Editor's Picks

Theatre 80 is chock full of history. According to the affable owner, Lorcan Otway, Frank Sinatra once performed on their stage. Stars such as Joan Crawford, Gloria Swanson, Jane Russell, Myrna Loy, Kitty Carlisle, and Dom DeLuise all visited this spot, pressing their hands into cement to decorate the sidewalk that lines the building. Most amazing was learning the history of Theatre 80 itself, designed and created by Lorcan’s father, Howard Otway. Howard had come from a family involved in theatre since the seventeenth century, and after running away to become a coal miner, returned to the world of theatre at fifteen to become an actor and published writer. During his thirty years of traveling and performing on various stages, Howard would always take notes on how the stages themselves specifically affected the performances. In 1964, Howard was able to receive a loan from Walter Scheib, who had run the space since its time as an illegal nightclub during the Prohibition Era. With the success of the musical “You’re a Good Man, Charlie Brown” in 1967, Howard was able to pay off the loan and ensure that 80 St. Marks Place could grow to be what it is today. Theatre 80 is part of a shrinking class of medium sized, off-Broadway theatres, and is truly one-of-a kind. Lorcan informed us that Howard’s main influences were Roman amphitheaters and German opera houses. He designed the theatre such that everyone is be able to see the entire performance, no matter where they were sitting. For this reason, the stage is enormous, taking up almost fifty percent of the room, and is also on a lower level than most other stages. The acoustics are also amazing, Lorcan telling us that a whisper on stage can be heard from the back row!

Under candlelight, Jules Bistro comes alive to the sounds of live jazz music. A French-inspired bistro, Jules cooks up some classic dishes – mussels in broth, escargot, steak frites, and crème-brulée for dessert. Bringing a little bit of Paris to St. Marks Place, Jules is the perfect spot to escape the busy city for a romantic dinner or drinks with friends. Maybe you can even brush up on your language skills with the friendly staff – many of whom are French natives.

Walking into L’Impasse feels in some secretively pleasurable way like trespassing in the dressing room of an old Hollywood A-List star like Rita Hayworth or Grace Kelly. It has been an 8th street institution since 1993. The shop brings in a wide variety of customers, including celebrities, high school prom shoppers, impersonators, and transgender women. “We make fine garments in a timely manner and we do not turn anyone away, ” said the manager, Roger McKenzie, at the time of our visit. He began working at L’Impasse after being a long time client. His passion for the upstairs showroom is evident. When we marveled at the beaded and lace wonders before us, he exclaimed, “Clothing has feelings. ” While making certain that we handled the items gently, he added, “You have to treat them with ease and softness. ”Each dress at L’Impasse is a work of art. Though outside pieces, mostly from Paris, are featured in the boutique, custom work is the shop's specialty. If you come in with an idea, L'Impasse's team can make it come to life. "The utmost care is devoted to each piece and each customer, " owner Abdul Sall told me. "We dress everyone from Beyonce to Rihanna to Lady Gaga - What we do is excellence. " He shared that L'Impasse goes way beyond being just a business. "For us it is more about the product and the service. " Elaborating, Abdul said, "When people leave L'Impasse they do not only look great, they feel like a different woman. "Abdul's parents were from West Africa, but he was born and raised in Paris. He came to New York in 1995 and spent thirteen years working for the original owner of the shop. He took over in 2009. When I inquired about his training in the fashion world, Abdul quickly responded, "Fashion cannot be taught. As long as you have a good eye, it works. I never went to school for this. " He shared that it has been an experience - a long road - since he did not speak English when he first arrived here and had little money in his pocket. Despite his difficulty adapting to this country, he persevered. "You can make your dreams come true if you put in the work - anything is possible. "When I asked what business was like on 8th Street in 2017, Abdul said that the street continues to change - over and over again - but that he keeps pushing. "As long as I have the drive, anything is doable, " he insisted. Though it may be said that fashion is also constantly changing and morphing, like 8th street, some things remain the same. Love, passion, and care trumps convenience and instant gratification. There is a definite reason why this charming boutique has stood the test of time on 8th street.

Sitting atop a pink, red, and black chair atop a pink, red, and black ottoman in a room bursting with every color and pattern imaginable, Storm Ritter appeared as regal figure. She was dressed to the nines, from her dramatic eyebrows to the shimmery pink paint all over her fingers. Her steel-toed boots were splattered with paint and she wore two pairs of glasses: a fuchsia-tinted pair on her face and a blue pair resting on her head. She seemed to represent a queen for rebels and artists alike. Her red, wide brimmed hat might as well have been a crown and the vibrantly colored chair might as well have been a throne. Her mission? “I make cool shit and I sell it, ” she said. At Storm Ritter Studio, Storm creates unique clothing items from her original paintings. A recent college graduate and lover of academics, she jumped around from school to school before eventually ending up in Enlightenment Studies at New York University’s Gallatin. She has done costume work for Saturday Night Live as well as freelance work for Vogue. In 2016, she opened Graey Studio, an experiment in individuality and rebellion. In 2017, Storm Ritter Studio became the newest iteration of this experiment. “It's a bit of a mess, ” said Storm as she showed us around her shop. Mess might be one word for it, but it was a carefully curated mess. To the Manhattan Sideways Team, it represented a kind of beautiful chaos. Ritter grew up in Florida with “hippie” parents and as such, finds inspiration in the creative energy of the 1960s, among other things. Many of her customers feel this influence and see her work as a “throwback” or homage to the Village of the beatnik and bohemian days. However, Ritter’s designs are much more than recycled inspiration. Because she paints ambidextrously, her work has a sort of whimsical, surreal, and ethereal quality. Her paintings and designs also incorporate a lot of symbolism, concepts that she learned from her mentor, celebrity psychic Frank Andrews. Storm is nothing if not a spiritual person, and she strives to imbue all of her creative work with spiritual energy. In addition to her original creations, she also sources vintage items - including jewels, sunglasses, books and dresses - altering them in one way or another before selling them. “Everything in this store is touched in some way, if it's not homemade, ” Storm informed us. Amidst the spectacle of color, she explained her creative process for her unisex clothing. First, she paints her works on the second floor, unofficially her studio. Then, these designs are digitally printed onto the fabrics in Georgia, and afterwards the fabrics are sent to Florida to be cut and manufactured into clothing before arriving in New York. What sets Storm apart from other clothing stores, she says, is the “interactive quality” of her products, not only because they require a combination of painting and textile manufacturing, but because customers can also commission works. Of course, she could not do it all without the help of her lovely feline sidekick. A lover of animals, Storm has five cats. “One of them has three legs, ” she told us, proudly, “he fought a coyote. He's a veteran. ” As she continued to share her story, a beautiful gray cat in a green dress paraded across the floor. “That's Velvet, ” said Storm, “she's a little sass factory. ”Sitting in the perfectly organized chaos of Storm Ritter’s shop, a Jimi Hendrix guitar solo raged on in the background. Colors and vibrant patterns and images surrounded us. “I just wanted to create a job where I could paint and be myself, ” said Storm.

The Corner Bistro is a beloved neighborhood bar in New York City's West Village that has endured for over 60 years. Though lacking the storied literary pedigree of other downtown haunts, it has cultivated a loyal following thanks to its unpretentious charm, congenial atmosphere and its signature flame-broiled burgers — declared among the city's best by New York Times food critic Mimi Sheraton in 1978. We certainly enjoyed ours (with a side of tater tots) when we visited. We got chatting to Jim, who was managing and bartending on the Wednesday lunchtime we popped by — he shared his longtime love of the fabled bar. "We're open late. So even when I was living uptown in my young twenties, I would come downtown, drink with my friends and then stumble in here to have a burger at two in the morning, " he said. His enthusiasm and memories are matched by the customers too. Jim recalls: "Every day people come in saying 'I used to come here in the seventies' or "I met my wife here'. So every day we have people coming back to New York and say this is a memory of their past. "Longtime Corner Bistro owner Bill O'Donnell, who turned the unassuming West Village burger joint into an iconic New York City destination during his 45 year tenure, died in 2016 at age 80 after a battle with cancer. ""The owner passed away before the pandemic. And his daughter just seamlessly took over, " said Jim. Corner Bistro retains its consummate neighborhood bar character, giving locals and visitors alike a taste of an ever-rarer old New York — and it's the western gateway to 4th Street!

Surrounded by high-rise condos, with another on the way, and graffiti tagged buildings, this landmark relic of the past made it to the top of my sidekick Brandhi's must-do lists just in time for her birthday. She knew that a large and very wealthy New York family and their four Irish servants once inhabited the house in the 1800's, and managed to keep it intact over the years, but she was fascinated by the idea that the ghost of Gertrude, the family's youngest daughter who was born and died in the house at the age of 93, might still reside there too. So she eagerly paid the $10 admission, chose the self-guided tour, and wholeheartedly entered the time capsule. For Brandhi, ascending the magnificent wood carved staircases and exploring the great rooms of this 19th century home decked with the Tredwell family's personal possessions was like stepping back into a time when this part of the city was alive with the comings and goings of millionaires and upholding the highest social conventions were the norm. She found a little something that almost every kind of aficionado would appreciate in this historic home. She learned all about the Victorian etiquette of "calling, " admired the white day dresses that still look pristine, and imagined what it must have been like for a servant to lug a bucket full of coal up four long flights of stairs several times a day. If you think history, architecture, interior design, cultural anthropology or the paranormal is fascinating, then a visit to this museum should make it to the top of your must-do list too. Guided tours start everyday at 2: 00. However, if you are like Brandhi and prefer to explore in private, arrive early and you will likely have the entire museum to yourself. The peaceful backyard garden, though surrounded by cookie-cutter condominiums, is the perfect place to reflect on what it must have been like to live in the Manhattan of two centuries ago. Happy Birthday, Brandhi.

Claude-Noelle Toly came to the United States in 1982 after having received her master's degree in political science. Her original goal was to improve her English, but she could not help but fall in love with Manhattan. "Much to my mother's disappointment, I became a waitress in a tiny restaurant in the Village, ” Claude-Noelle confided. It was there, one day, that she met William Nuckel. They became fast friends and together shared a dream of traveling to the South of France on a regular basis to purchase items for a French shop. Shortly afterwards, a tiny little corner space in the West Village became available... that was also affordable. In 1987, they agreed that it was the perfect location and decided to give it a try. Built in the 1800s with three levels, the building is a perfect fit for the charming French boutique that houses antiques and collectibles. From traditional pottery and earthenware to folk art and colorful crystal chandeliers, everything about the shop is enchanting - and this includes the delightful partners. Over the years, during their trips abroad, the two have discovered many talented artisans who constantly remind Claude-Noelle of French farmers. She explained that "they are in their own little world working and producing special pieces, having very little communication with the outside world. " But, she continued, "They absolutely appreciate the fact that there is a shop in Manhattan that is selling their work. " I then learned that there is nowhere else in the States that carries their pottery. For that matter, the only other place in the world that does so is in France. In addition to the new pottery for which Le Fanion is known, the store also has a limited collection of both pottery and furniture that date back to the early and mid-1700s, alongside a larger number of items from the nineteenth century. When I revisited Claude-Noelle in 2016, she was still gushing about her longevity in the West Village and how she continues to love every minute of being on her special, quiet corner. She disclosed that there are two wonderful aspects of owning Le Fanion - traveling to the south of France several times a year, where she and William are able to interact with so many fascinating people "who have unexploited lifestyles, " and returning with new inventory to share with their customers. Claude-Noelle added that she finds it "kind of funny to think that we are a genuine organic store - we only sell wood and clay. " Who knew that they were so ahead of their time in the 1980s? "Today, everyone either tries or pretends to be organic... but we were doing it before many others, " Claude Noelle commented. After a pause, she said, "Wow, thirty years later, and we are still here - How can that be? " Claude-Noelle answered her own question: "What we sell attracts people who appreciate the quality and the stories behind the pieces. And, it continues to always be a nice moment. "

When I asked Alex Harsley if he knew who owned the 1968 Dodge Dart parked outside his gallery, his response was “that is mine…I purchased it in 1974, and have enjoyed it ever since…my car is all about the good times. ” Complete with a penguin in the driver’s seat and an owl in the navigator seat, it certainly reflects the creative and historic atmosphere of the 4th Street Photo Gallery right behind it. Alex opened his gallery in 1973 and describes it as a “museum of the past. ” Although certainly showcasing past techniques, scenes and individuals through its extensive collection, Alex has always been one step ahead of the curve throughout his long career in photography and videography. Alex developed his photography skills by playing around with the different techniques he had created as well as by learning from his mistakes. His career as a professional photographer began in 1959 when he got a job with a New York Attorney’s Office. After being drafted into the army, Alex was able to become a supervisor in the photography department at Color Lab due to his knowledge of photo chemicals and his ability to be “very good at getting weird kind of situations that no one knew anything about. ” In the 1970s, Alex began to focus deeply on experimenting with the photo chemical process. He became interested both in increasing his understanding and in spreading his knowledge to other photographers. He was able to open an art organization with the help of other artists that he was working with at the time, which he used as a platform for research, collaboration and teaching. His organization, 4th Street Photo, is as much a community as it is a gallery. Since 1971, Alex has offered his space as a showcase for photographers of all backgrounds, as well as a meeting place where ideas are exchanged, portfolios are reviewed and new friends are made. It has been instrumental in giving distinguished photographers their first significant New York City solo exhibits. Throughout his career, Alex has done an immense amount of work freelancing in both photography and video, collaborating with other artists on projects, and even producing video that would be displayed in the Whitney. He has also had the incredible good fortune of having spent time photographing both John Coltrane at the Apollo Theater and Muhammad Ali when he was a young fighter. However, in the early 2000s, Alex realized that he was doing very little of his own work and decided to return to his own collection to begin the process of printing. He eventually produced around “2, 000 or 3, 000” of his own prints, many of which are displayed or stored in his gallery.

A beloved relic of New York history, Old John's Diner has served comfort food and smiles since 1951. Originally nestled on the corner of 66th and Broadway, this unassuming eatery quickly became a haven for stars and locals alike. When the building was acquired by Barnes and Noble in 1998, Old John's was forced to relocate just one block north to 67th street. After weathering nearly 70 years in business, the diner was another casualty of the pandemic, shuttering in 2020. But die-hard fans and a former employee refused to let this gem fade into history. Louis Skibar, who first served tables at Old John's as a teen, reopened and revitalized the diner in 2021. Staying true to its Art Deco roots, Skibar preserved touches like the original mosaic tile floors and ceiling while giving the space a brighter, lighter feel. The revamped bar area and menu offer a fresh take, but Old John's remains the cozy, familial restaurant generations have loved. With longtime staff welcoming customers like old friends, Old John's continues being a home away from home on 67th street. This Upper West Side fixture has earned its place in New York history.

With woven wicker chairs, plush red booths, tiled walls, a bar backed by an antique mirror, and many years as a topnotch restaurant, Cafe Luxembourg resounds with familiarity. And, as portrayed in the signature postcard of three naked ladies photographed by Cheryl Koralik in 1988, playfulness and boldness are always present. Customers loosen their ties, let their hair down and engage in easy conversation — "fine dining in a relaxed atmosphere. "Lynn Wagenknecht and her then husband, Keath McNally, opened the place in 1983 as a French neighborhood bistro. Now the sole proprietor, Lynn has maintained a rare level of comfort within the realm of fine dining, fully investing herself in Cafe Luxembourg as well as its sister restaurants, Cafe Cluny and The Odeon. Constantly finding inspiration from her trips to France, Lynn's warm attentiveness permeates the restaurant. "Lynn nurtures from within, " said General Manager Morgan Nevans, who has been with the company since 2008. Staff members are invited and encouraged to dine in the restaurant. "We have a lot of aspiring professors, artists, actors and doctors, " explained Morgan. A performance artist, Manager Krystel Lucas started at Cafe Luxembourg because of its proximity to her school, finding it easy to work around her wavering show schedule. "I was proud to stand at the door, " Krystel informed me, having worked her way up from hostess, server, and bartender. Customers also have an inclination to return with many coming since the restaurants' opening — regulars or not, "everyone is treated as a VIP. " The food may also have a little something to do with their loyalty. A graduate of New England Culinary Institute, Executive Chef Michael Navarette acknowledges, "food is a gateway to culture. " Everyone eats, and dishes have their own history, prepared in a variety of ways throughout all regions. His breakfast specialty, an omelet with mixed greens, exudes comforting familiarity, while his Faroe Island salmon over a salad of lentils, potatoes, onion and a curry aioli, is a more innovative concoction that breeds its own memories. "A chef is a journeyman position, " Michael smiled, "The training never ends. I learn as I go. " It seems the staff and restaurant both have a knack for refining while retaining their roots. A bistro that only gets better with age, this side street gem will always be something to look forward to.

I pass Gray's Papaya constantly, as I am either walking home or en route to another destination in the neighborhood. One cannot help but take in the strong scent that permeates the air from their open doors on both Broadway and 72nd Street. No matter the hour, there always seems to be a line. Although I have not actually had a hot dog myself, I have relished in the experience of taking many a visitor to sample the goods. Tom, the Manhattan Sideways photographer, was thrilled to stop in for a few minutes one afternoon as we were busy walking on 72nd and stand at the counter chowing down two hotdogs and a soda. Opened by Paul Gray in 1973, the neighborhood staple sells cheap hotdogs 24-hours-a-day, every day of the year, as well as their famous papaya fruit drink. Featured in countless films such as You've Got Mail and Nick and Norah's Infinite Playlist, the establishment is reputed to be one of the most iconic hotdog joints in the city.

Amber Upper West relocated from Columbus Avenue to this dimly lit, intimate side street enclave in 2015. A wood-beamed ceiling and whitewashed walls are organically accented with well-illuminated hanging plants and a graphic, black and white tree painting. With a menu featuring a large selection of rolls, grilled dishes and sushi to be shared in either the conventional dining space or well-stocked bar, this side street gem offers more than just lovely decor.

Signaled by a saxophone hanging above the door, we headed down the winding staircase into the basement of a West Village building to find Smalls Jazz Club, which has been honoring New York City’s romantic past with jazz music since its opening in 1994. Named for the Sandlot character, Smalls is an apt name for this intimate, dimly lit space with a charmingly eclectic collection of mismatched chairs and stools arranged around a tiny stage at the forefront. Founder Mitch Borden, who owns the space with partner Spike Wilner, is quick to claim that nothing compared to early Smalls. “I never locked the door and everyone had a key anyways. There was nothing to steal down here - it was like the Little Rascals club, ” he recalled. One particular memory that stood out was their opening: “Our first show was on May 20, 1994. We didn’t have a liquor license and we stayed open ‘til eight am. It was ten hours of jazz with free food and free beer, and the free beer was really awful. ” Since that first show, Smalls has established itself as a central fixture in the West Village jazz scene, featuring a number of notable artists such as Peter Bernstein, Bruce Barth, and Kurt Rosenwinkel, who wrote “Homage to Mitch” about Smalls' beloved owner. At the height of the jazz movement’s popularity, the West Village was home to over seventeen jazz clubs, so Smalls was in good company. In the 1990s, after Mitch opened his doors, many tried to follow suit, but few have endured aside from Smalls. “A lot of people see me doing this without a liquor license and think, ‘Oh, this must be easy, ’” he says, “and it is easy, but it can take a while to make a profit. ” Borden and his staff have also adapted well to the Internet age, being one of the first clubs to live stream their shows, and they now sell an archive of all of their performances since 2007. This type of innovation is reflective of what Mitch describes as the constantly changing nature of jazz music itself, with certain virtuosos coming out with a song that will change the whole scene. He remarks, “That’s something I guess a jazz musician wants to do - make his mark - even though not that many songs stick. ” He cites Kenny Barron’s “Voyage” as an example of this kind of phenomenon.

