William S. Paley, the creator of CBS, inaugurated the Paley Center for Media in 1975. An iconic figure in the radio and television industries, Paley sought to create a space where visitors could access a massive archive of past and present television and radio shows. Formerly known as The Museum of Broadcasting and later, The Museum of Television and Radio, the Paley Center houses a collection of almost 150,000 programs, encompassing over 100 years of television and radio history. The Center is an historical record unlike any other and offers a unique and engaging way of understanding our past and present. The Paley Center is a wonderful place to spend a quiet afternoon, unearthing a treasure trove of veritable hidden gems, or - in my daughter's case, some twenty years ago - it was the perfect venue for a birthday party. My husband and I had so much fun introducing about a dozen ten year olds to some of our favorite shows from the 1960s and early 70s
The legendary Neary’s has been a staple of New York City dining since its opening on St. Patrick’s Day in 1967. Its founder, Jim Neary, continues to grace his customers with the same, unique dining experience - in 2019 - that they have enjoyed since the beginning.The classy dress code, classic red booth seats, walls filled with an assortment of beautiful and often historically significant pictures, and knickknacks around the restaurant such as two Super Bowl rings, are only a small part of why Neary’s is so special. Neary’s is embodied and defined by its founder, Jimmy Neary, whose compassion and famous “Jimmy Neary smile” has made Neary’s the kind of place where there are “no strangers... no matter if it’s their first time walking in, everyone talks to everyone.”Jimmy was born on a farm in Ireland, and his first job coming into America was at a swimming pool. He eventually moved on to become a bar tender at P.J. Moriarity’s, another Irish-American restaurant, where he met his eventual business partner Brian Mulligan. When Jimmy found his 57th street location - 57th street being the two-way street in the city that runs river to river - he “knew it was the place for him and never looked back.” Over the years he has slowly added to the décor, and stated that “every picture has a story behind it.” With the care that Jimmy has put into every aspect of Neary’s - along with the presence of Jimmy himself - he has managed to make his restaurant an important fixture in the lives of many for generations. Offered the opportunity to expand over the years, it is no surprise that Jimmy has refused, for in his words “it would never be the same.”Jimmy considers Neary’s a family-oriented place, with many of his staff having worked with him for over forty years. Essentially, they have all grown up together. His daughter Una, who works on Wall Street during the day, has worked at Neary’s part time for close to forty years and ascertained that “the food is wonderful, the staff is amazing, but people come for my father.”Jimmy works seven days a week, and in Una’s words, “to get him to take a day off is a major, major feat.” While every day at Neary’s is a special day, its devoted following especially looks forward to St. Patrick’s Day, which for fifty plus years was counted down to by a special clock, and the celebration of Jimmy’s annual surprise birthday party. As a place where everyone is not just welcomed, but also family, it is no surprise that when asked what he liked to do to relax, Jimmy responded that he is “relaxed right here. I come through the door and I’m at home and I walk out happy.”
There are many reasons to dine at BLT Steak, tucked discreetly between The Dorchester and an antique jeweler. Having dined here on varied occasions over the years, I knew visiting with Manhattan Sideways, that we were headed towards something special. As we entered the restaurant, we were greeted warmly by the affable staff and took a seat at one of the dark wood tables. We spoke with John, the Venezuelan maître d', who told us about BLT's secrets for success. "The company feels like family," he said by way of opening, "I've been here for nine years, which is an eternity in the restaurant business." BLT has built a following of regulars who come back repeatedly because they are "infallibly made to feel like they're the only ones in the restaurant." In addition to this impeccable service, the food at BLT is consistently top notch. It is, therefore, not difficult to understand why people keep returning for more. While chatting, the chef prepared a succulent variety of meats, perhaps most famously the enormous Porterhouse steak – a dry-aged masterpiece served with maître d'hOtel butter and a side of roasted garlic. Although meat certainly takes center stage, the restaurant also offers a "sublime" Dover Sole and a Tuna Tartar that, according to John, is the best in the city; "I dare someone to find me a better one," he said. My favorite moment, however, was when the chef presented Yelena, from our team, her first popover. Hailing from Swaziland, she had never encountered this doughy puff of goodness before. I, on the other hand, have had popovers on the top of my list of favorites since I first tried them as a little girl on Long Island. And I can attest to the fact that the ones served at BLT are perfectly prepared.
Drawn in by the video art wall visible through the enormous glass windows, I strolled into The Quin. Previously known as the Buckingham, the hotel reopened its doors in November, 2013. In a city filled with luxury hotels, The Quin stands out thanks to its unique arts program. Building on its legacy as the hotel of choice for painters, musicians, and writers, Quin Arts offers a rotating series of exhibitions, films, and lectures.
