McKenzie Foster and Marco Lanuto met at Le Bain at the Standard Hotel in Brooklyn on a “random, gay Tuesday night.” “We were probably the only straight people in the club,” jokes Marco. Originally from northern New Jersey, Marco moved to New York when he was young to work in management and operations. “I always knew I wanted to be a New Yorker,” he confessed. For her part, McKenzie grew up in New York City and has a background in real estate, marketing, and organizational business. The two came up with the idea for FryGuys the second time they met up and started actively creating it the very next day.
Frustrated by the increasing exclusivity (and price tag) of life in New York, they wanted to create a haven of sorts, someplace that would “bring back the Golden Era of New York City, where you could eat affordably, hang out with friends affordably, listen to great music, and really just have a space to be yourself,” McKenzie shared. Laughing, she went on to say “I knew it would be a hit because, well, I’m cool. I’m my own consumer.”
That they chose to focus on fries, in particular, made perfect sense at the time. Fried potatoes are as cheap and unpretentious as a food can be - yet French fries are never dull, and even less so when Marco and McKenzie make them. The FryGuys menu lists delicacies from the Drunk Guy (bacon, cheese and guacamole on classic fries) to the Big Daddy Kane Shake (cookies ’n cream, whipped cream, and crushed Oreos). They have classic fries, tater tots, and curly fries; seven dipping sauces; shakes and floats; and a rotating beer and wine menu that will soon be expanded into wine-based cocktails. Friends can share a bucket of loaded fries or the Frycano, a three-tiered extravaganza of loaded fries. True to form, the prices are reasonable: loaded fries range from $7-$9, a small fry $2, and beer $4-$6.
But, of course, FryGuys is about the atmosphere as much as the food. McKenzie and Marco designed and built the décor themselves, with the aim of creating a space that “resembled New York and resembled a neighborhood type of feeling. We wanted it to be really colorful and whimsical and not have any drama to it. Just be a fun place to be,” Marco explained. Upon entering, I felt like I had walked into the inside of a ’90s teenager’s brain. One wall boasted a bespoke mural involving unicorn and angel kittens, rainbows, and emojis. The wall opposite was wallpapered in a collage of images, CDs, and records from New York’s hip-hop legends. Disco balls dangled from the ceiling. It is colorful, hectic, and, above all, fun.
The location on East 2nd Street was carefully chosen. “We wanted to be someplace that was still very authentic and very eclectic. And the Lower East Side and East Village still remains one of the best neighborhoods to find novelty or specialty items or stores or brands. So, you know, if you want socks, there’s a sock store. If you want fries, there’s a fry place.” That it’s right next door to Flux Studios, which counts Jennifer Lopez and Chance the Rapper among its clients, only serves to reinforce the local music theme. In its specificity, in its eccentricity, FryGuys seems to envelop all that is New York City: It is cool without being judgy, gaudy yet unaffected.
Reed Adelson, owner of the American restaurant Virginia’s, was trained by the best in the industry. He learned about wine at Bern’s Steak House in Tampa, interned at Charlie Trotter’s in Chicago, then returned to his Manhattan roots to work under Jean-Georges to open the Mark Hotel, and finally worked at Locanda Verde. Riding in a car with industry legends Daniel Boulud and Thomas Keller, he was presented with the answer to his doubts about working in the restaurant business, "If this is what you’re passionate about, there is nothing else you can do. It’s more of a vocation than a job choice. "Reed brought all of this expertise to open his first restaurant in 2015. Named for his mom, Virginia’s has become known for its burger, with bone marrow aioli, cabot cheddar, and house-made pickles, but there are more sophisticated dishes that deserve equal praise including the wild king salmon with red cabbage slaw and golden beet puree. Reed focuses on consistency for his menu, with a few seasonal dishes, such as the corn ravioli with fontina cheese and crispy shallots. With his eye on the future, Reed is contemplating moving a little closer to the city’s center, while admitting, "there’s something romantic about the side streets. "
Previously the home of Nice Guy Eddie’s, Boulton and Watt is one of the latest additions to the bar scene in the East Village. Several of the young people on the Manhattan Sideways team needed a place to host a casual after-hours business meeting, so they decided to kick things off by going back to 1st Street. They were pleased to find an eclectic array of specialty cocktails on the menu (including a new favorite, the Mexican Revolver) along with several wines and beers. They did not originally intend to dive into the food menu, but as they sat and held their meeting over drinks, a waiter came by and brought them a complimentary Scotch Egg! "Fried and delicious, " was how they described it - the perfect addition to their first time experience at this fun and energetic establishment. I have no doubt that they will become frequent visitors in the future.