When the Manhattan Sideways team walked into Sugar Bar, there was an audible reaction. It was unlike anything we had ever seen: the walls are covered in decorations and musical instruments from Africa and a roof of straw covers the full-length bar. Colorful masks adorn the doors and lights peek out of artistic holes in red pipes, giving off a warm orange glow. Everything appears to be made of organic material: even the chairs are made of pieces of wood lashed together. In the back of the main room, a cave is dug into the wall where performing acts usually set up to play. That is what Sugar Bar is best known for: the music. Some truly soulful artists, such as Roberta Flack and Allison Williams, have passed under the straw roof. We learned from one of the servers, who also occasionally plays bass and guitar on Tuesdays, "For musicians, this is the place to be. This is the scene. "Leila, who is in charge of PR for Sugar Bar, told us a bit about its history. It was opened in 1996 by Nickolas Ashford and Valerie Simpson, also known as the songwriting/performing duo Ashford and Simpson. All of the extraordinary pieces that decorate the space are part of their personal art collection. Their goal was to bring the culture and warmth of Africa to New York City in an “east meets west” fusion atmosphere. The décor of the space represents this mixture of worlds: While most of the pieces – such as the swords, carvings, and statues – are from Africa, there are many American pieces placed seamlessly alongside them. For example, Leila showed us some of the original panels from the S. S. Normandie, a ship that famously caught fire and sank in the Hudson River. I was shocked to discover that the panels were no behind glass and that any customer could go up and touch them. “This is not just a place for music, ” Leila pointed out. “It is a place for culture. It transports you to a different time and place. ”Hugo, who has been working at Sugar since 2005, took us upstairs to the Cat Lounge, which can be used as a private room but also functions as a spillover bar (Valerie Simpson own the whole building, which dates back to the early nineteenth century). Bows, arrows, and representations of giraffes and elephants surround the Cat Lounge, but it was not until Hugo urged us to look up that we understood how it got its name: an enormous cat design is sprawled out on the ceiling. Despite his long career with Sugar Bar, Hugo said that he keeps discovering new things. He pointed out two little carved faces above the stairs as we descended. “It’s a fun place to work, ” he said. “I like it. ” Leila agreed with him, joking that she has tried to leave Sugar Bar multiple times, but keeps coming back, because there is no better place to be employed. Downstairs, we met Terrell, who was manning the bar. He made us the signature "Sugartini" with cherry, peach nectar, Absolut, and peach schnapps, culminating in a not-too-sweet summery cocktail. He brought out an amazing sample platter, featuring fried catfish, jerk chicken wings, and lightly battered shrimp, which the Manhattan Sideways team delved into with vigor. Olivia exclaimed that the chicken was impossibly tender as it fell off the bone, while Tom found the two seafood dishes to be perfectly battered, providing crispiness, but not masking flavor. Nickolas and Valerie are both from South Carolina, hence the southern comfort food on the menu. Terrell then surprised us with a "Passion Island" cocktail made with lime juice, mint leaves, and coconut rum, accompanied by plates of cornbread with strawberry butter, something that is served to every guest prior to their meal. Hugo continued to entertain us behind the bar as he poured a drink of his own making, which he calls "Coquito" or "Little Coconut. " It was deeply refreshing, thanks to the healthy dose of coconut water. As if we had not eaten and drunk enough, Terrell presented us with plates of apple cobbler and bread pudding from the pastry chef, Jenny. The divine bread pudding was dripping in butter and cream, and when I took a bite of the cobbler, I immediately understood why Terrell had been raving about it. "I push the food honestly, " he said. "I can't sell something I don't eat myself, and I eat here three times a week! "The one thing we kept hearing from everyone at Sugar Bar was "You really have to come on a Thursday. " Every night has some kind of music, whether it is Blues on Tuesday or Jazz on Wednesday, but Thursday is when the Sugar Bar really heats up with its open mic. Thursdays are often so crowded that the Cat Lounge fills up right away, and famous faces, such as Stevie Wonder, Catherine Zeta Jones, and Chris Tucker have been known to come by. Hugo mentioned, "Some people have been coming every Thursday since we opened and haven't missed one week. " Terrell also urged us to come back on Thursday, saying that he would be working. "But it doesn't feel like work, " he insisted. "It feels like you're hanging out with friends until four in the morning. "

Similar to bookstores and libraries, independent record stores tend to have a certain aura: dynamic background music, a slight mustiness, the low hum of small talk, and passionate staff with unparalleled musical knowledge. There is something endlessly appealing about this atmosphere, and Academy Records is no exception. Amid the ever-growing whirlwind of high tech and virtual realities, Academy’s owner, Joseph GaNun, has been working tirelessly to preserve a once-ubiquitous medium: the record. Back in the 1970s, Academy was primarily a book store. In the 1990s, they switched it up a bit by moving two doors down, and today it is widely acclaimed as a destination music shop. They are a haven for devotees of all styles of music, with an emphasis placed on classical and jazz. A matter of fact, Academy is considered one of the best places to come for classical music in the country, if not the world. Any lover of vinyl or compact discs will find a home here, as we observed one Friday afternoon while we watched a dozen or so men and women (of all ages) fervently flipping through records, CDs, and DVDs. Quite a refreshing change of pace in the age of iTunes and online shopping and certainly nothing like we have witnessed in any other record shop, thus far.

On 24th street for ten years before moving to 32nd in 2013, the Cutting Room caught my attention before I even entered. I spotted a guitar in the window decorated with kaleidoscopic colors, and soon learned that famed artist Mark Kostabi had created it. Once indoors, I was immediately drawn in by the eighteen hanging guitars that serve as a massive chandelier. Someone had an incredible vision and was able to take what the owner, Steve Walter, described as a “white box” of a carpet store and turn it into an over-the-top venue for appreciating music. One of the two partners behind this fantastic place is Chris Noth, known for his roles as “Big” on Sex and the City and Peter Florrick in The Good Wife. He felt that Manhattan was missing the same connection and deep passion for live music that he had growing up, and he and Steve wanted to bring this back to our city. Steve is also devoted to music—growing up on the Jersey Shore, he played guitar in a band, graduated from the Berklee College of Music in Boston, and had the original vision of a 1940s supper club that is now pulsing on 32nd. The stunning forty-six foot mahogany wood bar is gigantic, evoking the image of a Stratocaster – a Fender guitar model – wrapping itself around one whole side of the room. They built a grand staircase in the center, where there is a gallery with Kathrina Miccio’s paintings of iconic musicians. I took the challenge and attempted to name as many as I could, from Billie Holiday to Billy Joel and BB King, Ella Fitzgerald, Louis Armstrong, Keith Richards, Steven Tyler and Jimmy Page in the middle. Continuing my walk around the staircase, I found a collection of photographs with fascinating shots of Paul, John, George and Ringo done by Lennon’s former girlfriend, May Pang. The Cutting Room offers an eclectic mix of performers, and on any given night there may be several shows going on—sometimes jazz and rock, and sometimes even classical music. Mondays are usually devoted to Broadway, where theater stars drop in to perform. Hearing Steve rattle off the long list of musicians, spanning decades, who have performed in both the former space and the current one was like listening to a who’s who in the music hall of fame: Judy Collins, Emmylou Harris, Neil Young, Sting, Adam Levine, and not too long ago, ninety-four year old Pete Seeger. How I wish I had known about that event. From the industry’s top musicians to the up-and-comers, every night is an exhilarating experience that includes fresh American fare, a bottle of wine and a good crowd of people.

New York is full of pizza shops, and its residents pride themselves on knowing their pies. Satisfying a New Yorker’s pizza craving can be a difficult task, but & Pizza does so in spades, serving a fabulous and delicious array of large, creative, sixteen-inch personal pies. When the Manhattan Sideways team visited & Pizza at their first location in New York, we spoke with Calvin, the Community Manager for the brand. “New York is a city that appreciates creativity and artistic angles, and our pizza does just that, ” Calvin said. Originally founded in Washington DC in 2012, & Pizza decided to expand their market and open their twenty-second spot here in Manhattan during the summer of 2017. The restaurant serves unique pizzas alongside classic menu items such as a Margherita. “Pizza in the industry is kind of stale, but we decided to shake it up, mix things up. ” Calvin noted. The American Honey, a pie with spicy tomato, mozzarella, pepperoni, arugula, red pepper flakes, goat cheese, and Mike’s Hot Honey, became a big hit on day one. The unique honey flavor combines well with the pizza’s other ingredients. Another favorite is the Farmer’s Daughter, a pizza with spicy tomato, spinach, mozzarella, Italian sausage, egg, red pepper chili oil, and parmesan. While many customers choose to stick to & Pizza’s pre-determined “Hits” menu, others love to build their own creation, adding unlimited toppings for a flat price. Patrons are also encouraged to add any toppings of their choosing to the “Hits” items, creating a virtually unlimited combination of flavors. Pizzas are cooked in under two minutes, a key to churning out customers during the busy lunch hours. Calvin told us that he loves to eat the restaurant’s pizza and to add his own twist to classic menu items. “I always wonder, what will this pizza taste like with pepperoni, or that one with hot honey? The possibilities are endless. ”Also on the menu are & Pizza's homemade sodas, with innovative flavors such as mango passionfruit and Ginger Berry Lemonade. As with their pizzas, the staff suggests pairings on the soda machine, allowing bold new flavors to arise. Every & Pizza location has a unique design that caters to the neighborhood, and the Flatiron store is no exception. This one is nicknamed “The Point” for its location at the tip of the Flatiron District. The entire store is specifically designed to fit around this pointed theme; the repurposed and recolored subway tiles on the wall are fitted to be pointed, the utensil holder is angled, even the mirrors in the bathroom are pointed. The store’s black and white interior, the color scheme of the & Pizza brand, creates a beautiful aesthetic that customers love, Calvin said. On the ceiling, the light structure mimics the intersection of Fifth Avenue and Broadway, the store’s location. In order to pump up customers and create a fun atmosphere, & Pizza blasts loud music throughout the store. “When we first opened up, " Calvin told us, "people kept on passing by and asking, ‘Is this a club? It looks so fun in here! ’ We have live DJs on Thursdays and Fridays, and people enjoy stopping in just for the music sometimes. ”One of the other wonderful aspects of & Pizza is their dedication to working with the local community, wherever they are located. At this location, they have partnered with David Chang’s Milk Bar to create a unique cream soda and cream soda-flavored cookie, both of which are only available in New York. The art on the walls was done by New York artists Rubin and Frisco Smith, both in black and white to fit in with the rest of the store. At the end of our conversation with Calvin, we asked him about the & Pizza name. “We believe in the power of ampersands, which binds and connects things, just like us. We combine creative ingredients, we combine local artists, we connect the community. Everything we do stays true to the ampersand. ”

It is always comforting to know that there is an excellent pizza place in the neighborhood, and Harlem Pizza Co. might be the perfect one. As owner, Alper Uyanik so aptly put it, "It is always worth one trip and then you can decide for yourself - take a chance, we think it's worth it. " The pizzas are made to order in their brick oven by Chef Jonathan Shepard with innovative names like Hot Bird (roasted chicken, fresh mozzarella, arugula and hot sauce) and The Hangover (sausage, broccoli rabe, tomato, taleggio and pecorino cheese, and basil). Alper opened a few small cafes and restaurants before transitioning to finance for some twenty years. But, in 2014, he decided to go back into hospitality and pursue his love and passion for "serving food with integrity. " Having lived on 118th Street since 2008, Alper felt that he knew the area well, and, at the time, felt that there was "literally nothing in food or other retail shops, besides the old-time favorites. " He could never find "other alternatives" for dining nearby. With the development and continued Renaissance of Harlem, restaurants began to arrive, but Alper did not believe that the quality was necessarily coming with it. When I asked, "why pizza? " Alper replied quickly telling me that the current location that he occupies was a pizza place, so why not pursue this concept. The difference, however, is that it was originally New York style pizza sold by the slice from a wood burning oven. "The model was wrong. We cook our pies in less than a minute, and this is how an oven like this should be used. " With high end ingredients including fresh mozzarella and burrata made by a fourth-generation family in Brooklyn, Alper and Chef Jonathan pride themselves in all that goes into their pies. The space is also filled with their personalities. A warm, friendly vibe, with outdoor seating in the warmer months, and the thought provoking pictures hanging on the walls by world renown photographer, Chuck Fishman. Watching the incarnations over the past several years while living in Harlem, Alper and Jonathan then made the decision to open Harlem Burger Company on the corner of 118th Street and Fredrick Douglass Blvd, where they have been serving quality burgers since mid 2016. Their hope is to create a brand out of these two restaurants with a view to open other locations in the future. "We are just taking what we know, adding our passion and hoping we can make it work. "

When I peeked my head inside the space under construction next door, I did not get much past "hello" before Joe invited me into Salvo's and insisted that I have something to eat. It was here, while devouring my amazing slice of pizza with warm creamy ricotta and spinach, that I was introduced to the three Inzerillo brothers. I asked them to join me at the table and encouraged them to share their story. There is always one to tell whenever members of a family are in business together. The brothers' parents are from Sicily, but came to New York decades ago and owned several restaurants and pizza places before returning to Italy in 2004. Growing up, Joe, Sal and Rosario always helped in their father's businesses, never believing that they, too, would be running an Italian restaurant one day. Although none of them are "real" cooks, they grew up memorizing both their mother and grandmother's recipes - and it is from these special dishes that the menu for Salvo's was created. Once out of school, the boys began their separate careers, but one by one they found themselves on York Avenue running a pizza shop that has been on this corner for some forty years. Sal told me that he was the last to join his brothers in 2012 when they took over the lease. "I waited until they had it up and running, " he admitted. Today, they each have their own responsibilities and strengths - Joe said that he is the "people person, " therefore he "runs the operations, " and is the "hospitality" guy. His brother Sal is in charge of marketing and Rosario is the in-house manager. Together they "pride themselves on being a warm and friendly family business. "While sitting at Salvo's around three o'clock on a weekday, I witnessed the entire restaurant fill up with enthusiastic little ones eager for their afternoon pizza fix. Within minutes, every table was spoken for as parents and nannies sat down with children who had recently gotten out of school. It was at this point that Joe spoke up and declared, "We love what we do, but wouldn't if it wasn't in this neighborhood. " The brothers truly believe that the Upper East Side is the best place to live and work. As proof, two of them reside above the restaurant. While out walking with my husband one beautiful weekend afternoon, I suggested stopping by Salvo's. It had been a very long time since I sat down with him to have a traditional slice of pizza straight from the oven. It conjured up an overdose of childhood memories from when we were growing up together on Long Island. We reminisced about how frequently we visited the local pizza parlor and recalled that a slice had been just 25 cents. The only difference that we found in 2015 on the corner of 78th Street and York Avenue was the price. The slices that we ate were made with old-fashioned tomato sauce, gooey cheese and a crust that was as perfect as we remembered. Needless to say, we were a very happy couple to have relived this treat together.

I was pleased to discover that this classic little pizzeria had been serving up slices to the Upper West Side since the 1970s. Though most customers grab their pieces of pizza to go, there are a few small tables inside that were full on each of my visits. I met the owner, Virgilio, who works alongside his daughter every day, and listened to him while he chatted with the people who seem to have been stopping in for years. It did not take me long to realize that the prices, flavor, and authenticity, make La Traviata one of the top choices in the neighborhood to snag a slice of classic New York pizza.

EJ's Luncheonette has mastered the art of American comfort food... and beyond. This was the go-to spot for my kids in the morning, whenever they spent time with us in our East 73rd Street apartment. The eatery churns out perfectly toasted bagels, omelets, homefries, French toast and pancakes. When in the mood, my family members also appreciated their greasy hamburgers (meant in the most loving way), and my husband was a huge fan of the milkshakes.... while I always appreciated their healthy, vegetarian choices. Sadly, I now live on the Upper West Side, so we do not get here as often, but visiting EJ's with the Manhattan Sideways crew was a real treat. On one visit we met Eric J. Levine, also known as EJ. Despite the fact that his initials are “EJ, ” the restaurant name is also a combination of his plus that of his partner, Jay Silver. While sitting at the counter, he talked about his background, which is also partly his father’s story. Eric explained that his father wanted to open a restaurant/bar in his later life “like every other Jewish businessman with a mid-life crisis. ” Unlike many other men, however, he went through with it. He left his job in the garment district and fell into the restaurant business at fifty-five years old with Dock’s Oyster Bar and Seafood Grill. Growing up, Eric worked in various restaurants, but when he reached adulthood, he tested out a series of different paths. He dropped out of college and became a stockbroker for four years, during which time he “worked 100 hour weeks. ” He then went back to college at NYU. When he dropped out, he told me, “The only business I knew was the restaurant business. ” He opened EJ’s on the Upper West Side in 1990 and became one of the pioneers in resurrecting Amsterdam Avenue. “We were busy day one, ” he said, and the business kept accelerating from there until they sadly closed in 2013 after the lease expired. Although the luncheonette appears to come straight out of the 1950's, Eric opened his second EJ's on the East Side in 1991. His team was comprised of people he had met while spending time at Dock’s. Jay, for example, was the chef at Dock’s and their other partner, Robert Eby, was the General Manager. Eric admitted, “My father was always involved by extension. ” Eric was also inspired by his father, who helped open the restaurant Carmine’s and Angelo & Maxie's Steakhouse. “That’s the whole tree of life, ” Eric said with a smile, reflecting on the two intertwined careers. Eric has branched out to other restaurants throughout the years. He and his partner started a consulting company and owned a few pizzerias that he has since sold. EJ’s on East 73rd, however, is at the core of everything he does. “I guess this is my baby, ” Eric admitted. He is proud to be an independent business, despite how difficult it is. “Being the mom and pop guy... it’s a different environment, ” he said soberly. This is especially the case for a breakfast, lunch, and dinner restaurant. “You always have to be on your toes, ” Eric stated. “People gotta eat! ” He is open every single day of the year. He is often busiest on holidays including Thanksgiving and Christmas, since EJ’s is “the only game in town. ” Eric confessed, however, that he enjoys being at EJ's on the holidays. “It’s the best day to work – people are in great moods. ”EJ’s also has a healthy delivery and catering business, though Eric much prefers it when people come in to eat. He also admitted that while EJ’s is lauded for its breakfast, he would like more people to know about his dinner specials. “All our food’s home cooking, ” he said proudly, adding that EJ’s is the closest thing the Upper East Side has to a casual seafood restaurant – it is one of the few places where a customer can get a fresh piece of fish for $20. EJ's menu continues to evolve in an effort to suit people’s taste. Eric sited an example of having recently removed the egg cream from the menu, since no one was ordering it anymore. He has now added a power smoothie with flax seed and greek yogurt. The cooking staff presented us with their latest endeavor - gluten-free pancakes, along with their classic spaghetti and meatballs. “There’s a lot of love and attention put into it... We make food to make people happy. ” When I questioned Eric about his continued passion for running the restaurant, he reigned in the emotion like a true New Yorker and quipped, “It’s better than being in a dentist’s office! ”

Perhaps not as old an institution as some of the clubs on 44th, but this cafe has certainly had a long run, and I have enjoyed being one of their patrons for several of these decades. Occupying space on 44th since 1977, Un Deux Trois has hosted generations of artists and theater district figures. "We were very hot in the '80s, " explained manager Pierre, name dropping celebrities from Andy Warhol to Meryl Streep and Al Pacino. And Pierre went on to say that today, long-time regulars who grew up eating in the restaurant are now bringing in their own children. Breakfast is served from opening at seven thirty until midnight every day of the year. The food is traditional French brasserie style, with a prix fixe menu available for lunch, dinner and weekend brunch. Steak tartare continues to be a popular choice, as does the quiche lorraine, but on my visit while walking 44th, I opted for another typically French favorite, a spinach and cheese stuffed crepe with a simple side salad. The decor remains from a past life as a hotel lobby, with a mosaic-tiled floor, stained glass windows and Corinthian columns amid all the festivities. Now appearing in various travel guides to Manhattan, it plays host to tourists, theater-goers and locals alike.

Around the corner from the well-regarded traditional restaurant, Il Buco, is Alimentari & Vineria, the market and wine bar that sells imported Italian foods. Up front, there is counter seating for a quick bite as well as more leisurely, contemporary dining down a few steps in the back. The food not only looks enticing, but it tastes amazing, and the people who work here are helpful and knowledgeable. Shortly after they had opened in the fall of 2011, we sampled some sandwiches on their house-baked breads - Tuscan Kale Panini with Stracchino cheese spread and a Soppressata panini with a sprinkling of parmesan cheese. Simple and delicious. Garnering instant popularity and acclaim from The New York Times to Zagat, we are confident in adding our enthusiastic support and highest recommendation to this authentic hotspot.