Members of the Manhattan Sideways team stood in awe when we entered the New York City Center and realized that the extraordinary exterior matched the majestic interior. One of the most beautiful facades on the side streets is here on 55th, but behind its doors is a restored treasure trove. Hawley Abelow and Stanford Makishi, two passionate personnel from the marketing and programming departments, greeted us as we arrived and proceeded to give us a behind-the-scenes tour of what they termed to be “The family business of performing arts centers of New York.” Stanford called it the “most ‘un-corporate’ large venue” he has witnessed, and he and Hawley both have the credentials to make that judgment, having worked at Carnegie Hall and Lincoln Center. Both went on to say that even though they have to book acts with a certain amount of popularity in order to be financially viable, they are mainly concerned with what they put on the stage, rather than the profits. City Center also displays a refreshing lack of competitive spirit: “Other philanthropic programs are our colleagues, not competitors,” Stanford explained, while detailing his amicable dealings with some of the big theaters in the city.We started out walking on the center stage itself, where we could stare out at the breathtaking view of the tiers of seating. Each level was an intricately carved masterpiece, reminiscent of a Russian cathedral. Stanford said that dancers, actors and musicians love performing at City Center because the theater is built so that every seat feels close to the stage. He told us that their left wing is legendary, as there is a wall only a few feet from the edge of the stage. Apparently every ballerina knows not to make extravagant leaps off the left side unless they have someone waiting to prevent them from smashing into the wall. Stanford is qualified to speak about the performer’s experience, since he was a dancer for many years, and City Center was the first New York location at which he danced. On our particular visit, the stage was getting set up for that evening's performance by Bjork.Though Hawley is not a dancer, her career has similarly come full circle: when we explored the downstairs theater spaces, used by the Women’s Project and Manhattan Theater Company, she relayed that she started in the Production department at Manhattan Theater Company. Though not as grand as the main performance space, the downstairs theaters are more versatile. Stage 2 appears to be a “black box” theater, in which producers have more freedom with how they decide to set up the audience seating and set. Stage 1, on the day we saw it, was completely bare. This is not to say it was empty: cords and lights and ladders filled the stage, showing us a surgical biopsy of the theater. “This is as raw as it gets,” Hawley commented.We also had the privilege to peek into one of the City Center’s dance studios, where we observed men and women twisting like tilted windmills. Stanford and Hawley told us that the spaces, which are rented out to different companies, are heavily sought after because they are much larger than many studios in New York. Broadway casts covet them, but they often go to not-for-profit groups. “Broadway is not our priority,” Hawley stated. There was a "throne" at the back of the room, which was originally built as an auditorium for the Ancient Arabic Order of the Nobles of the Mystic Shrine, an appendant body to the Freemasons. Stanford told us that they used to hold their secret meetings in the spaces that are now studios, and the man presiding would sit on the throne.It was when Stanford and Hawley began speaking about “Fall for Dance,” an event that aims to bring the “highest quality dance to the largest possible audience,” that they became especially animated. As Holly declared, “You can’t come to this show and not fall in love with dance.” The performances take place in the early fall, and apparently people line up in the middle of the night to be first to purchase tickets when they go on sale the following morning.Our tour continued to the lobby, which reminded us of a receiving hall in a palace. The design is neo-Moorish with murals depicting desert scenes. Hawley remarked that the colorful, intricate designs had been painted over in white during the 1970s due to a misguided sense of aestheticism, but in the recent renovations, they hired specialists who uncovered the original design. At the same time, screens were installed that display rainbow rivulets. Stanford informed us that the video was specially curated by the Parrish Art Museum in Southampton. Another dazzling piece of art was a mural that stretched across an entire wall of the Patron’s Lobby. It was created by a Cuban artist, and had been borrowed to complement his country's dance troupe’s performance. “We try to make performances meaningful for the audiences,” Sanford commented. Every element of the theater is in place to enhance what is on the stage.
Known primarily as the site of the infamous nightclub Studio 54, this building has far more history. Its tale starts in the early twentieth century, when it was erected as the Gallo Opera House. After a brief stint as the New York Theatre, and a longer one as the home of the Johnny Carson Show (as well as other television shows), the space was turned into the legendary disco club in 1977. Studio 54 was in business for less than three years, but its cultural legacy continues on. It is remembered as the wildest club in New York, where A-list celebrities and rock stars gathered to mingle and dance. Would-be clubbers were often turned away for lack of looks or glamour, and the nightclub met its demise in appropriately dramatic fashion when the IRS raided the building and arrested the owners for tax evasion.For a time after that, the building was used as a concert venue, and then stood vacant for several years. In 1998, Roundabout Theatre Company moved its landmark production of Cabaret into the neglected theatre-turned-studio-turned-nightclub. Today, Studio 54 is a permanent home for Roundabout Theatre Company, and the Tony Award-winning production of Cabaret is back again, having another successful run in 2014.