In May 2006, Ten Degrees opened its doors under owner Moti Hasson. With a staff “so lovely” that he would have them at his own Thanksgiving dinner, Moti told us that he runs his business with “great” and “honest” service. In the ensuing years, he has worked to provide “high quality product without asking high prices. " Dark wood, warm lighting, and comfortable seating provide the perfect backdrop for those looking for a place that has a vast selection of wines or who want to try some great local beers -- all accompanied by a comforting meal from an eclectic menu. Ten Degrees also hosts private parties in its back room - an ideal space for an intimate gathering.
Had we not been personally escorted through the unmarked double doors that lead to Kenkeleba Gallery, Manhattan Sideways might not ever have known it was here. The only sign on the building reads Henington Hall, etched into the stone facade along with the year it was built, 1908. According to Joe Overstreet, in the 70’s the building was condemned until he and his wife, Corinne Jennings, were able to strike a deal with the city in 1978. Although 2nd Street was teeming with drug activity back then, the arrangement proved worthwhile for Overstreet, as it gave him, his wife, three children and the emerging Kenkeleba House a home in an area that eventually cleaned up its act and became one of the most important neighborhoods for the arts in New York City. Since its founding, Kenkeleba House has flown under the radar as a not-for-profit gallery space and artist workspace. Joe and Corinne were only interested in promoting new ideas, emerging artists, experimental work, and solo shows for those deserving of the recognition. They preferred to showcase artists whose works were not typically featured in commercial galleries, focusing primarily on African American art. Joe and Corinne’s vision of Kenkeleba House - as a space for artists to grow, to showcase African American that oftentimes would have been lost, and teaching African American history through gallery shows - was only possible due to their extensive background in art as well as their immense individual efforts. Corinne was born into a family of artists in an isolated part of Rhode Island, and until she was about twelve or thirteen, she thought “that’s what everyone did- I thought people made things. ” Her father, a talented printmaker who studied under Hale Woodruff, is widely known for his black and white wood engravings and costume jewelry. The Wilmer Jennings Gallery - across the street on 2nd Street - is named for him. Jennings’ mother was a Yale graduate and painter. Corinne came to New York in the 1960’s, originally wanting to be a scenic designer. Even though she was qualified, she was turned away by the head of the scenic designer’s union with the explanation that they did not want any women or black people. She instead started to do art projects, and eventually decided to “tackle some of issues that prevented African American artists from fully developing. ”Corinne and Joe spent a lot of time speaking with artists from different parts of West Africa and the Caribbean, eventually coming upon the realization that “they needed to find a different way for people to develop, for people to have space to work, [and] to find alternative educational routes for people. ” In 1978, Joe and Corinne purchased an abandoned building on second street, fixed it up, and opened up their first art exhibition in 1980. From then on, they began amassing their extensive and remarkable collection. The exhibits on display in this gallery recognize the rarely explored contributions that people of African descent have made to the art world. It is here, hanging on the walls and filed away in the deepest recesses of their private collection, we were showed a portrait of Dr. John DeGrasse painted by a largely forgotten African-American artist by the name of Edward Mitchell Banister (1828-1901). Banister won a national award for his most famous painting, “Under the Oaks. ” The magnificent framed picture of Dr. DeGrasse is easily worth more money than we could count, but the history lesson we received from Joe was priceless. Dr. DeGrasse was a native New Yorker and also one of the first African-Americans to receive a medical degree. He gained acceptance to the Boston Medical Society in 1854, making him the first African-American to belong to a medical association in that state. And to boot, he was also the first African-American medical officer in the U. S. Army serving as Assistant Surgeon in the Civil War. In addition, Manhattan Sideways viewed works dating back to 1773, by the late Hale Woodruff, an African-American abstract painter who lived in New York City from 1943 until his death in 1980. In addition to being an artist who aspired to express his heritage, Woodruff was also an art educator and member of the faculty at New York University. “We are African-American, so that is what we do, ” said Corinne, “but we are also interested in artists from the Lower East Side. ” Corinne’s personal art collection reflects much of her parent’s amazing work, as well as that of other African-American artists, both well-known and yet undiscovered. Kenkeleba Gallery aims to teach the younger generations about African-American history. “Every nationality walks by here on a daily basis, but they have no idea who we are as a people. ” Joe and Corinne were well aware of the contribution African-Americans have made to the arts that began right here in this community. Their private collection is made up of over 30, 000 paintings, artifacts, art books and jazz records that tell the rich history of African-Americans in this country.
The space is fabulous at Billy Reid, furnished with vintage southern pieces and housed in an amazing Bond Street building. Billy began his fashion business in Alabama and opened up his inviting menswear enclave here in 2008. Soft flannel shirts, great suede boots, woven skinny ties, colorful bow ties, well-made blazers, beautiful striped shirts and more…I love everything about this boutique, and each time I stop by, I am inspired to make over the men in my family. Billy designs much of the clothing in the store (minus the Levi jeans). He has gorgeous fabrics to choose from for suits and sport jackets. And there is a tasteful selection for women, too.