Stepping inside this iconic restaurant, after having not been for quite some time, the first thing I noticed was the dazzling array of colors. Red and green conjured up images of a dramatic Christmas party and the gold-leafed ceiling reflected the large collection of samovars placed atop the booths. Almost every inch of wall space was covered in dance-themed art and photography, likely a tribute to the restaurant's 1927 founders, who were members of the Russian Imperial Ballet. Ken Biberaj, the Vice President, took the Manhattan Sideways team on a tour of the enormous restaurant, which includes three private dining rooms and seats up to 450 people. Upstairs, I marveled at the sixteen-foot crystal bear aquarium, filled with gold fish, and felt like I was walking into a fairytale. Back downstairs, I learned that the glass-encased decorative replicas of the Faberge eggs, were made entirely of sugar by Zhar-Ptitsa Troika. As the chef continued to present a variety of Russian dishes, I recalled my dinner some three decades ago where I tried chicken kiev for the first time. When I commented about the array of food including the warm buckwheat blinis, red borscht made with pickled beets, the house-cured salmon gravlax and the beef stroganoff, Ken was quick to respond, "People come to the Russian Tea Room for more than the food - they come for the whole experience. " Indeed, a meal or high tea at the Russian Tea Room can be a momentous event as visitors join a crowd that spans generations. We had the pleasure of joining Ken Biberaj and Manhattan Borough President, Gale Brewer, to discuss the official launch of the. nyc web domain. Watch our interview here.

Tom Geniesse is in love with the Flatiron District and he believes he has chosen the perfect location to house his cleverly laid out wine shop. As he explained, there are two ways to shop for wine - first - the old fashioned way with the wines alphabetized by country. Thus, along the walls at the front of the store, multiple wine regions from around the world are represented alphabetically, beginning with Argentina. It is down the center of the shop, however, that Tom'sother idea for displaying wines comes to fruition: The same wines that line the sides are now separated by category - Meat, Seafood, Take-out, Treats, Gifts, Value, Events. Get the idea? The fun doesn't stop here, though, for next to each bottle Tom has a "resume" of each wine, providing tools to make wise choices. Collectors with deep pockets can find a fine selection as can university students who prefer not to spend a great deal. Bottlerocket is designed to build a bridge for consumers to make the right decision. When asked what drew him into the wine business, Tom said that he was a "crazy entrepreneur" who had lots of different jobs but continuously found himself disappointed in wine shops. "I always wanted to know more, and this is a result of that effort. "

Eddy Le Garrec is the vinous hero that New York needs and deserves. To step into his store, Empire State of Wine, is to step into a different dimension; one where gouging is a forbidden practice, 90+ point wine is affordable for anyone with twelve dollars to spare, and bottles that are impossible to import are stacked for sale. Eddy himself bubbles with impatient energy. He knows that the quality and price of his product are unprecedented in Manhattan. Eddy has cracked the code of selling affordable wine in the United States, where a five-euro bottle often ends up costing twenty-five dollars. During the hour we spent in conversation, Eddy gave me a peek behind the curtain of his business. We were constantly on the move as he nudged me along with a gentle hand, gesturing to emphasize his words, but I found that in addition to his passion, there was something more inscrutable, perhaps a world-weary or melancholy note. As it turns out, Eddy Le Garrec has lived a life of emotional highs and lows. From LA to Vegas to Miami, and then New York, his is a story worth hearing. Born in France, Eddy traveled to Los Angeles at the age of twenty-five. “I had a contract with a restaurant for one week and while I was there, an incredible thing happened. I won the green card lottery. I was lucky. Stupid lucky. So I said okay, I’m staying, and I fell in love with the country. ” Eddy’s family growing up was in the restaurant business, and he found himself in the right place at the right time to thrive in the US. “It was the 1990’s and the beginning of the wine boom, where Americans were growing interested in collecting and learning about wines. ” Eddy then casually mentioned that he worked at the legendary L'Orangerie. “I waited on all of the Hollywood stars. I have a story for every single one. ”Next came a move to Las Vegas where he followed the same chef who had brought him to LA. “I stayed for two years and directed the opening of several restaurants and hotels. It wasn’t what I loved but looking back, it goes to show nothing is ever a waste of time. I also learned to play poker. But I don’t do that anymore. ” Unfortunately, Eddy also made some mistakes in his love life, bad enough to elicit a pained look on his face even today. It was time for a fresh start. After two years of Vegas, Eddy ran off to Florida. “When I moved to South Beach, there was no real wine culture in Miami. I realized I could start up my own brick and mortar, and W Wine was almost immediately a success. That was in 2006. What’s amazing is that I modeled my store, and even this store today, around this Vegas model. It is open, not intimidating or stuffy. The warehouse look is what I want. Customers come in and it makes my day when they say they’ve never seen a wine store like this before. You’ll also see I have the expensive stuff up front that people will walk past to reach the more affordable options, and when they get there they are relieved. It is like finding the slot machines. ”The slot machines, in Eddy’s case, are his “15 and Under” series, a bright display he sees as one of his biggest successes. Categorized by flavor profile (Bubbly, Fresh, Crisp, Buttery/Creamy, Light Body, Medium Body, Full Body) and with plenty of information at hand to read, anyone can come in and make an informed choice on a great wine. There might be one or two wines in each category, all handpicked by Eddy for their quality and price. “I used to get angry about people copying this idea, ” Eddy told me, “but not anymore because in the end, I know nobody can do what I do, nobody. ” Yuriel, one of Eddy’s employees nodded emphatically from behind the register. “Nobody, ” he agreed. Eddy was approached by a Canadian company that wanted to buy out his Miami store. “At first I did not want to, but I took a look at the check and was like wow. But then things did not go so well. Their plan was to merge my store with a separate online platform. I was working all the time on my computer, constantly working, and I was very unhappy. In the end, I and the other CEOs were fired because they needed more Canadians on the payroll. It was a hard time. ” At this point, Eddy ran a hand through his thick black hair. “I then went into a depression. It took me five years to wake up. ” During that period, Eddy felt it was time for another change of scene. “I moved to New York and even went back to school where I studied documentary film. One day I will use what I learned. Nothing goes to waste. ” But Eddy could not stay far from wine for too long. After a series of real estate transactions, he found himself owner of the Chelsea storefront property that would become Empire State of Wine. In a stroke of luck that echoed his green card jackpot of years ago, Eddy was granted a liquor license in what seemed like a record time of three months. “Boom, I was in business. Incredible. ” This time though, Eddy worked in reverse. He began by building his website. Even there, the aesthetics are meant to promote the sort of open and honest wine culture that Eddy is passionate about. In today’s world of online retail, he has no pretensions about the brick and mortar side of business. But it gives him an opportunity to meet people. “I love helping customers learn about the magic of wine. I also love demystifying it. In the end it is grape juice. Drink it! Enjoy it! ”

Sergio Esposito, widely considered among the premier authorities on Italian wine, shares his vast expertise with New Yorkers at this boutique shop in Union Square. Calling Italian Wine Merchants a shop may be a misnomer, however, as its shelves are almost bare. “People walk in and ask if we’re going out of business, ” joked IWM President Christopher Deas, who explained that their impressive inventory of wines from every region of Italy, parts of France, and beyond is stored in a downstairs cellar. “The upstairs is more of a showroom. We really believe in temperature control. ”Those who enter IWM can rest assured that they are in good hands, as Christopher maintained that the shop was the first in the city to specialize in Italian wine. Since the beginning, they have stocked both “wines that have become icons as well as bottles from tiny, artisanal producers that were being overlooked. ”Sergio’s strength was in scouring the nooks and crannies of Italy and bringing the wines back to New York. Much of IWM’s collection of vintage wines is thanks to Sergio’s efforts, who tracked down Italian restaurants that were about to shutter and picked through the contents of their cellars. Although they tend to cater to the avid wine collector, Italian Wine Merchants have wine for every palette and budget - from $15 to $15, 000. For those who would like to improve on their wine education, IWM offers a weekly Saturday afternoon wine tasting. Customers are encouraged to peruse the calendar online and then to sign up for what seems appealing. Either their in-house "educator" or an expert from a particular vineyard leads the class. Private events can also be arranged for large gatherings, as well as intimate wine-tasting dinners led by their sommelier. Italian Wine Merchants rocks the senses with an eating and drinking experience not to be missed.

Acker Merrall & Condit Company changed its name to Acker Wines in 2020. I thought I misheard Anna, a member of the Acker Merrall team, when she said the company had been around since 1820. There was no misunderstanding: Acker Merrall is the oldest continuously operating wine merchant in the country. Anna even showed me a framed list on the wall that detailed the provisions of the Titanic. Sure enough, wine from Acker Merrall was listed. Anna explained that they were specifically known for stocking ships and that in the early 1900s, there were twenty-nine locations scattered along the coast, stretching as far south as Baltimore. Not only that, but the company sold fine food and housewares along with wine. As Harper, another member of the Acker Merrall team, joked, "It was perfect for when you think, 'Hmm... I need some whiskey and some chairs. '"Sadly, after Prohibition was repealed, a law was passed in New York requiring liquor stores to have only one location. It was also decided that no food items were allowed to be sold in a liquor shop. This meant that Acker Merrall had to choose whether it wanted to be a wine store or a grocery store. The original Acker Merrall family decided to take over the food and housewares departments and sold the alcohol operations to the Kapon family, who still run the company - John Kapon is currently the owner, and has been on West 72nd since 1985. Today, Acker Merrall is best known as the largest wine auctioneer in the world, with its strongest support coming from New York and Hong Kong, since China has become the biggest consumer of wine worldwide. There are beautifully bound books in the back of the store that have carefully documented these sales over the years. In addition to the auctions, the store has regular tasting events and invites importers and producers from different wine companies to share their goods with the community. While Acker is "pretty global, " they focus on a lot of old world wines, especially French. Harper credits the company's attention to detail and customer service with its longevity. Acker offers services that go above and beyond, such as free delivery to the Hamptons and Fire Island during the summer months. It also helps that Acker sources rare wines from many countries around the world. One day, I was with a member of the Manhattan Sideways team who recognized a bottle that his father had purchased while on vacation in Argentina. James excitedly said, "My dad loved this wine, but has never been able to find it again. " Of course he had to buy a bottle to take home to him. Before we left, Harper showed me a picture of New York City from the early 1900s. Behind a horse-drawn carriage and a pile of barrels, I could see the sign for Acker Merrall. In a city where shops open and close faster than I can discover them, it was refreshing to find a business that has managed to stay afloat for almost two centuries.

My first encounter with Amy Ruth's, a Southern style restaurant in the finest tradition, was during a walk while documenting every place on 116th. The street is enormous, with many delis, convenience stores, hair salons and barber shops, but tucked between these are some marvelous hidden gems. Amy Ruth's is certainly one of them, although, "hidden" is debatable given that the restaurant usually has a line out the door. Once inside, I discovered that the space is endless. There are some smaller nooks, an upstairs area that is open on the weekends, and then a large catering hall for private events. The second time I visited Amy Ruth's, late on a Saturday morning, I brought my husband and friends, as I needed them to enjoy the same experience that I'd had. I loved every aspect of this restaurant. From the star-shaped paper lanterns hanging on the ceiling to the murals portraying well known African American figures — including President Obama, Whitney Houston, Michael Jackson and Serena and Venus Williams — to the variety of ages and cultures sitting at the tables, and, of course, to the excellent Southern cuisine, the restaurant offers a memorable dining spot for everyone. The opening of Amy Ruth's in 1998 was inspired by Carl Redding's time spent down south visiting his grandmother during the summer months. He chose to stand by her side day in and day out as she prepared meal after meal for her adoring family. Years later, he decided to pay tribute to this wonderful woman by opening up his own restaurant and naming it after his beloved grandmother. This warm family feeling is transmitted to guests as soon as they arrive. Waiting to enter, we began speaking with some of the patrons who were raving about the food. I learned that they queue up almost every weekend for the chicken and waffles — and every other waffle combination imaginable. Needless to say, our meal also consisted primarily of waffles, most of us opting for the variety of fruit toppings, and it was perfect.

In the heart of Spanish Harlem, known to locals as El Barrio, is the Puerto Rican tapas bar, La Fonda. “We put Puerto Rican food on the map, ” said James Gonzalez, who became a partner in 2017 after having spent “forever” as a loyal customer. “With my background, I should have been anything except for an entrepreneur, but here I am. ”Puerto Rican immigrant Jorge Ayala had spent decades living next door to George & Gina’s, a small eatery named after the husband and wife team that owned it. When the couple decided to sell, Jorge worked out a deal to take over the lease and create a “restaurant of the people” that celebrated the Latinx heritage that was so meaningful to him and other transplants in the neighborhood. Fittingly, La Fonda’s dishes are “Nuyorican fusion, ” melding elements from the Boricua, Spanish, African, and indigenous Taíno cultures. “Our food is all made the way a grandma would make it, but it’s not just the basic rice and beans that she would put on the table. ” Yes, La Fonda may make its sofrito fresh every day, and it is of course known for its chicharrón and slow-roasted pernil, but these hearty Latin staples take on an elegant new life under James and Jorge’s direction.

If it were not for the diners sunning themselves in the outdoor seats, I might have walked straight past this restaurant. The townhouse is completely unmarked, I learned, because businesses in historic buildings are not allowed to add outdoor signage. I settled down inside with a few of the Manhattan Sideways team and we treated ourselves to a relaxing hour, thoroughly enjoying a fresh, light meal that was as delicious as it was beautifully presented. An interesting take on the traditional bread and butter was put down before us - radishes with olive tapenade on a freshly cut loaf. I was in cheese heaven as I cut into the oozing, warm, perfect burrata with beets, and Olivia ordered the house-made falafel salad with yoghurt sauce, which she said was "marvelous. " Erika was pleased with her choice of the Kale Caesar salad. Everything tasted like a fresh spring day, and left us feeling energized. The atmosphere also added to the sense of rejuvenation, with simple whitewashed tables, cherry blossom bouquets, and a perfectly placed skylight. The restaurant is a big player in the farm-to-table movement. We spoke with Chef Sammy Diaz, who explained that he goes to the farmer's market four times a week in order to find the freshest ingredients for the menu. He works closely with executive chef Joseph Capozzi as they establish relationships with local foragers. The restaurant tries to get most of its ingredients from no farther than Pennsylvania, New Jersey, and Connecticut. Sammy entertained us for quite some time with his stories, and his commitment to the food he cooks with every day, but I believe the best was when he elaborated on "Goatober. " Each week for the entire month of October, a whole goat is delivered to East Pole, and Sammy gets to be creative with as many dishes as he can for 31 days. Sammy showed us the impressive upstairs room, which can be used for private parties. It has a second bar, and a long wooden table with fresh sprigs of herbs for decoration. The feel is more of a lovely cottage, rather than a metropolitan New York restaurant. The walls are decorated in maps and sea charts, in keeping with the vague nautical and travel theme suggested by the restaurant's name. Everything about the eatery offered a sunny, fresh escape from city life into a culinary garden.

It was a humble entrance that guided me into Gnocco, a space with tables barren of cloths, waiters devoid of ties, and the owner leaning against a wall in a casual tee-shirt and jeans. Upon closer look, I noticed framed photographs of the East Village in the 1980s taken by Michael Sean Edwards, fresh, savory pizza being tossed and fired in the room next door, and a backyard dining area where greenery intermingles with twinkling lights. When Modena native Gian Luca Giovanetti first opened Gnocco with Pierluigi Palazzo in 2000, customers did not understand why veal parmigiana, spaghetti and meatballs, and fettucine alfredo were not on the menu. “We are Italian, ” Gian explained (in his wonderful accent), “and those dishes are not from where I’m from. ” Modena lies in the Emilia-Romagna region of northern Italy where the cuisine differs from the southern Italian food most Americans are used to. Having already run a successful restaurant back home, Gian knew how to make good food, and would not compromise his menu. “I told them to just sit down, and if you don’t like it, you’re not gonna pay. ” They paid. Part of the reason for Gnocco’s sustained success are the niche that it fills. For the neighborhood, the restaurant bridges a gap between refined dining and fast food - it is an eatery “for every pocket. ” And for Gian, the restaurant brings him closer to his childhood and family. The gnocco, filled and fried pockets of dough, was a dish his grandmother would prepare, and it was his mother who recruited a team of four other ladies to perform “quality control” during the restaurant’s early beginnings. Even his son, who spends the school year in Italy, takes to the kitchen when he visits Manhattan in the summertime. While Gnocco may be Gian’s only current endeavor, he has had a hand in quite a few other places in the East Village. Perbacco was an Italian wine bar that was given two stars by the New York Times, Caffe Emilia offered casual Romagna food, like Italian clubs, to the neighborhood, and Café Pick Me Up, probably the most devastating closure, after twenty years and a rent surge, has lived on through Gnocco’s extended menu and hours.

Nic Faitos was not always in the flower business – in fact, he started out working on Wall Street. But the financial world just was not right for him. “I fell out of love with what I was doing, ” Nic told me. “I was having my midlife crisis a bit early – I went from being a broker to being a florist! ” Standing in Starbright, it is not hard to see why Nic was drawn to this sector. The space is filled with bright light, and the scent from all the flowers is enough to make anyone fall in love with their job again. Nic started Starbright in 1993, and for the first twenty years, Starbright operated out of a second-floor industrial space on 28th Street, focusing on corporate clients and large contracts. They provided flowers for clients like Ernst & Young and Columbia University, along with several other large corporations and a number of major hotels. In 2015, Starbright moved to its current 26th Street home. Although it was not far geographically, Nic explained “this was a big move for us. ” The new space is twice as large as the old, and, being on ground level, offers an opportunity for Starbright to draw customers from the street in addition to their existing corporate clientele. Nic has been embracing that opportunity by having a floral “happy hour” every Thursday throughout the summer when everything in the store is half price. “There are all these pubs and bars on the block, ” Nic exclaimed, “Everybody’s having happy hour, why can’t we? ”Starbright is by far and away the largest florist that I have come across on a Manhattan side street thus far, and so I asked Nic to tell me a bit more about how his business operates on this scale. I learned that they receive shipments of flowers three times a week, from places as far away as New Zealand, South America, Singapore, Holland, Israel, and Italy. In a given week, Starbright handles twenty-five to thirty thousand stems. I could not imagine what so many flowers would look like, and so Nic said, “I’ll show you! ” and led me to the walk-in refrigerator that keeps their blooms fresh during the hot New York summers. The fridge was fully stocked with flowers in boxes and buckets, each a different color, and all waiting to be arranged by the designers who work at large tables in the main area of the shop. I was content to stay for some time and watch them – each employee was a true artist, combining the flowers as a painter might mix different colors on a canvas. Starbright’s size allows them to bring in many flowers that are not often found at other florists in the city. Nic showed me a few of the more rare blooms, including the deep purple vanda orchid and the trumpet-shaped calla lily. “We donate a lot of flowers too, ” he told me. Starbright often sends its arrangements to charitable organizations like Gilda’s Club and the Ronald McDonald House, believing that sharing beauty is an important way of helping others.

The Manhattan Sideways team was captivated by the inside of La Fleur from the moment we stepped inside. The atmosphere was bright and welcoming, with vibrant flower arrangements liberally displayed throughout the shop and an array of vases lining the shelves. We were instantly greeted by the charming members of the staff, who did not hesitate to chat with us about La Fleur. We were surprised to learn that Louis, the store’s owner, had not always planned on entering the floral design industry. In fact, he had studied Hotel and Service Management and worked for internationally recognized corporations including Hilton Hotels and Starbucks. It was not until 2004 that he decided to complete a certification course in floristry at New York Botanical Garden. Soon afterward, he apprenticed at some of the top flower shops in the city, including Ariston and L’Olivier. He opened Harlem Flo, his first independent venture as a florist, on 122nd Street. In 2016, this was replaced by La Fleur d’Harlem, the newest iteration of the business, on 144th Street. His move has proven to be successful. Over the past few years, Louis has had the opportunity to provide arrangements for everything from lavish weddings to casual anniversary bouquets. In addition, Louis and his team have enjoyed designing small floral terraces throughout the city and traveling outside of Manhattan to provide flowers for special events in the Hamptons, New Jersey, and upstate. One of his favorite projects was a Citbank sign made out of flowers. Louis explained that his focus has always been on service - "understanding and learning each customer's preferences and needs. " He is pro-active in letting clients know what is available, showing them what he can do, and working within their budgets. "I always try to manage people's expectations, delivering the best I can for them. "

If one asks Shula Wiener to describe her ultimate goal for Flowers by Special Arrangement - which she has owned and managed along with her husband, Dov Bronner, for thirty five years - her answer is ambitious yet simple: “I want to have flowers here that nobody saw before. ” Given that she regularly imports dozens of flower varieties from countries as diverse and far away as Chile, Holland, Peru, Italy, Spain, Japan, and New Zealand, it is not hard to be convinced by her determination. With carefully designed, customer-specific flower arrangements, Shula’s product can adapt to any scale: from small arrangements delivered to residences to large-scale services for weddings, anniversaries, bar and bat mitzvahs, and corporate events. In addition, Shula and Dov, who both moved to New York in the 1970's, contribute regularly with flower arrangements to community programs. “I’m a big supporter of community life”, Shula said, “It’s very important. ”At any given time in the store, Shula and Dov have four blocks of a variety of flowers to offer as a menu for their clients, with whom they work closely to provide the right design for their specific purpose. Shula then noted that a single flower can have upwards of a hundred varieties, but she also emphasized that she can easily accommodate requests for specific and exotic varieties. There was a period where Shula would arrive at John F. Kennedy Airport at 3am to buy the imported flowers to sell them to the retail shops by 5am, executing the role of a “flying Dutchwoman. ” With ten years of experience as a distributor and several more on the retail and wholesale side of the business, Shula knows the industry inside and out. She bought from one of the first flower shipments from Holland in 1981, truly making her a “pioneer” of the industry, as she described herself. In reality, however, Shula allows the quality of her product, and not just her long professional experience, speak for itself. If an event is scheduled for Saturday, the flowers will arrive at the store on Thursday (to be watered and taken care of) and be arranged on Friday. This way Shula and Dov can ensure that only the freshest flowers arrive for their clients. According to her, that is what keeps the business running: “We’ve survived for so many years because the quality is superior”. Though it has only been in its current spot since 2013, Flowers by Special Arrangement has been around since the mid 1990's and the breathtaking flowers encapsulate decades of experience and attentive customer care in their petals.

