite. What is your greatest extravagance? Probably my bicycle collection. If you couldn’t live in Park Slope or in Brooklyn, where would you go? If I couldn’t live in Brooklyn or the Slope, I would love to live in Jamaica or Miami or South Beach. Who is your hero, real or fictional? I would have to say my Dad. I have so much respect for him, and my mom for what they have done for the family.

DaveDixon_Bikefor2

 

Filed Under: Slope Survey Tagged With: bicycles, Brooklyn, Dixon’s Bicycle Shop, Dr. D’s Lounge, interview, Marcel Proust, neighborhood, Park Slope, Survey, Union Street

  • Go to page 1
  • Go to page 2
  • Go to Next Page »

Primary Sidebar

The Spring 2025 Issue is now available

The Reader Community

READER CONTRIBUTORS

Copyright © 2025 · Park Slope Reader