Originally from Turkey, owner Sibel Mermelstein moved to the United States in 1979 at the age of ten, and has remained in Manhattan ever since. She began working in the floral industry as an employee of distinguished French florist, Olivier Giugni. After being told she has a “good eye, ” Sibel branched out working at The Mark Hotel and the Core Club. Years later, she began running a floral business out of her apartment, and then finally made the leap to having her own proper retail space in early 2022. Lady Fleur was embraced immediately by the neighborhood and beyond. She was even featured in Vogue magazine’s Valentine’s Day edition. There, in response to being questioned about her magnificent colorful and creative arrangements, Sibel famously stated, “Love should be in every color, not just red. ”

Sutton Clocks is what we at Manhattan Sideways refer to as a true hidden gem. The low shop was lined on both sides with clocks dating back to the eighteenth century, set to different times. I understood why they all displayed different hours when the first one chimed and I imagined the deafening roar that would result if the thousands of clocks went off at once. Sebastian Laws, the youngest son of the original owner, met me at the door. His father, Knud Christenson, came to the United States from Denmark in the 1940s. He initially partnered with Kay Yeager, who owned Sutton Trading, a pawn shop. Knud was a Renaissance man and worked at many things, including importing fish and building furniture, but he quickly found his niche fixing clocks. He began working from a small loft on 61st Street. Sebastian told me how his father recognized a passion for fixing things and working with small parts in his youngest child and took Sebastian on as an apprentice. Sebastian took over the business in the 1990s, and when he lost his lease in 2012, he found this quaint space on 82nd Street. He is excited to have his first store front and to live in a relatively quiet neighborhood again after witnessing 61st Street turn into an extension of midtown. The clocks on display, which are all for sale, come from a variety of sources, including having been abandoned by previous owners. Sebastian pointed to a deep green one that resembled a portal on a submarine, saying that it dated back to 1780. His favorite clock on the wall, however, was a sturdy American clock with early twentieth century lettering, which he called a “strong workhorse. ” Though he now has the space to put clocks on the wall for retail purposes, his main occupation is repairing clocks. People bring him clocks of all shapes and sizes, from mantle clocks to fantastic grandfather clocks. When I asked him if there was a particular kind of clock that was most difficult to fix, he responded without hesitation: “cuckoo clocks. ” He then went on to explain that the Swiss souvenirs are often built as tourist traps rather than trusty timepieces. When I thought that I had seen all that there was to appreciate in this minute space, Sebastian guided me to his worktable in the back, which was surrounded by gears, pendulums, various tools of the trade, and hundreds more time pieces. For the most part, Sebastian’s siblings have not been involved in their father’s business, beyond doing some sweeping in the store and other odd jobs as children. Sebastian’s brother James, however, recently joined him to help with the administrative side of things, in an effort to allow Sebastian to focus on the hands-on work. “I enjoy solving puzzles, ” Sebastian told me. Though he learned a lot from his father, he admitted that his most valuable training came from the job itself, since each clock is different and must be examined as its own unique puzzle. At a certain point, he started repairing barometers along with clocks. He informed me that though the mechanisms are completely different, barometers are often lumped into the same pile as timepieces. Sebastian went on to tell me that his customers come not only from every part of the city, but from all over the country and around the world. He mentioned that quite a few regulars were also his father’s clients. He has a fascinating outlook on his career. He loves that the clocks that he handles each have a special tactile history. By looking at the markings on a clock, he can get into the head of the original horologist who made it and can track the life of the timepiece. He pointed out that a man who built a clock in London in the 1800s probably did not imagine that it would end up in Sebastian’s hands in New York in the twenty-first century. Similarly, one day in the future, horologists will trace clocks back to Sebastian and know when they passed through Manhattan.

It does not matter what I am looking for, I always stop by Stationery and Toys first, certain that I will find what I need. Sometimes I find myself laughing out loud when I ask either of the owners of this fantastic old world shop, a father and daughter, for the item that I am in search of that day, and they answer "of course we have it. " With its simple name and treasure trove of items for children and adults alike, it is one of the last of its kind, and it makes me happy simply to wander the aisles. "I used to sell wholesale to Hallmark stores, " Larry Gomez, the founder, shared with me one day. "Now there aren't places like this anymore. " On the day that I visited with the Manhattan Sideways team, Larry took the time, in between ringing customers up for paper, pens, puzzles and party supplies, to tell us how the store began. He said that his daughter, Donna Schofield, came home from college to help him in the wholesale business. As Larry tells it, Donna said, "Daddy, Daddy, Daddy, I don't want to sit in a warehouse anymore. I want to work in retail. " Donna, when I spoke to her, tells it a little differently. She says, "I was talking to the same people every day with very little sight of daylight. I wanted to work in a store. "Either way, the outcome was a positive one. Larry gave Donna her wish in 1988 by opening Stationery and Toys. One day, I asked her what it was like having children while working around toys. She said, "My son thought the warehouse was Santa Claus's section. " The boy, who is now fully grown, knew to stay away. His younger sister, though, needed more convincing not to play with the toys. Donna gave the keys to the store to her brother-in-law for a while in order to spend more time with her family, but in 2009, she returned. "She's the big cheese, now, " Larry declared. Today, during the week, when a customer walks into the store, they will see Donna behind the counter and on the weekends it is Larry who is there, allowing his daughter to remain at home. "I'm the Saturday Sunday man! " he said with a grin. Donna's son, however, has started coming in on weekends to work with his grandfather, while he studies to become an electrician. It is this sense of family that Larry believes has saved their store. Donna and Larry form a friendly pair of faces for neighbors to recognize from year to year. He says that they still see many regulars from when the store first opened, though as Larry put it sadly, "there are many that we've lost. " He brightened, however, when he told me about the men and women who come in with their children. Larry recognizes many as having been frequent shoppers when they were kids themselves. He considers himself quite fortunate to have stayed in business through the years. When he first started, he explained, the area was known as "Needle Park" and in order to stay out of danger, people got out of the neighborhood by six in the evening. Now, Larry embraces the fact that the street is a place where families can safely thrive. When speaking with Gary - a sales assistant who has been with the store "for a long time" - I asked him how they decide what to stock, since the inventory seems to be infinite. He replied, "Donna gets it word of mouth, through the kids. The best thing to do is to listen to them. " Donna agreed, saying "If I get asked for an item three times, I get it. " Just before we were leaving, we witnessed a beautiful yet typical moment when Donna noticed a little boy eying a batman figurine on the counter while his mother was making a purchase. Donna sweetly handed the toy to him and told him that it was now his. Neighborhood kindness and generosity is alive and well at Stationery and Toys.

The Azzollini family has been at the heart of Paul & Jimmy’s since Cosmo Azzollini waited tables at its 1950 incarnation on Irving Place. Back in 1968, when Cosmo purchased the restaurant, the Azzollini’s made it their own slice of southern Italy. Even today, Louis and his son, Greg, keep the focus on home: homemade cuisine, a home-style atmosphere, and the homey touches of Italian hospitality. Paul & Jimmy’s is truly a family-run, neighborhood business. Louise and Greg emphasized that “one of us is always here - we are the only ones with the keys. We open and close every night. ” Greg has worked in the restaurant since 2005, and - after culinary school at the Institute of Culinary Education, working at Mario Batali’s Lupa Osteria in Manhattan, and furthering his culinary studies in Italy - is currently the head chef. Linda, Louis’s wife, is in charge of the accounting. Together, the whole Azzollini family works hard to ensure that everyone who walks through their doors feels like part of the family. They are proud that the majority of their customers are local, and are particularly pleased that they have “a lot of customers who have been coming forty, fifty, sixty years, and also a lot that come three, four, five times a week. ” As for Paul & Jimmy’s younger clientele, they are often surprised when Louise is able to tell them what their parents or grandparents used to eat. Their secret is that their “food is phenomenal… we have great waitstaff, we have reasonable prices, a cozy atmosphere, and are extremely accommodating. ” They try their best to fulfill non-menu food requests or change the dish to suit their customers’ needs, which is generally “very easy” since “everything is cooked to order. ” Louise told us it does not surprise him that many of their customers come so often, since they have “fifty or sixty different dishes on their menu - not including specials. ” With an emphasis on freshness, they are proud that they source their fish, produce, and meat from well-established New York businesses. Gregg makes their own mozzarella fresh every day, as well as many of their pastas, and Paul & Jimmy's offers their own line of sauces, both in the restaurant and at a few local shops in the city.

Four generations of the McManus clan have operated this jovial Irish tavern, making it among the oldest family-run bars in the city. Its originator, Peter McManus, left his quaint Irish hometown and disembarked in Ellis Island with “basically five dollars and a potato in his pocket, ” as the story goes. He opened the first McManus as a longshoreman’s bar in 1911 on West 55th Street, which he then converted into a thriving general store during Prohibition while migrating his liquor business into a number of speakeasies. Once the restrictions ended in 1933, the shop was so successful that Peter kept it going and found a new spot on 19th Street in which to revive his bar. Peter’s son, James Sr., spent close to fifty years working in and later running the pub. It then passed into the hands of James Jr., who now stands beside his own son, Justin, serving beer and cracking jokes over a century later. Knowing that they will find pleasant conversation and an intriguing cast of characters at McManus, people often come alone to see what the night holds for them. The atmosphere at McManus is merry, but patrons still respect the history and charm that suffuse every corner of the space. Much of the bar is original, including the stunning Tiffany stained glass windows, the hand carved woodwork and crown molding, and the terrazzo floor that can no longer be made today. “We try to preserve it and are pretty protective of it. This bar was built to last, ” Justin said.

Although they have changed hands over the years, El Parador is reputed to be the oldest Mexican restaurant in the city. Having opened his doors in 1959 on Second Avenue, Carlos Jacott moved to the current address in 1969 and then sold his restaurant to Manny Alejandro in 1990. He, in turn, handed over the reins to his son, Alex, who I enjoyed chatting with one winter afternoon. He told me that parts of the building date back over a hundred years. The menu is typically Mexican, however, Alex continued, "we are always showcasing traditional dishes while also playing with them to make a more modern presentation. " Mole Poblano is their classic recipe that has been handed down, but Alex and his team continue to tweak it. When I ask what his favorite dish is, he smiled and immediately responded, "Shrimp quesadilla - this is mine. " Alex trained at the French Culinary School before coming to El Parador. He initially came in as a manager under his father's guidance, until he purchased the restaurant from his dad in 2007. Now that his father is retired, Alex has his "hands in all the pots" both working his magic in the kitchen and up front with the customers. I always love the stories of the people behind a restaurant's success and on this day, I learned that Chef Boni Jr. has been with Alex for fifteen years, and Manuel, the bartender for twenty-five. The black lacquered beams, wood flooring, tin lanterns, strong margaritas, warm chips and salsa (not for vegetarians), topnotch guacamole and spending time with Alex made for a nice reprieve from the cold.

"It has not been easy being hidden on East 117th Street, but I am trying hard to spread the word, " Nestor Leon revealed to me as soon as we sat down together. I could sense the intensity emanating from deep within Nestor as he spoke passionately about his "home country, " and his strong desire to share the Mexican flavors, art, culture, spirits and wine with his guests. Nestor had worked in hospitality before coming to New York in 2001. He had a "big dream" to learn English, and chose to work in other restaurants before taking on the challenge of running his own. Because he was unable to return to Mexico for several years, in 2012, he decided that he needed to bring his personal experience to East Harlem. His brother had also opened a restaurant in Manhattan, but Nestor said that he really learned to cook from his mom. "I always loved food, and I liked experimenting and coming up with different combinations. "The fare is authentic at El Kallejon, but as Nestor describes it, "with a twist. " When I peeked inside the tiny kitchen area, I met Bertha Torres who grew up in a little village in Mexico. She also enjoys "putting interesting ingredients together, " and watching the reaction of the customers. It was great fun standing there as Bertha cut and chopped preparing an outstanding guacamole, served in a cocktail glass with ceviche on top. Next up she quickly made a "tamalex" - a corn cake with cheese, roasted tomato sauce, and finished with some watercress. With very little space to maneuver, within minutes Bertha was presenting us with dish after dish. Everything was uncomplicated allowing the intensity of the chilies, garlic and their own infused olive oils to explode in each bite. While Bertha was busy in the kitchen, Nestor was making the drinks. As I sipped on the Hibiscus Flower that was made with a rose pedal infused tequila and lime, I was given a lesson about the difference between the restaurant's vast selection of artisanal mezcales and tequila, as well as the extensive Latin American wines. Everything at El Kallejon reflects a piece of Nestor's life in Mexico. The entire space is brightly painted with turquoise, orange, yellow and fuschia, and each piece of art and other decorations have a personal story. Even the bathroom is filled with memorabilia and history. I was particularly taken by an interesting looking instrument that Nestor explained was made from the jaw of a donkey. It was the middle of the winter when I visited, so it came as a great surprise when Nestor said that before I left, he had to show me something special. How fortunate he is to have a very colorful backyard garden, complete with a mural painted by his brother. In the warmer months, the food is grilled outdoors and there is live music. This restaurant is not just a business to Nestor, it was so clear to me that he has poured his heart and soul into it. "I have a positive attitude towards life, and I understand that owning a restaurant is difficult, but as long as you love it, you can survive - everything is possible. "

Toloache, a bustling Mexican bistro on 50th street, shares its name with the legendary Toloache flower. According to a myth in Mexican culture, the flower can be brewed into a love potion - if someone tastes the drink once, he or she will always return for another sip. The restaurant’s food and drinks have the same effect: Many people who eat there once return time and time again. General Manager Jorge shared a story about his friend from Japan who visited Toloache on the first night of a weeklong vacation in Manhattan. He ended up returning every day that week and then again every year during his annual visit to the city. Toloache on 50th is the first of many restaurants opened in New York by chef-owner Julian Medina. Chef Julian grew up in Mexico City, where he was inspired by the home cooking of his father and grandfather. He was originally brought to New York by Chef Richard Sandoval, who appointed him as Chef de Cuisine at Sandoval’s Maya. He went on to gain experience at distinguished restaurants and graduated from the French Culinary Institute with recognition. Today, Chef Julian owns seven of his own restaurants in the city and has been featured in several publications, including Men’s Journal, The New Yorker, and The New York Times. He has appeared on shows such as "Iron Chef" and "Beat Bobby Flay. " His impressive background is reflected in the success and distinctive menu of his “first child, ” Toloache. Julian designed Toloache’s extraordinary menu to have something for everyone – the wide range of dishes include both vegetarian and gluten free options. He prides himself on using only the freshest of ingredients, whether it is white truffles or chapulines (dried grasshoppers imported from Oaxaca). These crunchy critters have gained quite a bit of media attention, including a feature on "The Today Show. " The kitchen brought out the Tacos Chapulines for the Manhattan Sideways team to photograph, and we had to admit that the insects were made to look very appetizing. We were also presented with the diverse Trio de Guacamoles, which allowed us to sample three varieties of the dip: the familiar traditional guacamole; the Frutas Guacamole, which incorporates fruit instead of typical ingredients (pomegranate, mango, and apple instead of tomato and Thai Basil instead of cilantro); and the Rojo guacamole, made with chipotle. Several of us went on to sample the Quesadilla de Huitlacoche y Trufas (made with fresh truffles), The Baja Tilapia Pescado, and the braised short rib, served with quinoa and carrots. Each dish exemplified Chef Julian’s inventiveness and ability to put small, flavor-enhancing twists on typical Mexican cuisine. The drinks were equally impressive, including Julian’s favorite “Chef’s Selection Margarita, ” made with his hand-picked bottle of Herradura Tequila. The bartender mixed a few cocktails for us to photograph and taste, including the refreshing “De la Calle, ” made with cucumber and jalapeno; the spicy “Mezcalita de Pina”; and the signature “Toloache, ” made with hibiscus and blueberries. The food is amazing and the drinks are fantastic, but what really keeps so many guests coming back is Toloache’s dedication to quality service. As Jorge informed us, “Our goal is to make every guest feel at home. They are our friends. ” Each of the servers have their own style, creating unique, yet equally enjoyable dining experiences. Guests are able to experience Toloache in a completely new light from one day to the next just by sitting at a different server’s table. It was event manager Temple who summed the restaurant up perfectly: "Toloache feels like a family – like you’re walking into Little Mexico. ”

After making frequent trips to Mexico and being unable to stay there as she wished, Dina Leor decided to do the next best thing: She brought Mexico to New York. Her success is evident upon walking into the store: Everything is covered in paper flowers and bright colors, enough to lift the spirits of any New Yorker wandering in on a gray day. A Lilliputian party of skeletal characters dance on a shelf for Día de los Muertos and little metal charms called “Milagros” or “miracles” cover many of the pieces. Dina carries everything from simple keychains and children’s toys to elaborate folk art, but each piece has a special meaning, often explained by little handwritten cards on the shelves. Dina is an artist herself: she used to make colorful boxes. When she opened La Sirena in 1999, she was essentially creating a bigger box: A box housing art and culture. She calls it her “evolving assemblage, ” a “living altar. ”La Sirena attracts all sorts of people. While I was visiting, there was a Swiss family browsing, straight from the airport. Since Dina’s was the first store they had found, they gave her a little box of Swiss chocolates. Many of Dina’s customers, however, are regulars, and Mexicans themselves. While spending time with Dina, she told me how a Mexican man had walked in and started weeping, because the store reminded him of his grandmother and he had not been able to go home to visit her. The store is “an umbrella of the republic, ” Dina says, and many regions of Mexico are represented. Dina went on to tell me another story, while explaining that she carries items from $2 to $500. One day she had a Mexican mother come in and gush over the merchandise. The woman wanted to get something for her four children, but only had a twenty-dollar bill. Dina helped her find four hand-made items and felt very proud when the cash register read “$19. 60. ” Some of the pricier pieces in the store come from the expatriate New Yorker Sue Kreitzman, a cookbook writer-turned-artist, whose work is celebrated in England, where she now resides. She uses echoes of Mexican folk art in her work. La Sirena provides her with many materials and is proud to feature her art. The history and familial meaning behind all the art is fascinating: Dina explained to me that in Mexico, life and art are not clearly separated. Artistic items are often family efforts, and children will frequently come home from school in the afternoon and help paint or sculpt or craft. The art is “handmade by beautiful people: ” when she travels around Mexico, people welcome her into their home and give her tortillas to represent reciprocal warmth. One of the most beautiful sights that she has seen on her travels was a woman breast-feeding while making clay pieces at the home of Josefina Aguilar, now well-known in the folk art community. “It’s part of the circle of life, ” Dina says: making art among nature, raising children, and teaching them the same artistic passions. Dina herself is part of this circle of life: As the adopted daughter of Mexico, she is continuing its artistic traditions and teaching them, in turn, to New Yorkers.

With a bowl sitting on the floor labeled “Dog, ” a small children’s table set with books slightly ajar, and a wooden drying rack covered in aprons, walking into Bonnie Slotnick Cookbooks is like entering a well-kept early twentieth century home. Out back is a casual collection of lawn chairs surrounded by greenery, the perfect place to sit and chat or get lost in a good book. We were guests first and customers second, peering at the shelves of authentic cookbooks adorned with spatulas, match boxes, teddy bears, rolling pins, a type-writer, an antique Hope Pride oven, and other trinkets under the domain of kitchen and library. More than a store of antiquarian cookbooks, Bonnie Slotnick offers an experience. The space is active, inviting you to delicately handle the old kitchenware, fumble through the books, and fraternize with Bonnie. The more we spent time with Bonnie, the more we realized how interdependent Bonnie Slotnick Cookbooks and Bonnie Slotnick are, each filling the other, and those around them, with life and breath. Bonnie started collecting books, which she strongly distinguishes from the stocking she does for her store, when she attended Parsons School for Design. After graduating, she began her career in publishing. (She is still a freelance editor to this day, though her customers may not realize it). In 1984, she took on the side job of looking for books to help stock Kitchen Arts and Letters, where scouting out books became as much a mission as a hobby. When Bonnie picks up a used cookbook, she first looks for the aura. She fumbles through the pages, catches the familiar old book smell, and senses the synergy of the words, illustrations, and typefaces: the book as a complete object. She told me that she often feels like she is saying, “Oh there you are old friend, you nice old friend! ” She picked up The American Woman’s Cookbook, first published in 1938, which featured a hologram-like cover, thumb index, and photographs sourced from marketing campaigns. “This is a wartime edition, published in 1942, ” she explained, “…things like sugar, fat, and white flour had to be rationed. ” She went on to show me some of the cooking utensils in her shop – a rotary egg beater, a tomato slicer, and some tools to make butter, amongst others. The Manhattan Sideways team agreed that they were reminiscent of pieces we had in our own homes growing up, a nuanced nostalgia that made our first visit to Bonnie Slotnick Cookbooks both comfortable and familiar. Her passion in showing us the cookware and books not only fueled our own interest, but also engaged others wandering around shop. They could not help but listen to what Bonnie had to say, her eyes smiling the whole way through. Aside from books, what Bonnie wanted to talk about most was her supporting community. Though she at first feared the East Side, viewing it as an entirely different environment than the West, she now is familiar enough with the neighborhood that she could not stop listing other small businesses that she admires nearby, wishing to promote each one of them. Her website even has a section called The Neighborhood, where she promotes other bookstores that she hopes will be as successful as hers has been. These are not her competitors, but her friends. Nothing is more revealing of Bonnie’s character than her immense appreciation for her current landlords. Bonnie has lived on West 10th street since the mid 1970s, and when she lost her lease on her old West Village bookstore location in 2014 after being in business for seventeen years, she was devastated. Luckily, in 2015, Margo and Garth Johnson stepped in, offering her a lease on a commercial space in their house. Book lovers themselves, the two have adopted Bonnie into their community and saved her dream of “keeping bookstores and a love of reading alive. ” They also adopted a dog, which Bonnie admits was as much for her as it was for them. Bonnie’s new lease offers ten years of permanence, rather than the three of her previous one. The new space is also three times the size of the old. With more room, supportive landlords, and a sense of stability, Bonnie is able to diversify the use of her space. She is now open to hosting literary and culinary gatherings, such as book clubs for food literature. She also hopes to expand her stock of books when she accumulates enough funds. The supply is certainly there: potential sellers often send her pictures of books they would like her to buy. Bonnie goes to work six days a week. She says, “Each day I create something. My store is my art. ”

Peter Glassman was the kind of child who would move books back into their rightful places while browsing bookstores. Hooked on reading before the second grade, by age twelve he had “read his parents’ home dry. ” Pegged as a bookworm by his friends and family, for his Bar Mitzvah he received over a dozen bookstore gift certificates. Aged fourteen, he applied for a position at a local bookshop but was turned away for being too young. A year later, he was finally able to land a job at a different bookstore, quickly becoming the buyer for its science fiction section. After spending just a year at Brown University, Peter moved to New York and began taking acting lessons. One day, his acting coach said, “If you're going to be an actor, it should be the only thing in life that makes you happy. If anything else in life brings you more joy, then you should do that. ” It was at this moment that Peter realized, “Books are my greatest joy. ”Soon after this epiphany, Peter began collecting antiquarian books, acquiring enough stock to sell. Originally, he thought he would rent space in a basement and have a mail-order business, but then he discovered a humble 200-square-foot location at 444 Hudson Street. With the help of a few friends, Peter cleaned it up, built some book-cases, and went to a wholesale book company to fill the last four shelves with a selection of his favorite titles, including The Cricket in Times Square, A Wrinkle in Time, The Phantom Tollbooth, The Snowy Day, and Where the Wild Things Are. The fervent reader was only twenty years old when he opened Books of Wonder. In 1982, Books of Wonder opened a second store nearby, tripling in size. Stocked with mostly new books, he also offered a selection of old and rare titles. In 1986, he relocated to an even larger space on 18th Street and Seventh Avenue after he learned that Barney's was opening a “fancy” store nearby. He believed that this would attract more families to the neighborhood. He was correct. Peter soon decided that it was not necessary to pay avenue prices. Instead, he could open on a side street. In 1996, Books of Wonder settled on 18th Street, where he hosted readings by J. K. Rowling, Maurice Sendak, and every other larger-than-life name in children's literature. In 2017, Peter enriched the Upper West Side with his second location on West 84th Street. Of the many attractions at Books of Wonder, Peter is most known for his selection of The Wizard of Oz. He was mesmerized as a preteen when he first devoured L. Frank Baum’s series, and it was a copy of The Magic of Oz spotted at the Strand bookstore — with its beautiful colored plates — that inspired him to restore the series to its former glory. Together with Harper Collins, he printed all fifteen Oz books with their original illustrations under Books of Wonder Classics, something never done before. For some forty years, Books of Wonder has been a space where many children have become avid readers, and Peter is always touched when parents remind him that his store also turned them into devoted readers a generation before.

It is a thrill to be able to be writing about the Argosy Bookstore. As a former owner of a children's book shop, I could not wait to get to 59th Street so that I could delve deeply into this family history, which began in 1925, and share the story of the three extraordinary sisters that have carried on their father's legacy. Despite being on 59th Street since the 1930s, the bookstore remains a 'hidden gem' to many New Yorkers who will regularly walk by and miss its presence amidst the ever-growing retail buildings. Naomi, one of the sisters, who maintains her post at a desk by the door, says, "About fifteen times a day, I have someone walk in the store, stop in their tracks and say, 'Oh my goodness, I never knew that this existed. '" And what a wonderful discovery this six-story curiosity is. Argosy feels as much like a museum as it does a bookstore. With its specialty being rare and out-of-print books, along with a score of historic maps, prints and autographs, it is a treasure trove with a vast selection that has something for everyone. It brought me great pleasure to introduce members of the Manhattan Sideways team to this remarkable shop that I had been scouring for decades. From the moment we walked through their doors, and they commented at the "book smell" that invaded their senses, I knew that I had them hooked. But then their eyes wandered across the shelves of books that dominated the room, catching the paintings hung above them and the green library lamps suspended at every interval, they simply stood in amazement. And then Naomi greeted us and took us on what would become a remarkable tour of the entire building. We began on the main level, where some of the store's most beautiful books are showcased, in genres from historical fiction to children's books. We were amused as Naomi pointed out her special shelves appropriately named "the oh-I-should-have-read-this" - a sort of "un-Barnes and Noble section" that does not necessarily include Hemingway or Faulkner, but certainly exhibits a great awareness and taste in fine literature. From there, we ventured down to the basement, a general browsing room, and then up to the sixth floor, which Naomi calls the 'oh my God room, ' as it is filled with autographs from Teddy Roosevelt to Elton John. As one of three sisters who inherited the bookstore from their father, Lou, Naomi explained that each of the siblings maintains an individual pride in a certain collection in the store. For Naomi, it is the autograph collection. As we continued down, we stopped on a floor dedicated to American History, where there was a fascinating collection of rare books on topics that included American Architecture, the Cold War, and the American Revolution. I was particularly attracted, however, to the map room. As I was wandering through, I discovered an actual first edition map of Manhattan - drawn sideways in 1865. Argosy Bookstore remains one of the largest, family-run independent bookstores in New York City. Despite impressive offers for its real estate, the store has continued its business through generations and maintains a genuine character matched by only a handful of other businesses in Manhattan.

There is no question that the independent bookstores of New York are disappearing, which is why I am always thrilled to come across one that is thriving. Book Culture was originally founded as Labyrinth Books in 1997 by Book Culture's current owner, Chris, and Cliff, his partner at the time. Chris' career had begun in the 1980s when he started selling books for Papyrus Bookstore. He also worked at the old Book Forum, located across the street from Columbia, and at Great Jones Books. In 2007, Book Culture broke off from Labyrinth Books. Two new locations opened in Morningside Heights and the Upper West Side in 2009 and 2014. In 2010, Annie Hendricks joined Chris as a co-owner. I spoke with Cody, who became the store manager at 112th Street in 2013. He explained that the real estate is owned by Columbia, and so the shop sees a lot of college students, especially in the early autumn months. Book Culture's customer base, however, is varied: after all, he pointed out, the Upper West Side has not really had an independent bookstore since Endicott Books closed in 1995. Book Culture carries a wide variety of subject matter including English, anthropology, history, philosophy, and sociology. Despite how many independent bookstores have been lost, Cody has optimistically seen a trend over the last four years, which he called "a natural renaissance of independent booksellers. " He noted that chain stores are not sustainable in the literary world, since people "want bookstores to be tied to the communities. " Cody acknowledged that Book Culture has tried to fulfill its role as a community center by offering events, such as family outings and bagel breakfasts. He then went on to say that since Book Culture takes care to cater to the neighborhood, the store "oftentimes offers a better curated selection" than one's average Barnes and Noble. "In many ways it's more than just a bookstore. It's a great place to spend a couple hours. "Cody has noticed a few other recent trends. The store, he told me excitedly, had become increasingly busier. He has noticed that there has been a "return to fiction" with specifically a "growing interest in translated works. " In response, Book Culture's literature section has expanded. Customers are encouraged to spend time figuring out what interests them. He then stated, "It's rare that someone doesn't leave with a book or at least a good idea of what they'd like to read next. "

Stores like Martine’s Antiques are exactly the kind of businesses I look for on the side streets. Though small, every inch of the shop has some new treasure to discover. There are watches, jewelry, glassware, and various knick knacks decorating the room. Though she has been in New York since 1992, Martine Leventer's lilting French accent added music to her descriptions of each of the pieces that she has hand-selected for her shop. Martine began her career as a journalist in Paris, writing about business and the economy. She occasionally wrote about art, but usually only in terms of auctions and its financial role in society. She told me, however, that she had always had a great love for antiques, “ever since I can remember, in fact. ” She recalled the very first antique she bought as a teenager – a bronze candle holder. Since then, she admits, “I’ve been buying way too much in my life. ” She spent some time between the United States and France, collecting antiques from each location, but when she first went into business in New York, it was as a chocolatier. She had two chocolate shops: one on the Upper East Side, where she lives, and a small shop in Bloomingdale’s. Chocolate, however, was not where her true passion lay: “Having an antique store has been a dream of mine since I was very young, ” she told me. She began selling little pieces at her Bloomingdale’s location, mostly costume jewelry. She then opened an antique store on 82nd Street in 1997, while continuing to operate her chocolate shops. The current location opened in 2012 and she closed her chocolate business a year later. Martine is proud of the fact that her store is a specially curated selection of antiques. “Everyone tells me I have a good eye, ” she said humbly. She does not work in bulk or in estate sales: everything is something that caught her eye. Martine is especially drawn to costume jewelry, old watches - “Old watches have a heart that beats, ” she said poetically - and vintage American glassware. She used to use colorful glass plates and bowls to show off her chocolates. “I look for something that is either beautiful or funny, something that makes my day. It is important to have things in your house that give you happy feelings. ”Though she still has a couple customers who have been with her from the very beginning, many of her original clients have moved away. She has realized that that is a pattern in New York: things are constantly shifting and changing. Though some change may be good, for the most part it means higher rents. “So many small businesses have disappeared. It’s so heartbreaking. ” She elaborated, “Being from France, I don’t like seeing little old buildings being demolished. ” In Martine's view, the city is starting to become too angular, as harsh modern architecture starts to take over from the old world. When she first came to the United States, she was surprised by the variety of antiques. In France, most of the antiques are French, with perhaps a few English or German pieces if you look hard. The United States, on the other hand, is a source of antiques from around the world. Martine had never come in contact with American Vintage before, and immediately took a liking to it. Additionally, costume jewelry was cheaper and more accessible in the U. S. She discovered, however, that New Yorkers were often more interested in European pieces. She explained her frustration to me: In terms of antiques, architecture, and art, Americans will travel hundreds of miles to view masterpieces but will not show any respect towards the beautiful works of art on their own shores. “I hope people wake up soon, ” she said, “and learn to not throw away the beauty of their own heritage. ”

Evan Blum, owner of Demolition Depot, has been in the business of salvaging and renovating architectural art for forty-two years. He grew up “entrenched in the arts, ” as he put it, since his father was an architect, his uncle was a well-known illustrator, and his grandfather was a craftsman, to name a few of the multiple examples he cited of artistic genes in the family. Evan had always had an interest in architectural artifacts, and upon seeing the beautiful and historic buildings around the city being torn down, he was motivated to save as much of them as he could by collecting worthwhile pieces, repairing them, and then selling them to new owners. “What we do is create art out of the construction waste stream, ” he explained. Sixty percent of what is in landfills comes from demolition, and by saving and re-selling the valuable parts of these buildings, he said he is able to minimize the amount that would otherwise be laid to waste, as well as keep the objects’ history alive. It is his attempt to “‘un-tragedy’ the tragedy of demolition, ” and to find interesting things buried within the mundane. Evan tries to repurpose as many things as he can, hence the eclectic and wide-ranging nature of his merchandise. While walking through the space on 125th Street, we were amazed by the sheer volume of fascinating and beautifully preserved items that we came across - and Evan pointed out that this is only one of his many facilities, so it is difficult to fathom the real scope of his collection. Each of the four floors of the shop housed a labyrinthine assortment of doors, stained glass windows, crucifixes, plumbing fixtures, mirrors, candlesticks, and more. When asked, Evan told us that there is not necessarily a single architectural style or period preferred by his clients. He shared the story of the rise in popularity of Gothic pieces after Cher started her Gothic furniture catalog in the 1990s. It used to be that no one wanted to buy anything salvaged from churches, he remarked, but after the catalog was released, the demand for the previously unpopular Gothic artifacts he had collected over the years surged. This is part of why he stores and saves everything he has found - as it is likely that at some point what was unwanted will become trendy and appealing again. When asked how he selects his pieces, Evan told us that his combined background in architecture, sculpting, manufacturing, and craftsmanship helps him envision which antiques would work well as focal pieces in modern spaces. In fact, a unique and integral aspect of his service is that he acts as “a designer’s designer and architect’s architect, ” giving clients his input on how to improve their projects and best utilize their spaces. While many of his clients are hotels and restaurants looking for distinctive additions to their décor, he also does work with set designers in search of elements for their latest film and TV projects, or celebrities who want to incorporate antiques into their homes. He has also outfitted some pieces in well-known museums, including the American Wing of the Metropolitan Museum of Art. While discussing his plans for the future, Evan mentioned that he will be starting an auction business, Harlem Country Auctions, behind the shop toward the end of the summer of 2017. Doing so will allow him to preserve even more artifacts, since he will be auctioning any art (e. g. paintings, sculptures, lamps, decorations) that are not "architectural, " and therefore do not fall under the purview of Demolition Depot. In the more distant future, he hopes to create his own museum where he will be able to display his salvaged art for the appreciation of the general public.

Claude-Noelle Toly came to the United States in 1982 after having received her master's degree in political science. Her original goal was to improve her English, but she could not help but fall in love with Manhattan. "Much to my mother's disappointment, I became a waitress in a tiny restaurant in the Village, ” Claude-Noelle confided. It was there, one day, that she met William Nuckel. They became fast friends and together shared a dream of traveling to the South of France on a regular basis to purchase items for a French shop. Shortly afterwards, a tiny little corner space in the West Village became available... that was also affordable. In 1987, they agreed that it was the perfect location and decided to give it a try. Built in the 1800s with three levels, the building is a perfect fit for the charming French boutique that houses antiques and collectibles. From traditional pottery and earthenware to folk art and colorful crystal chandeliers, everything about the shop is enchanting - and this includes the delightful partners. Over the years, during their trips abroad, the two have discovered many talented artisans who constantly remind Claude-Noelle of French farmers. She explained that "they are in their own little world working and producing special pieces, having very little communication with the outside world. " But, she continued, "They absolutely appreciate the fact that there is a shop in Manhattan that is selling their work. " I then learned that there is nowhere else in the States that carries their pottery. For that matter, the only other place in the world that does so is in France. In addition to the new pottery for which Le Fanion is known, the store also has a limited collection of both pottery and furniture that date back to the early and mid-1700s, alongside a larger number of items from the nineteenth century. When I revisited Claude-Noelle in 2016, she was still gushing about her longevity in the West Village and how she continues to love every minute of being on her special, quiet corner. She disclosed that there are two wonderful aspects of owning Le Fanion - traveling to the south of France several times a year, where she and William are able to interact with so many fascinating people "who have unexploited lifestyles, " and returning with new inventory to share with their customers. Claude-Noelle added that she finds it "kind of funny to think that we are a genuine organic store - we only sell wood and clay. " Who knew that they were so ahead of their time in the 1980s? "Today, everyone either tries or pretends to be organic... but we were doing it before many others, " Claude Noelle commented. After a pause, she said, "Wow, thirty years later, and we are still here - How can that be? " Claude-Noelle answered her own question: "What we sell attracts people who appreciate the quality and the stories behind the pieces. And, it continues to always be a nice moment. "

“We are pushing the boundaries of decorative arts, ” Jen Lau, the Sales and Marketing Manager, told me as we rode the elevator to the Alpha Workshops’ studios and showrooms. Jen was referring to the way the decorative arts are taught at the Alpha Workshops and viewed in the world: it is a sector of the art world that is often inaccessible to the average person, a reputation that Alpha hopes to blow open. She was also referring, however, to the purpose the decorative arts have in society. “We heal through art, ” she declared. The Alpha Workshops was founded in 1995 by Kenneth Wampler as a place where HIV-positive individuals could receive training and employment in the decorative arts. Kenneth, who came from a background working at the AIDS Resource Center, called his project “The Alpha Workshops, ” which referenced the Omega Workshops, an English design enterprise from the early twentieth century. As Jen quipped, “They were the last word in decorative arts and we are the first word in new beginnings. ” Many people get in touch with Alpha through caseworkers, flyers in pharmacies, or doctor’s offices. Today, the non-profit organization is expanding its community to include populations with other challenges, such as those living with autism, at-risk youth, and seniors, but the vision remains the same. Artists and students at Alpha Workshops are given a craft and helped to develop a plan for the future. While telling me about the series of classes that make up the Alpha Workshops school program, Jen emphasized that students are also taught how to represent themselves as artists, an important skill in a world where marketing can mean the difference between failure or success. The mission of the Alpha Workshops alone would make it an extraordinary institution, but the creations that come out of the studios offer proof of the extreme talent and creativity of the artists. “We have our own style, ” Jen said, showing us the signature Negoro Nuri pattern that they use in much of their work and that dates back to seventeenth century Japan. As Jen guided us through a vast array of decorative finishes, wallpapers, and demo furnishings, displaying faux bois finishes, verre églomisé (gilded glass), faux marble (Alpha designed the faux marble in Gracie Mansion), and countless other textured patterns, I was continuously impressed with each new technique that the artists had created. Everything in the workshop is art, from the wallpaper in the hallways, to the cube seating, to the uniquely crafted lamps. Jen pointed out a gold lamp in a pattern that mimicked rock candy. She told me the story of how the executive director came into the workshop with a stick of rock candy and said to Obadiah, an artisan at Alpha in the 1990s, “Obi, can you make this into a lamp? ” and so he did. The Eden Rock lamp is Obadiah's legacy, which lives on, though he is gone. Occasionally the studios will refurbish pieces, but mostly they are, in Jen’s words, “working with people who have ideas that they want to turn into reality. ”Though they are mainly known for wallpapers, venetian plaster, and fine finishes, their expertise covers the whole discipline of decorative arts. I had heard from Harry Heissmann about how Alpha Workshops helped turn his friend’s illustration of a minimalist Easter Bunny into a 3D rendering, but Jen shared more stories, some of which involved adapting existing creations. For instance, the artists once made a sixteen-foot ceiling sculpture using grapevine branches: The sculpture was so popular that it then inspired another client to create a chandelier from the same material. As for how clients find the Alpha Workshops Studios, they have pieces in many showrooms around the city and have garnered a reputation for being a hub of creative, highly skilled artists. It does not hurt that the organization is also helping society on a grander scale. “More established designers know about us because of our mission, ” Jen shared with a smile. Jen encourages any potential clients to come and visit the workshops, where they can see just how much the artists can do. Unlike many design centers around the city, Jen pointed out that clients “can visit the studios and classrooms right here and watch how it’s made. ” The Manhattan Sideways team was excited to explore, even without having a commission in the works. We saw artists working on everything from ornate toilet lids to hand-stamped wallpapers. Steel and blush, we learned, were the colors of the season, and so we saw yards of wallpaper patterns in the soothing metallic gray and light pink. The head of the wallpaper department pointed out the more traditional patterns as well as the new ones, describing his job as “so Zen. ” He explained that the mathematics of one geometric variation had been figured out on a computer before being completed by hand. “Artisanship meets technology, ” he said with a smile. “This is tactilely satisfying work. ”Our last stop with Jen was at street level where there is a showroom that doubles as an extra studio when there are no pop-up exhibitions. I have discovered many fascinating places as I have walked the side streets of Manhattan, but nothing that pulled at my heart strings the way that Alpha Workshops did. One person had a dream - a vision - and he was able to make it into a reality that some twenty years later continues to thrive. What was most important to me, however, is the number of lives that Kenneth Wampler has turned around, and in some cases, saved. I encourage anyone with an interest in art to discover this hidden gem, as the public is welcome to tour the facility.

The shaded garden on 149th street was not always the peaceful hideaway it is today. It was once an abandoned lot littered with garbage - a blight on the side street. Although the garden is now managed by Edo, it was her good friend Miss Maggie Burnett, a resident of the building across the street since the 1980s, who was the original driving force behind its transformation. "She was a cop, so no one messed with her, " Jahanah, Edo’s daughter, told me when I stopped by one Saturday afternoon during the summer of 2017. She was in the garden selling baked goods and cold water. She said that there were "so many badass stories" connected with Maggie. One such legend was that Maggie stopped a shooting outside simply by confronting the instigators and saying, "Not in my garden. ” In fact, she had been known to almost single-handedly police the street. Her dedication to keeping the neighborhood clean and safe is what drove her to contact then-mayor Ed Koch to request the restoration of the abandoned lot, which had long been a site for illegal activity. Mayor Koch offered her the space, and Maggie made it into a garden where she grew vegetables and even kept some chickens, “which was a nice treat for me to hear in the city, ” Edo shared. When the New York Restoration Project - founded by Bette Midler - became involved in 2002, the garden was revamped. Thanks to generous funding from the Brownstone Family Foundation, a team of horticulturists and landscape architects was able to design a place that would best serve the community. Maggie’s Garden officially reopened in 2003 in a ceremony hosted by Bette Midler and attended by guests such as former President Bill Clinton and Representative Charles Rangel. Although Maggie passed away in 2016, she remained devoted to maintaining her garden well into her eighties. “It’s visibly noticed that she’s no longer here, and you feel the absence of Maggie, because she did keep things clean, ” Edo reminisced, adding, “She was almost like a neighborhood staple. ” Edo has done her best to keep the legacy alive, explaining that she is just “tinkering in Maggie’s shadows. ” Edo does, however, allow her own philosophy on gardening to influence her modifications. As we walked down the path to the central arbor draped in hanging vines, Edo showed us the newest wind chime she was planning on putting up. “Part of gardening for me is using all of the senses, ” she explained. For this reason, she has planted more colorful flowers “to give the garden more personality, ” while also including sounds that serve as a pleasant backdrop for anyone resting on one of the benches arranged along the gravel paths. We were curious to find out about the members of the garden and their role in supporting it. Edo told us that anyone can be a member as long as they attend monthly meetings and do their shift working the soil. There are even areas specifically designated for members to grow new plants, and although they do not generally grow much food, we were assured that whatever they do harvest will be shared as a communal meal with all members. “That’s what this is for - sharing. ”

Some of the most beautiful tulips in the city can be found between Amsterdam and Columbus Avenue at the West Side Community Garden. The small green patch of urban wildlife was begun in a vacant lot in 1987. It is entirely run by volunteers. Along with the impressive flower garden, which is the center of a neighborhood Tulip Festival each April, the space features a vegetable garden and a small amphitheater. The public is invited to help plant bulbs each November and watch them blossom in an array of dazzling colors in the spring. The Garden boasted 13, 000 bulbs in the spring of 2016. And oh what an exquisite display they make. My first time stopping by the garden was in February. The gates were shut tight; however, even in the heart of winter, this charming park was filled with chirping birds. (There is an entrance to the park on both 89th and 90th Streets. )

Peter Detmold Park is a quiet, leafy space overlooking the East River. Named after a former resident of the area, the park is a bit of a secret; not visible from the street it requires descending a set of stairs to discover the park, tucked between a high brick wall on one side and the FDR Drive on the other. Perhaps the park's primary attraction is the sizable dog run, but it allows any visitor plenty of shade and some beautiful-smelling rose bushes in the summertime. I spent a few peaceful minutes sitting on one of the many benches there before beginning my morning walk across 51st. I was able to engage in conversation with some of the longtime residents and dog owners whose pets were off playing inside the fenced-off area.

Clinton Garden is a striking testament to the power of residential communities in New York. One of the earliest examples of urban agricultural reclamation, the garden was created in 1979 in a lot that had been abandoned for twenty-eight years. Seeing potential in the space and hoping to improve the area around the neighborhood, residents (with the help of Operation Green Thumb, which leased the lot from the city) transformed the VACANT property into a garden using reclaimed and salvaged bricks, concrete, and slate. Finding the gates open on a beautiful spring Saturday, I wandered in and strolled down the paths filled with magnificent flowers and shrubs. I also met committed people tending to their small plots of land, of which there are now over one hundred. I have since been back many times, as I think this is a magnificent retreat on those days that I am in a need of a place to rest while walking the side streets of Manhattan.

“INTAR is a beacon for all Latino artists in New York, ” said Artistic Director Lou Moreno, who was raised in Colombia and naturally gravitated toward the theater when he arrived in Manhattan at the age of twenty-one. At the time, INTAR was still under the management of its founder, Cuban immigrant Max Ferrá. Max created the institution out of a passion for all international art, with a special focus on Latinx work. More broadly, however, “Max was driven by beauty. He always challenged us to find the beauty in everything we did at the theater. ” His successor, Cuban-American playwright Eduardo Machado, sought to continue Max’s vision by producing plays in any venue he could rent as INTAR lacked a space of its own. Lou had been affiliated with INTAR since his first job running the light board in the 1990s. He did acting, directing, and some design before joining as Eduardo’s associate artistic director. When Eduardo departed the business in 2010, Lou took over the reins and endeavored to transform the theater and lift it out of debt. He converted the rehearsal studio on 52nd Street into a workshop space, complete with risers and a full lighting grid, and switched INTAR’s focus to developing new dramatic and musical theater productions. “I tried to honor what Max felt the theater should be. ”To Lou, establishing their own place for performances rather than renting outside theaters was a logical choice: “I can either rent and spend money paying landlords or I can spend the money on the actors. ” Once the unions got behind him, they finalized INTAR’s space within nine months and were able to put on their first show. Since then, the theater has produced about fifteen plays and developed new programming to support fledgling artists. “The heart of INTAR is based on this community of artists, so our organization will never truly die. Our artists constantly feed us, and we try to feed them. ”Though Lou longs for the day when INTAR will no longer be necessary to push Latinx work into the mainstream, he is thrilled to see a shift in the industry in recent years. “We spent so much time chasing the American theater that now we are finally at a time that they are chasing us. ”

A wonderful story of dance lay in our wake on West 55th Street, and how exciting for the Manhattan Sideways team to be able to enter inside and have a firsthand experience. The studio is named after Mr. Alvin Ailey, who began his immersion in dance while in high school in California where he went on to study with Lester Horton. In a style that later came to be known as the Horton technique, rooted in Native American Folk Dance elements and the idea of building strength by using the whole body, Mr. Ailey thrived. After moving to New York in 1954 while in his early twenties, Ailey danced on Broadway in "House of Flowers, " while continuing to study modern dance as well as ballet. In 1958, Ailey founded his own dance company made up of seven dancers. Their first performance was at the 92nd Street Y. Completely redefining dance in America, the Alvin Ailey company, initially comprised solely of African-Americans, sought to interpret and express their experiences through a style based as much in spirituality, soul, and social commentary as it was in technique and innovative movement. Ailey's most prominent work with this group, entitled "Revelations, " quickly established them as the one of the most creative set of dancers in the country. Ailey went on to choreograph works for the American Ballet Theater, the Joffrey Ballet, the Paris Opera Ballet, the London Festival Ballet, and the Royal Danish Ballet. He received numerous honors and awards, as he became recognized internationally, and in 1969, Ailey took his devotion to dance and the African-American experience to a new level by founding the Ailey School. Although Ailey died in 1989 while only in his fifties, the Alvin Ailey Dance Foundation continues his legacy and serves as the "umbrella organization. " Though Alvin died while only in his fifties, the institution continues his legacy of “using the arts for activism, ” said Sarita Allen. Taken under Alvin’s wing as a scholarship student in the 1970s, Sarita is now a longtime instructor at the Ailey Extension. “He was a champion of integration. Even more than his choreography, he demonstrated how people could dance together. They could be beautiful and harmonious, ” Sarita said. Sarita had the privilege of working closely with Alvin, and he personally selected her to join his company. “It was so vibrant compared to the classical ballet world. People of so many different colors and nationalities were given the opportunity to perform. ” This had an enduring impact on Sarita and countless others who were inspired by this portrayal of the grace, elegance, and power of the Black body. With Alvin’s unwavering support, Sarita was able to take a sabbatical from the company to embark on separate projects and work with Judith Jamison — an-other one of Alvin’s protégés who then succeeded him as artistic director of the Alvin Ailey Dance Theater. In 1988, Alvin asked Sarita to return and help mentor the next generation of dancers, enabling her to spend the last year of Alvin’s life teaching alongside him. “It wasn’t that long that we knew one another, but it was very rich. He was an extraordinary man. ” Today, not only is Alvin Ailey American Dance Theater the home for members of its company and school to rehearse and take classes, but they have an Extension Program that allows for anyone at any level of expertise to take a class taught by one of Ailey's incredible teachers. The stunning views of the surrounding area from the upper floors of the building serve as quite the backdrop for the dancing that takes place within. There are a wide range of classes offered including Salsa, Ballet, Jazz, Contemporary, Hip-Hop, Latin Jazz Fusion, Horton, Zumba, Samba and Afro-Brazilian. The Ailey Arts in Education and Community Programs works to offer the gift of dance to schools, communities, and the world. In addition, there is the Ailey Camp, a summer program that teaches dance to inner-city children in middle school, as well as Ailey Dance Kids, which emphasizes teamwork, self-discipline and creativity with school-aged children and teens. Together, the Extension program and the Education and Community programs serve to bring Ailey's core belief to life: that dance is for everyone, and it has the power to use "the beauty and humanity of the African-American heritage and other cultures to unite people of all races, ages and backgrounds.

Both a space of learning and of performing, Kaufman Music Center is home to Merkin Concert Hall, Lucy Moses School, and Special Music School. The organization was founded in 1953 and receives most of its funding through donations from music enthusiasts. The Merkin Concert Hall has been around since the 1970s and was renovated with the rest of the building in 2007. Vocal and acoustic performances of classical and new music send resonating sounds throughout the spacious 450-seat room, with its well-lit stage and impressive grand piano. Each year, the concert hall hosts the Ecstatic Music Festival, which presents one-night-only artist collaborations from across the spectrum. The Special Music School is the only public school in the city to offer music as a core subject to its gifted students, and the Lucy Moses School offers a variety of classes in music, dance and theater. "Lots of people will come back to play here as an adult having taken classes as children, " explained Communications Director Joan Jastrebski. In the summertime, the classrooms turn into musical theater workshops where specific age groups work with writers and choreographers to develop a performance for their final recital. Because every good show needs its props, a team of designers gets together to go over every last detail. Alex, one of the interns, shared with me the story of how the team scurried around to fabricate a prop microphone out of tape and foam when one went missing from the set, only to find it moments from show time. "What is exciting about the center is what people are doing, " Joan added when she took me to watch little ones dance passionately to playful music in the Ann Goodman Recital Hall. She also allowed me a peak into one of the private practice rooms on the third floor where Genya Paley, who had been with the center for over three decades, was giving a piano lesson to a young boy. "Yes, right, " said Genya as the child played each chord individually, "Now put it together. " The lovely harmony that followed exemplified the intersection of practice and performance.

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.

While gazing at the view from the thirtieth floor, some of the staff "fired up" mini cupcakes of mac n' cheese, and the bartender mixed two of their signature drinks for us to sip. We tried the Fort Knox made with bourbon, mezcal, yellow chartreuse, honey syrup, and a large grilled lemon ice block, and The Skylark composed of gin, vodka, St. Germain liqueur, blue curacao, and fresh lemon. Jasmine, the manager who guided us through the three levels, was upbeat and incredibly enthusiastic about her job. Certainly not a surprise, as not only is the view spectacular but so is the retro decor, the food, and the drinks. It sounds like she is meeting many interesting people who stop by for cocktails from the surrounding world of fashion. The lower level has a room where a small group can gather, or another with a billiards table. Up one short flight is the main lounge where the space extends across the entire building and there are different clusters of seating allowing parties to have intimate conversations. Up another stairwell, I ventured outdoors to take in the panoramic view of the city. Jasmine is excited for spring to arrive, as the Skylark opened in the fall of 2013, therefore, they have not yet been able to utilize the outdoor lounge area. I, of course, was more than happy to brave the cold in order to have the full experience of this exceptional location. Bob Savitt, the man behind this venture, owns the building, which is dedicated almost entirely to fashion houses. He decided a few years back that he wanted to add a rooftop bar, and proceeded to add on three more levels. David Rabin and the husband/wife team of Abigail Kirsch catering, Jim Kirsch and Alison Auerbuck, joined Bob to offer a sophisticated, beautiful bar setting. Skylark is only open Thursday - Saturday, as the rest of the days are reserved for private parties.

“Liquor-wise, whiskey is the greatest expression of America. ” So said Jessica, bar manager at American Whiskey at the time that I visited. Opened in September 2013, the bar immediately attracted a large industry following with its nearly two hundred varieties of bourbons and rye. The bar is more versatile than that, however, with a southern, French-inspired food menu and full bar to complement, because, as Jessica says, “even us cocktail nerds want a beer and a shot sometimes. ” Here, highbrow meets reality. Tans and grays line the space, with rough distressed wood showing through. Numerous flat screens are generously located throughout the bar, between giant busts of beasts. Following our conversation with Jessica, we spoke with Casey, an owner of American Whiskey. As simple as the story is, we found it fascinating and truly applaud the dedication that it took for a bunch of friends to follow their dream. Between the five managing partners, they have trained behind the bar, managed a restaurant, cooked and even washed dishes – “you name it, we have done it, ” Casey, told us. “We always knew that our end goal would be to open our own place. Once we graduated college and began to mature a bit, we got out of the beer mode and moved into the more refined and sophisticated world of alcohol. ” Their vision from the beginning was to find a space large enough to accommodate their sport-themed bar, as they are avid fans of multiple games. One of the partners is a University of Georgia graduate, and managed to bring in several hundred Georgia football enthusiasts on a recent weekend. Casey said the place was electric. Mimicking the theme of a vodka service, the guys came up with “barrel service. ” Served right at the table are buckets of ice, glasses and one or three liter barrels, which are whiskey-based with a variety of mixers, ready to drink. Duane, one of the several in-house whiskey experts, spent time with us sharing his passion for Bourbon. It was quite interesting to hear him speak of his experience in Kentucky, this past spring, when a few of the partners went on a trip to gain further knowledge. “What better place to go than right to the state that is famous for this, ” Duane said. However, he did go on to tell us that there are a number of states that manufacture their own whiskies – Iowa, Oregon and Montana were a few mentioned. Duane chatted about the surrounding landscape where the whiskey is produced, saying “it breathes into the barrels” and emphasized the importance of the water source – “all combined, it makes for an outstanding whiskey. ” The enthusiasm for the drink was contagious. Having only had tiny tastes over the years, I broke down and took a few sips of Duane’s signature “Strike Me Dead. ” Templeton Rye (dating from the Prohibition), black pepper, maple syrup and maple bitters were combined and finished off with some orange zest and cloves. The result was powerful and flavorful. Following that, I tried Duane's other favorite drink, “Floral Collins, ” consisting of Fords gin, cucumber juice, lavender syrup, fresh squeezed lime juice, maraschino liqueur and a slice of cucumber. Esteban, our photographer, was asked which concoction he preferred and answered that they had, “Equal goodness. ” Duane has spent the last three years living and breathing whiskey. Although incredibly conversant on the subject, he describes himself as being “humble” and said that he is simply dedicated to delivering the message of our country’s whiskey, “the voice of reason. ”

“We are beer nerds, not beer snobs. ” That is how Bo Bogle, the general manager of Gebhard’s Beer Culture, and Peter Malfatti, its beverage director, would describe the wood-furnished, cozy bar and restaurant that they opened in the summer of 2016, featuring various local and foreign artisanal beers on tap. The people behind Gebhard’s Beer Culture - the sister restaurant to Beer Culture on 45th Street - are as enthusiastic about beer as they are about educating customers. Because many of the beers that they offer are unknown to the general public, Gebhard’s will always work to find the draught that best suits each customer’s palate. If one feels like tasting several selections, the beer flight - a tray of four small glasses - is a good choice. Along with the continuously changing list of beers, the kitchen offers an ample menu of munchies, many from Belgium, as this is where owner Matt Gebhard spent time as a foreign exchange student. I was enchanted to discover how playful the space is: Upstairs, there is a games room, complete with a dartboard, shuffleboard, Hacky Sacks, and BulziBucket. The decorations throughout the bar and restaurant are eclectic, with various beer signs and novelty items covering the walls. At the front, I discovered a nook full of records, as well as a well-loved bicycle helmet. Bo and Ryan, the bartenders on duty, matched the vibe of the restaurant with their jovial nature as they poured beers for the Manhattan Sideways team. They set out glasses of citrusy TarTan Ale, a Central Waters Brewing Co beer, and a fresh, hoppy Southern Tier 2x Tangier. The two men knew exactly what to select for a hot day in the city and enjoyed tag-teaming descriptions of each beer and brand. Bo explained to us that the motivation behind Gebhard's Beer Culture is essentially a “passion for the local beer market. ” With the recent proliferation of local breweries around the city and in the rest of the country, Bo feels that “individuals are making great beers and that should be acknowledged. ” However, he believes it is not enough to simply have them on tap, but rather, the bartenders should teach customers about the local beer scene. Beer Culture’s objective is as much educational as it is to host many good nights with friends. When asked about the one thing that he would like customers to know about their new bar, Bo grinned and said: “the second beer always tastes better than the first. ”

The intimate space of red lamps, candles and beautiful music is easy to miss, as the Russian Vodka Room is somewhat hidden behind darkened windows. Luckily, my attention was piqued by the faint sounds of a piano floating out of the bar and onto the street. Walking in, I immediately noticed the huge glass vats of vodka with handfuls of fruit floating in them. This, the bar's manager informed me, is the restaurant's specialty: house-brewed, naturally infused Russian vodka. The flavors include cherry, raspberry, and apricot. In addition, 100 varieties of bottled vodka clamor for prominence behind the bar. The Russian Vodka Room also boasts a relatively diverse menu, with food "straight out of babushka's kitchen. "

Jill Herlands defines herself as a “jewelry artist, ” rather than a designer. “I believe a designer creates up until production. I am an artist. I conceptualize, produce- everything else that goes along with it. ” By staying true to her own, unique artistic vision, teaching herself how to create jewelry, and continuously expanding the bounds of her expertise, Jill has built up an entirely distinctive brand that has become widely celebrated and exhibited nationally. Jill had always loved to take apart jewelry and reassemble it in strange ways, but only started creating jewelry in 2014. For most of her adult life, Jill was in the music industry, but stopped her career to raise her daughter. When her daughter went off to college, Jill decided “it’s time for something for me to do that’s exciting - it’s time for me to do something for myself. ” She began by buying a small torch and teaching herself how to solder. Jill’s decision to become a jewelry artist was almost instantaneous, “the minute the flame hit the metal, I thought “this is it. ”” She set up a little desk in a corner of the kitchen and “just started creating. ” She did not intend to start a business originally, and simply created for her own joy. Once she had amassed a large body of work and began to post on Instagram, she quickly sparked interest in the jewelry world due to her designs that were unlike anything else. She was often told she would not succeed, since her work was too atypical, but continued nonetheless. Building up a following through her unique creations and by responding to every comment and cultivating relationships, Jill realized the interest surrounding her jewelry was real, and created her business in response. And, she continues to respond to every comment on Instagram, and “has made real friendships” through social media. Jill’s jewelry style is “edgy, avant-garde, and a mixture of feminine and masculine, ” and she specifically likes it to have “a worn-in look. ” As an example, she stated “I will use pearls, but I will mix it with a distressed metal. ” Although self-taught, Jill professed that “I can’t imagine not doing this - it’s like second nature to me. ” Jill draws inspiration from a variety of sources, including the “rock and roll vibe” from the talent agency where she used to work, her imagination, ruins, construction sites, and raw materials. She has never looked at a YouTube video, and describes her continuous learning process as her dedication to “risk taking. ” Beginning only with the knowledge of how to make a ring band and how to solder, she experiments extensively with every material she works with in order to test how it melts, how to achieve certain effects, new ways for the metal to hold gemstones, and what specific heats are best for each material. Jill is always looking for new materials to incorporate, and is particularly known for using concrete in her designs as well as using enamel with her own, original method. She learns from trial and error, but does not strive for perfection, which she views as “a little bit boring. ” She often does not plan her creation concretely before she begins, and if she makes a mistake, will try to incorporate it into her final piece. Staying true to her style, she will “create something and then melt it, or make holes in it, or make the edges sort of burnt, ” morphing her work as she goes along. Even as  the demand for her pieces grow, she still experiments in order to expand her options and grow as an artist. When Manhattan Sideways sat down with her in the summer of 2019, Jill told us that she was currently teaching herself how to crochet with gold. Everything is made by her hand, everything is one of a kind, and she believes that her jewelry is “an extension of the wearer. ” She ascertains that “each piece that I make is guaranteed to be an heirloom that you can hand down to your children and grandchildren. ” Jill has ample opportunity to craft jewelry to individually express the wearer, since almost all of her business is custom work. Whether clients ask for a piece in the style of one they were particularly drawn to on her Instagram, want her to melt down and completely recreate a piece of their old jewelry, or have any other inspiration, Jill will take as much time as needed to connect with the client and learn about them so that she may personalize the piece. Jill is especially pleased that a large percentage of her clients give her creative control, trusting her vision completely. In the future, Jill hopes to stay a niche brand with each piece being one of a kind, but to also be known globally. Although her entire workplace consists of a small room in her apartment in Hell's Kitchen, and the only help she receives is administrative, Jill describes her studio as her “little place of heaven. ”

116th Street is filled with chains, be it Dunkin' Donuts, CVS or 7-Eleven, but in the fall of 2016 Manhattan Sideways founder Betsy Polivy stumbled upon a colorful gallery quietly tucked away in a tiny space, amid all of the other shops, filled with unique pieces of jewelry, art and glass. Although everything inside the space is beautiful, it was the owners of Millennium, Bertram and Judith Romeo, who drew her in and kept her there for quite some time. Bertram came to New York at the age of 12 from Jamaica while Judith arrived with her family a year later from Trinidad. They both landed in Brooklyn and met through their brothers, who had become friends. "We grew up together, and then it became more, " Bertram beamed. He studied computer engineering, but one day, they decided that it would be fun to open a boutique and sell the pieces of jewelry that Judith had been creating. That was in 1999, and in 2023 they are still enjoying every minute of being in business together. Bertram was proud to point out the stunning earrings and brooches that his wife had made. The "Mother Earth" collection was embellished with numerous stones — each one more attractive than the next. Judith chimed in at this point and said, "We take pride and are passionate in what we do. " She continued, "We always go the extra mile for our customers and they've been coming back for years. "There is no doubt that Bertram and Judith are a fixture in the neighborhood. The door was swung open that day, and not a person went by without calling in to say "hello. " Commented Bertram, "We are always watching out for each other. "The two have added "different elements" as the years go on, changing up the inventory, but keeping true to selling jewelry, artwork and glass. In addition to Judith's artwork, the couple has a stunning selection of hand blown Venetian glass from their years of traveling to Italy. "We have loved traveling, my wife still enjoys creating, and we both adore meeting new people and spending time with those that we already know. "Since they do not travel as much as they used to, they now recruit their friends to bring interesting pieces back from their trips to inspire them. They have loyal customers, but in order to keep them around, they need to "have something different to offer them. "Bertram and Judith are inspired by current events. When the Metropolitan Museum of New York had an exhibit on American designers influenced by Asian elements, they "played around" with Asian designs. And more recently, that "something different" is pressing the essence of leaves and botanicals into silks and other materials using heat and pressure. It makes an extraordinary leaf pattern for scarves and fabrics, including oak tree pieces created with leaves from Massachusetts. Judith shared that when a couple brought back leaves from Australia, she created an Australian-themed selection. The shop represents several local artists and others throughout the States, as well as having a nice collection of art from Africa. Their clientele comes from the local community, but also the buses that travel to 116th Street each day taking tourists to the outdoor Malcolm Shabass Harlem Market next door, "and then they inevitably stop into our shop, " said Bertram. When asked if after all of these years it was still fun, he immediately replied, "I still love every aspect of the business, " and then smiled and said, "We grew up together and we are always together, and we like it this way. "UPDATE: Judith now has a sideline of Decadent Desserts for pickup at the store.

After almost thirty years in the Diamond District, Delicate Gem has made a name for itself among the several thousand other businesses that crowd 47th Street between Fifth and Sixth Avenues. An Armenian family that had lived in Turkey and worked in the diamond industry before coming to the States, the Minnetyans have been in the gem business for generations. When Arthur Minnetyan first came to Manhattan, and founded Delicate Gem, he built up a reputation among the other hard-wheeling diamond merchants by virtue of his expertise. The whole family became involved, as was common in the Diamond District, and has remained so. One afternoon, I enjoyed sitting and chatting with the family and learning more about their passion for diamonds, as it was here that my husband bought me a cherished bracelet a number of years ago. After his father, Arthur, passed away, son Ari took over the shop and has dedicated himself to selling and crafting only the best pieces of jewelry for his clients. Though he had originally planned on becoming an accountant after graduating college, his father's death drove him to come back home and carry on the family business. Ari's dedication to Delicate Gem exemplifies how ingrained the diamond business has become in the lives of diamond dealers and manufacturers on 47th. To those who work in the Diamond District, jewelry is much more than an accessory – it is a link to one's heritage and family that is time honored. As a Gemological Institute of America certified gemologist, Ari explained to me how diamonds were rated – the 4 Cs: color, cut, clarity, carat – and how he was able to help customers both pick out their favorite stone and create the jewelry on-site. On a street where competition is tough and a buyer can be overwhelmed, Ari and his family pride themselves on their honesty in the business. They, like many of the merchants surrounding their store, seek to establish relationships with clients and to gain their trust so that they may become customers for life.

"I found it to be a little boring to just sell jewelry so I tried to mix it up by adding some other items made by friends, " Christina Duarte Veronese revealed when we began our conversation. The shop has beautiful scarves, headbands, t-shirts, and, of course, an array of handmade jewelry designed by Christina herself. Arriving in New York from Rio in 1995, Christina's first job was selling leather products from Brazil. "The owner of my company was making belts for Ralph Lauren and he invited me here because I knew a lot about leather products. " But as she confessed, "I fell in love with metal, and then one thing led to another. "Before opening her boutique in 2011, Christina sold jewelry in flea markets and a variety of shows, but when a friend was giving up her lease on 7th Street, Christina said, on the spot, "I'll take it. " She makes everything in Brooklyn to sell in her East Village shop, and nowadays she finds that there are many customers who come back to her shop every time they are visiting New York. "It is because of them that I am still here. "

When I walked into Clash City Tattoos, Baz was hunched over his station, completing a tattoo sketch. The space popped with bold red walls, brightly colored ink bottles, and large tattoo designs. One could not miss the almost human-sized bass in the corner if they tried – “some friends just like to come in and play the bass, ” Baz told me as he shrugged his shoulders. Music influences much more of this tattoo shop’s ideology than I could have anticipated. Named after Baz’s favorite band, the space encapsulates the idea that just as The Clash could play such a range of genres, so too could Baz’s tattoos encompass all kinds of people. “Lawyers and rockstars alike listen to The Clash, ” he elaborated, “and I want my tattoos to unite my customers, just as a single beat can unite different listeners. ”Baz first visited the United States in 1991 while working on a cruise ship and was immediately drawn to everything American – particularly the music, cars, and TV shows. Working in a comic bookstore, he was captivated by posters for Iron Man, Planet of the Apes, and an assortment of cartoon superheroes. He claimed it was the “solid black lines, bold colors, and clear forms” of comic art that lent it a unique and sophisticated artistic quality. Moreover, his mother’s admiration for surrealist painter Salvador Dali offered him an early penchant for the freedom of abstract art anchored in bold lines – the ideal forms for tattoo art. Clients coming into Clash City Tattoos have usually heard about the store and like to visit with an idea of what they want inked. While Baz and his team are exceptionally friendly, asserting that their store “is a place that you won’t have to be afraid to walk into, ” they are also honest with clients about which designs work and which simply do not. Equipped with a creative bent, the team mostly designs custom tattoos using clients’ ideas. However, when someone comes in asking for a "full bible verse on their little finger" or an arrangement of “a heart with four names in it, two wings on either side, and a crown on top in the size of a fist, ” the team knows when to say “this isn’t working; let’s fine-tune. ” What is more, they pay exceptionally close attention to each client’s pain tolerance. While some can manage three hours of inking in a go, others (like Baz’s wife, he laughs) only last ten minutes. I asked Baz about the most challenging tattoo he was tasked with designing. When the bass player of globally-renowned British band Muse, Chris, asked for a tattoo of his son’s name, Buster, in Disney font, Baz started thinking of ways to make the design more complex and unique. A few days later, Chris and Baz were hanging out with a group of friends, when Chris recounted a story about Buster. The young boy was playing with his toys at home when he ran straight into the corner of an table and cut his forehead. But he continued with his play as usual until Chris’ wife noticed a large gash on his head and rushed him to the hospital. Buster was unfazed. The story inspired Baz to draw up the tattoo that now decorates Chris’ right forearm – a smirking cartoon kid with boxing gloves over the name “Buster” in striking black font. Chris loved it. Looking at Baz’s journey thus far, it is easy to see how he has settled into a characteristic set of themes and motifs. Through space backgrounds, gypsy girls, cartoon superheroes, and more, Baz eventually reached a signature design – “pin-up girls with stuff in their hair, ” as he amusedly called it. I was thrilled to see his gorgeous side profiles of girls with complex forms – ships, octopuses, and more – wrapped in the locks of their hair. Baz’s artistic genius spans a wide range of imagery, fixed into his defining black lines and bold forms.

After moving to her current location from East 7th Street, Lalita Kumut is pleased with her new address for selling aromatherapy products. On one of our recent visits, we stood by while a delighted group of girls were creating their own fragrances. From the variety of custom blends, soaps, oils and other smell-good body products, to the lovely women who have been in this business for over twenty years, the Fragrance Shop offers a memorable experience for the senses.

“I like our name, ” explained barbershop owner Steve Polanco, “we give people an editing. ” Having studied hair care in college and worked under another barber for many years, Steve opened his own place with his wife in August of 1984. The salon, originally known as Etsy and Twiggy, eventually morphed into a barbershop to capture the fun masculine dynamics Steve appreciated in his visits to others. One of Steve’s hires, a ninety-year-old man, was the son of Frank Sinatra’s father’s barber, and received immediate and plentiful requests as soon as he started, a barber with a following. Steve showed me some old photographs and smiled, “People get some editing and some laughing. ”

I had been told about Salon Riz by several people who live on the Upper West Side. They raved about Mike Riz’s space and told me that it cultivated a comfortable, relaxing environment unlike any other - "a visceral experience" is how Lisa, at the nearby women's boutique, Pachute, describes her time spent here. Still, I was surprised by the warm, rustic salon that greeted me when I came through the door. It felt more like a garden patio with its little mossy birdhouses and strings of postcards decorated with grasses. Flowers and botanicals met my eye wherever I looked and a central table was filled with treats including fresh brewed tea with honey, cookies, crackers, and pretzels. Examining the offerings more closely, I spotted a bottle of Disarono and removed the lid of a plate holding healthy, gluten-free “Aussie bites. ”Mike’s story of immigration to Manhattan is fascinating (and an example of why I so love to walk and meet the people on the side streets). Growing up in Beirut, Lebanon, he originally wanted to be a jewelry designer, but did not have enough money for materials. Instead, he turned to hairstyling. He swept the floors in a Beirut hair salon for the equivalent of $3 per week and miraculously managed to save enough money to pay half the tuition to go to beauty school. The school wanted to refuse him admittance because of his lack of funds, but Mike persuaded them to let him work as a janitor at night in order to pay off the rest. He graduated and started making a name for himself as a hair stylist, catching the attention of Lebanese celebrities. He moved to New York in 2004, but is still sought out by old Lebanese clients traveling in the area. Mike worked on the Upper West Side for ten years before realizing his dream. Today, he has some college age clients who have been coming to him since they were children. I, too, have become an immediate fan. I walked out of the salon after my first visit knowing that I would not be going anywhere else again. In addition to brightening up my color and giving me an outstanding haircut, I was totally taken by the ease with which Mike and his team work and the speed that he gets his clients in and out without making them feel rushed. I loved the intimacy of Salon Riz best of all. Katherine is the manager of the salon and her loyalty to Mike was apparent from our first conversation. She met him while they were both working at Extreme Color and then followed him when he opened on the West Side. In speaking about the decor, she commented, “Even the tiniest detail Mike picked out. " She pointed to a picture frame, showing that the angle at which it hung, forming an asymmetrical diamond, was specifically chosen by Mike. He is constantly adding to his cozy home and changing it for the seasons. “Every time I come, something is different or added, ” Katherine said. When I visited, it was late January, and some small flowers had already been hung from the lights in anticipation of Valentine’s Day. Katherine shared that on February 14th, everyone who walks into the salon leaves with a rose. Katherine went on to say that in the springtime, Mike hangs butterflies on the ceiling, giving clients something pretty to look up at while getting their hair washed. Mike told me that the space used to be the rubbish room for the building. He picked up the little sign ("RUBBISH") that he had saved and decorated as a remembrance. The renovation understandably took a long time, and when he opened in June of 2014, he had only just finished construction. He is now very pleased with the place he has carved out for himself a year and a half later, calling it “rustic chic. ” “This is a space for the community, ” he told me. He hosts various events in his salon, including a comedy show featuring Danny Cohen of Comedy Central along with five other comics and a holiday bazaar through the month of December. Mike either shares the space for special events, as was the case when shop owners took over the treats table during the winter holidays, or he completely reconfigures the interior for shows, using salon chairs as additional seating. Sometimes the events are directly tied to enhancing the experience of his customers, such as when he brought live music into the salon during New Year’s Eve to entertain the clients having their hair done. Katherine shared some of the other unique concepts that Mike has instituted to enhance everyone's experience. For his frequent customers, he has special alerts next to their name in the computer system, such as, “This customer likes Tina Turner and white wine. ” Because of the personal attention and the warm relationship that Mike has developed with customers, they often wander in just to say “hi” and to grab a cup of coffee. “I always encourage people to come in and say hello, even if they’re not getting their haircut, ” Mike said. Though he gets a lot of people who live and work in the neighborhood, he is also sought out by many men and women throughout the city. On the day that we stopped in to take some photos, Olivia, a member of the Manhattan Sideways team, shyly asked if Mike might have a second to trim her bangs. She was so pleased to be attended to by this gifted artist and loved the way that he styled her beautiful long head of red hair. She paid particular attention to the product that he used - Mike told us that Label M, designed by hair stylists, was a London Fashion Show sponsor. He went on to say that he always tries to stay on top of the newest and best hair products. Cost is not an issue; quality is what matters to him. I believe that Mike has gained not only me as a new customer, but Olivia as well. Upon leaving Salon Riz, Olivia declared that the journey from Brooklyn will certainly be worth the trek.

Stepping into Ramini, we were immediately drawn in by the quirky decor with partially exposed brick, a wooden bench, vintage spoons hanging in a display and cleverly painted walls. The Cafe offers teas, coffee concoctions, and hot chocolate, as well as a colorful assortment of macarons, which were the perfect decadent treats to nibble on with a hot mocha. Also in Ramini's homemade collection of pastries were cheese and olive bourekas, brownies, cookies and mini croissants. For those keeping to a healthier diet, there is a juice bar with fresh cleansing juices constantly being made to order. We chose to linger at one of the two tables as it enabled us to appreciate the constant flow of dedicated customers as the late morning became early afternoon; always a sign of good service, good coffee and good food.

Much of Pennylane's personality is evident in its chic - yet stark - decor. The walls are painted black and grey and the people who queue up around the wooden countertop are clad in colors from the same palette: office grays, blacks, and blues. Founded by a former member of the fashion industry, Sung Kang, Pennylane encapsulates the trendy New York vibe. Just off Second Avenue, it is a haven for aficionados who crave a serious cup of coffee from producers like Parlor Coffee or Heart Roasters. It is also a great place to unwind with a stronger beverage, as Pennylane serves wine and beer later in the day. For most of his life Sung had been complacent about his coffee choices. He would stop by a familiar Starbucks or Dunkin Donuts for a cup of joe and would go about his business, like many other New Yorkers. One day, a few years back, he came across a cafe in TriBeCa that changed the way he saw coffee. Sung was so impressed by the flavor, its richness and texture, that he started doing some research. Sung read every book on which he could get his hands and spent some time on the web reading NY Times writer Oliver Strand's famous coffee-related column, "Ristratto. " Eventually, Sung realized that he wanted to start his own cafe and began to ask his friends what they thought was the best coffee shop in the city. A couple of friends pointed him to Sweetleaf, a cafe in Brooklyn. Sung offered to work as an unpaid intern there so that he could learn about the business and, after chatting with the manager, got the job. He stayed there for six months before he got up the courage to begin his own business – Pennylane Coffee. In the early summer of 2014, while we were walking 45th street, Sung was coming up on his first anniversary and reflected on what he had learned in the past year. The thing that was most different from his previous job, he thought, was facing the consumer. As a merchandiser, he never had to interact with the people who bought the final product. Instead, he would work with store representatives and stay behind the scenes. As a barista and business owner, Sung has had to learn to interact with customers and try to gauge whether they like the coffee or not. Sung prioritizes customer service and tries to talk to people about the coffee they are drinking when patrons are not swamping the counter.

Coffee is an essential ingredient in the everyday lives of many New Yorkers, and Richard Agudelo, the owner of Terremoto, takes this fact very seriously. He only provides single origin, best trade coffee, which means that he knows exactly where his coffee is coming from. In sitting down to discuss his business with him, I learned that he owns fifty percent of a coffee farm in Colombia, which allows him to have a close relationship with the people who grow his coffee and to ensure that the end result is the highest possible quality. “We know our farmers, milk purveyors, water suppliers, everything. We make sure that it is locally-sourced as much as possible - everything down to our grill. ”Richard, who is also a creative director, has always loved coffee. After several years of research, he finally decided to open Terremoto on 15th Street in 2016, recognizing that this particular neighborhood "needed a place for high-quality coffee. ” Terremoto, which means earthquake in Spanish, is named in part after Richard. He spent his summers as a child staying with his uncles in Colombia, who often called out in Spanish, “Look, the earthquake arrives” upon his entrance. “I was a handful, ” Richard admitted. Laughing, he added, "Our caffeinated drinks will wake you up, just like an earthquake. "Terremoto first made headlines for its famous espresso machine, which is covered in twenty-four carat gold. While the machine is certainly flashy, Richard said that he decided to buy it to serve as an homage to the original espresso makers from the early twentieth century. They were similarly plated in metal, usually copper or brass. In order to add a little twist, Richard decided to buy one covered in gold. Terremoto serves a wide variety of classic espresso-based drinks and a number of specialty teas. Richard donates twenty percent of the revenue generated from three of these drinks to charity: the Purple Rain, a lavender and vanilla based drink, the Space Oddity, a rose and vanilla based drink, and the Terremoto, a dulce de leche beverage. He has worked with various artists throughout his career, hence the references to famous songs. He donates to Music Cares and to a variety of emergency relief funds. Richard shared with me that he was a first responder at 9/11. He lived three blocks from the site, and grabbed a respirator from the hardware store below his apartment before going to help shovel out the debris. He has remained committed to helping other emergency relief efforts, having donated money to the earthquake in Haiti and the tsunami in Indonesia. Terremoto’s 15th Street location was his first, but Richard has already expanded to Brooklyn with the hope of continuing to open more shops while providing high quality, single origin coffee.

Sweet aromas lure one into this tiny coffee and tea shop on west 70th. Originally founded in 1976 across the street, the Sensuous Bean moved to its current location in 1990 and is now co-owned by partners in life and in business, Lucretia La Mora and Tom Wilson. "People follow their noses, " explained Tom of the cafe's success. And even horses cannot resist - he recalled one peeking its head through the door as an officer grabbed a cup. "We blend to taste, " Tom added. Each day, beans are grinded on site and brewed in three roasters for a hot cup. And although small, the place is stocked with a large selection of coffees and teas sourced from a variety of regions. The chai spice tea comes from India and the Mexican Vienna brew from Zimbabwe. The assortment of flavorful tisanes includes intriguing names like red velvet cupcake or bella coola lemon lime.

The warmly painted walls inside Veselka envelop the room in folky florals and traditional Ukrainian symbols. Hanging from the ceiling are glowing milk glass globes that seem to replace the sun or moon depending on the time of day — and it could be any time at all, as Veselka is open for twenty-four hours, seven days a week, serving a smorgasbord of pierogis, bowls of borscht, and other expertly prepared comfort foods — Ukrainian and otherwise. Wlodymyr Darmochwal planted roots for Veselka when, as one of the founders of the neighborhood Plast organization (akin to the Ukrainian boy scouts, teaching survival skills and Ukrainian language), he was asked to create a weekend study program for the boys. In response, he opened a five-and-dime style counter at the corner of East 9th Street and Second Avenue where the boys could buy paper clips, cigarettes, lighters, and, notably, bowls of borscht and other basic Ukrainian foods. The business expanded into another storefront on East 9th Street a decade later. After Wlodymyr’s passing in 1972, it was taken over by his stepson, Tom Birchard, who was later joined by his son, Jason. Today, having worked at the restaurant since he was a teenager, Jason has “done every single job possible here except cook the borscht. ”When Jason joined the team, one of his first projects was to find out, “How late can we stay open? ” It turns out the answer was “all night. ” As Tom and Jason once again prepare to expand the restaurant into an adjoining storefront on 9th Street, they are eager to continue serving the next generation the kind of traditional Ukrainian food that Wlodymyr would have had at his counter more than sixty years ago.

Au Za’atar is an Arabian-French bistro at the edge of Alphabet City that serves everything from Mediterranean cheeses to couscous to mezze, a variety of small plates meant to accompany drinks — which can be paired with Au Za’atar’s extensive wine and craft beer offerings. The chef is Lebanese, but there are plenty of recipes originating from Morocco and Tunisia as well. The restaurant’s interior is simple and inviting, with brick walls, rich wooden tables, and red leather booths, making it a great place to sample some exotic dishes or just grab a drink at the bar.

Biking with my husband on a beautiful August day, I stopped short when I noticed something new and picturesque on 5th Street. It was three o’clock in the afternoon, but I had been holding out until I discovered the perfect place to grab a bite to eat, and I certainly landed in an ideal spot. The rustic charm indoors, with replicas of the farm equipment used in Italy hanging from the ceiling, captured our hearts immediately, but it was the food – the outstanding rice dishes – that solidified Risotteria Melotti indefinitely on my list of top restaurants to recommend. Since the restaurant was quiet at this odd hour, we were able to chat casually with the staff throughout our meal, and we learned not only about the history of the restaurant, but also about the world of rice. Back in 1986, a couple began producing rice on one acre of land in Verona, Italy. Almost three decades later, together with their three sons, Rosetta and Giuseppe now farm 544 acres of land, all devoted to growing award-winning rice that is sold the world over. There are basically two different textures of the grain that they produce. Vialone, the more traditional rice, is rich in proteins and vitamins and, because it absorbs liquid better, is used for their delicious risottos. Carnaroli rice, “considered one of the best in the world, ” is more readily used in salads because it remains al dente when cooked, adding a chewiness to the superb insalata di riso that we shared. We both marveled at the combination of chopped tomatoes, cucumbers, roasted red and yellow peppers, capers, fresh mozzarella and, of course, brown rice. When we first sat down, a bread basket was placed on the table. Their take on focaccia was very good, but I could not stop sampling their rice cakes throughout our meal – the basic recipe is made in Italy and then flown here to be tossed with olive oil, salt, pepper and fresh rosemary and then baked for fourteen minutes. I cannot say enough about how amazing the second dish that we tried tasted. We never knew that you could make polenta from anything but cornmeal, but we had our eyes opened to something new and wondrous when we had our first taste of polenta fritta con caciottina – a fried rice polenta with mushrooms and cheese that was perfectly moist in the middle with an added crunch on the outside. Every mouthful was rich and heavenly. This brand new restaurant – the first outside of Italy – serves about thirty people, making for an intimate setting, especially when evening falls, the lights are dimmed and the candles are lit. Up front there is a little “shop” that sells many of their rice products. The staff explained that the family has made an across-the-board decision to only offer Melotti’s gluten-free rice merchandise in the States. Thus, anyone eating gluten-free can come to their restaurant and be served a carefree, excellent meal. Anyone fortunate enough to live in the area can either have their food delivered to them in their home or office, or stop by, browse the menu, and take it to go. I have no doubt that we would be eating a lot more rice if we lived in the East Village, but we will visit as often as we can.

Three friends and self-proclaimed theater kids — John Soroka, Michael Quinn, and Gary Alaimo — were searching for something to do in between jobs and auditions. They started a flower shop, Everlastings, out of their shared apartment and began making arrangements for street fairs, offices, and homes. Upon realizing that the business had taken over their living space — “There were flower petals everywhere, ” John recalled — the trio rented a place in Hell’s Kitchen and decided to sell gifts and cards along with the bouquets. With time, these additions became the central focus of the shop, which was later renamed Delphinium Card & Gift. Though some thought the men were “insane” for opening in Hell’s Kitchen, they have remained a fixture in the area for over two decades and counting. “We had taste, we knew what we wanted, and we always had a knack for knowing what the neighborhood needed, ” John mused. Buoyed by their initial accomplishments, the trio started a second store, Delphinium Home, that stocked home goods and accessories, followed by a men’s clothing store, Wear Me Out, in 2003. In the aftermath of the 2008 financial crisis and with the cost of rent skyrocketing, the friends closed the boutique and consolidated the two Delphinium shops into one location in 2011. Today, they sell decorations, home furnishings, works by local artists, and clever greeting cards that are handpicked by John. “Now that I’m not doing theater anymore, it’s my creative outlet. "Delphinium Home is my theater, ” he joked. Overall, John appreciates how lucky they are to have surmounted so many obstacles thanks to the constant support from the people around them. “We are only here by the good graces of those who have known us for such a long time and love what we do. ”

Laughing, Grace Kang told me that when she was first getting started and running operations out of her apartment, her doorman handed her a box and commented, “Olives aren’t pink! ” She went on to explain the name, which, like many aspects of Pink Olive, is inspired by her niece, who has quite the imagination. Being that her niece loved pink and Grace was partial to both pink and green, Grace chose to name the business after those two colors. However, she did not want to name her store “Pink Green, ” so she decided on “Pink Olive, ” which suggests that in the fanciful world of the store, pink olive trees grow. Though Grace is originally from the West Coast, she considers New York to be the place where she grew up professionally. Her experience as a buyer at Bloomingdales, Saks, and Barney’s helped shape her skill set and her career. “I’m very Cali at heart, but New York is my home, ” she told me. Her customers see Pink Olive as a New York-centric business, and after speaking with her, it was clear that the city featured prominently both in her original development of her gift store idea and its current identity. When Grace first started looking for a space for her whimsical gift shop, she contemplated numerous locations, but one day, her mentor suggested that she should “go into an area that you have a personal connection with. ” Grace admitted, “The East Village always felt like home to me, ” and so immediately following her meeting, she decided to take a stroll in the neighborhood, spotted a For Rent sign on 9th Street, and started the ball rolling at an alarming pace. In 2007, Pink Olive was given a home. Grace’s business has evolved since its inception - it began primarily as a store for babies, and then expanded to include more gifts for every age. In the years since she opened, she has noticed that there are more and more new babies named Olive. At the same time as Pink Olive's opening, two Japanese girls started Atsuyo et Akiko. Grace began carrying their “Je t’aime NY” onesies, which continue to be a top seller for New York babies. Some of the other items that Grace cannot keep in stock are the New York metro card rattles made by Estella. She pointed out that the items are “a no-brainer, but unique. ” Pink Olive is where people now come for tasteful New York-themed gifts for every age range. Additionally, there are clever cards, scented candles, and chic accessories, among many other delightfully whimsical items. When I asked Grace how working as a buyer for the women’s departments of more corporate companies helped her in opening Pink Olive, she said that buying for women’s fashion is very different from buying for a gift store, but that she is glad to have had the experience. In fashion, everything is far more fast-paced, since lines are seasonal. Grace said it was very much like the mantra about succeeding in New York: “If you can survive the fashion world, you can survive anywhere in the buying world. ” But Grace is very happy to have followed her more personal passion by entering the gift business. She considers her time at Pink Olive extremely rewarding, since she can be a part of the special moments in people’s lives, whether it is a birthday, a new baby, sending snail mail to an old friend, or redecorating an apartment. And Grace feels that special moments are not few and far between: “I truly believe that everyday there’s a reason to celebrate. ”

Maison 10, an exciting and innovative gallery and boutique project from the minds of co-founders Tom Blackie, Henri Myers, and Carsten Klein, opened in June 2016. For the trio of founders, ten is the magic number, as the space operates in ten-week cycles, each centered on ten featured works by a particular artist, alongside ten different product categories, each with ten carefully selected items. Customers can also choose one of ten different charities to which ten percent of the proceeds of their purchase will be donated. Maison 10 combines the founders’ shared love of art, culture, and philanthropy. Despite its bare bones appearance, the storefront is bound to catch the pedestrian eye, or perhaps first their nose with sage burning out front. When Manhattan Sideways stopped by, the wall on the side of the building featured a striped mural, which we learned is repainted every ten weeks by the newest featured artist. The shop is minimally decorated with white display tables showcasing a colorful array of products. It is clear that the room is meant to be rearranged every ten weeks, and that the items on display speak for themselves. The window display rotates even more frequently, changing daily at four pm. “It’s all about engaging with customers. We like to keep it fresh, and the opposite of formulaic, ” Tom remarked with a laugh. The only constant presence in the store is the large statue of a gorilla sitting in the back corner, overseeing the boutique. The founders’ wide range of backgrounds and experiences give Maison 10 the worldly quality it effortlessly seems to possess. Henri, who is originally from New York but has spent quality time in Los Angeles, has spent most of his professional career working in fashion marketing and branding development, attending trade shows, and cultivating a keen sense of taste. Tom, who hails from Scotland, cut his teeth working in the London non-profit sector, learning the intricacies of how charitable institutions operate. Carsten, who is of German origin, is the visual thinker of the group, working mostly in typography, packaging, interior and web design. The three have each made New York their home and describe their shop as “a mixture of all our worlds put together. ” By combining their skills of curation, altruism, and design, these men have created a space dedicated to ethical consumerism. So, why ten? In addition to being a good number for design and numerology, ten has a nostalgic connection for the team. “When all three of us were teens, growing up in our different cities, we were music freaks, and we would run to the record stores every week to keep track of the top ten charts, ” Henri recalled. Similarly, the diverse selection of gifts, fine art, and lifestyle items ranging from candles and books to handmade jewelry appears to be the best of the best. “With only ten categories and ten products, we’ve already pre-selected the best items, and they all have a story, ” Henri noted as he moved between a fruit bowl made from copper and walnuts to a bag made from authentic Japanese satin. “It mostly comes down to personal taste. These are the things we love and feel should be on everyone’s radar. It’s about introducing the customer to an experience one on one. We want to bring back shopping. ” Henri mentioned how important it is that Maison 10 offers products at a wide range of prices, so as not to alienate any potential customers, “We wanted to make it so that you could come in and find a $15 book, a $600 bag, or even a $7, 000 piece of art. ”Nine out of the ten charitable organizations to which the men donate remain fixed throughout the year. The tenth changes with the cycle and is chosen by the designer. The fixed charities are mostly found through personal connections thanks to Tom’s work experience in the non-profit world, and thus are largely New York- and London-based. The impressive list contains local favorites like Housing Works, which is dedicated to fighting the dual crises of homelessness and AIDS, and SAGE, which supports LGBT elderly nationwide. There are also world humanitarian causes including Orange Babies, an Amsterdam-based organization that advocates for HIV positive pregnant women throughout Africa. The Manhattan Sideways team visited right around the first anniversary of Maison 10's opening, and Tom was pleased to report that the business was doing well after its first year. “It keeps getting busier and busier; people love the concept and we’ve definitely gained some super fans who come in every two or three days. " The founders told us that many people who live in the vicinity come in on a regular basis to introduce the shop to their friends. The men are thrilled that they are on their way to becoming a "strong community" - "We believe in our project and we believe that it’s good for the street too. ” They have already collaborated with their neighbors, such as Yeohlee Teng, whose work was featured during a cycle. The team is also working directly with designers on future products, including an original fragrance by Henri himself. Events are a regular part of Maison 10's cyclical process, with launch and closing parties every ten weeks that boast several hundred guests over the course of the night. Additionally, the shop hosts “Friday Night Live” which features five of the designers and five display islands organized by category. These provide an opportunity for customers to interact with the artist or designer, adding a personal touch to the consumer experience. At each of these events, Tom, Henri, and Carsten can be seen in their signature black jumpsuits.

The excellent selection of herbs, flowers, leaves, roots, and seeds at Flower Power can spice up any home, flavor any cuisine, add zing to any tea, or add a little pizzazz to anyone’s day. There is so much to see and learn – glass jars packed with herbs, dried flowers hanging from the ceiling and a helpful staff willing to converse about the healing power of any item. After spending some time here taking in the aroma, we definitely walked away feeling calm and centered. And as we learned from neighboring shops, Lata Kennedy, owner of Flower Power, is the "main witch of the East Village. " She is described lovingly as a healer for all.

After I had been sitting for a while by the window in the front room drowned in red floral prints and warm smells, Amanda, the young lady serving customers behind the counter, led me through the red door into the kitchen. Lee, his son, and another employee stood together, working to finish another tray of Rugelach. There was an unglazed chocolate cake beckoning like a temptress from a table nearby, the scent of apricot and dough about to be baked filled the air, while the whirring of the freezers echoed in the background. "This is where the magic happens, " Amanda declared. Well, after tasting several of Lee Lee's famous Rugelach – a Jewish flaky pastry dough rolled and filled with a variety of fillings including nuts, chocolate and jams - I can confidently state that there is magic involved. Alvin Lee Smalls came to New York from South Carolina when he was twenty years old in 1962 and found himself working in the kitchen, of New York Presbyterian Hospital, peeling onions. He remained there for many years, learning the ins and outs of the kitchen and cultivating a love for cooking that would carry him through much of his life. While speaking with Lee, I learned that it was on Christmas day in 1987 that he decided to bake Rugelach for the people at the hospital from a recipe he had found in the newspaper. Lee's take on Rugelach was met with wild approval from his co-workers, and his destiny has been tied to the pastry ever since. In 2016, Lee proudly told me that he makes about 700 Rugelach a day and even more for the Jewish holidays, when he works around the clock to supply his customers with his delicious desserts, all made by hand, all made with love. In addition to the Rugelach, the bakery offers incredible cakes, danish, and cookies. I sat with Lee for quite some time listening to his stories, while also observing the steady flow of customers that continued to march in and out of the screen door. Some were regulars who Lee greeted warmly, while another astounded me by saying that despite living in the neighborhood for years, she had never bothered to drop in. After sampling some of Lee's Rugelach, however, she announced, emphatically, that she would definitely be back. "People are just so surprised that this black man makes Jewish pastries! " Amanda told me. "I love sweet, " Lee said and added a piece of advice to live by, "but if you're going to eat something sweet, eat the good stuff. "

Founded by Antonio Veniero, who emigrated to New York as a teenager from a small town outside Sorrento on Italy’s Amalfi coast, Veniero’s has been an East Village mainstay since the turn of the twentieth century. Initially a confectionery shop, it later evolved into a cafe and then a full-fledged pastry shop, with culinary creations by some of Italy’s finest bakers. Along with his wife, Pasqulina, and their seven children, Antonio followed the Italian custom of keeping business in the family. Veniero’s passed through four generations until reaching its current owner, Antonio's great-nephew Robert Zerilli, who had worked at the cafe alongside his father, Frank, for decades before taking over. Beyond the business legacy he left behind, Antonio also birthed an extensive family tree. “The Venieros are every-where, ” Robert quipped, adding that the legendary Bruce Springsteen is his second cousin. The business savvy of the extended Veniero family has helped keep the shop alive. Tales of Antonio’s relentless determination to succeed are still retold with pride by his relatives. He is also credited with bringing electricity to the neighborhood, home to mostly poor immigrants at the time, by rallying local support and collecting signatures to sway the reluctant energy company. In another bit of local lore, Antonio is said to have ushered in the entry of Italian espresso to the city, as he started roasting his own beans right in the shop’s backyard. Fittingly, Robert has Veniero’s to thank for meeting his wife, whose love for their iced cappuccinos made her a regular customer until he found the courage to ask her out on a date.

The Manhattan Sideways team is always excited when they discover a shop that specializes in chocolate. On this particular day, we were also delighted to spend some time chatting with owner, Kamila Myzel. We learned that this heavenly little store has resided on 55th for over two decades, and has an old-fashioned candy shop charm to it. Kamila makes every effort to be sure that anyone who steps inside her door feels welcome, and she went on to say that she uses her grandma's recipes for the many different sweets she sells. She bakes all the cookies herself, right on the premises, with her signature being the "Ultimate Cookie, " a chocolate chip cookie that is then dipped in chocolate. Like many of the store's confectionary delights, Kamila is from Europe; she moved from Poland in 1981, and worked in a few other shops with sweet treats before opening this one. Licorice is a specialty at Myzel's, and Kamila explained to us that she carries over 130 different types of licorice made from licorice root that their loyal customers adore. On one of my visits, Myzel's was decked out for Halloween, with candied skulls, pumpkins, and a number of other appropriate decorations squeezed into every nook and cranny. Apparently, Kamila decorates extensively for each major holiday, but she said her personal favorite is Thanksgiving, as it has the "most sincere meaning. " Myzel's even makes chocolate turkeys for the occasion! Until recently, Kamila had a partner with whom she decorated, baked, and ran the store: her mother, Lucy. The mother/daughter team worked together in the sweet shop until the summer of 2015, when Lucy sadly passed away. We had the pleasure of meeting Lucy and seeing the love and devotion that the two women had both for the store and each other. What we derived from our conversations with Kamila was the joy the store brought to her and her mom over the years. Together they have put so much thought and love into Myzel’s Chocolate, and it is clear that her mother lives on in the warmth, color, and happiness that the store evokes. “It’s what’s inside that matters, ” Kamila insisted as she spoke about how much she loves connecting with people through sharing candies and sweet treats with them.

Named after the street where it was first located in SoHo, Sullivan Street Bakery was established in 1994 by former sculptor and bread aficionado, Jim Lahey. Meeting him one afternoon, while grabbing a bite of some of the freshly baked flat breads and sandwiches, was a double treat for members of the Manhattan Sideways team. It is always nice to learn the history and hear the passion of a shop directly from its owner. After spending eight months living in Italy and studying the art of bread making in the early 90's, Jim came back to the States with a talent for baking some of the best loaves around. Though he could only bake in his Williamsburg garage between shifts at other jobs, he continued to experiment with his own recipes and eventually started selling his product at street markets. Auspiciously, the first time he sold his bread was at a market on the corner of Houston and Sullivan Street, close to the site of his future brick-and-mortar. Jim moved Sullivan Street Bakery to the current location in Hell's Kitchen in 2000 and remains as involved in his business as ever – in fact, he lives right above the shop. He is famous for his revolutionary bread baking technique, often referred to as no-knead baking. In short, instead of pounding bread into a table, Jim lets the dough sit for fourteen to twenty hours, allowing it to ferment, and then puts it in a 450 degree oven for about an hour. The simple technique has encouraged many, including my own husband, to bake bread at home and rave about the results. In addition to Jim's bakery on 47th, he also opened Co. (short for Company) in 2009, where guests are invited to sit at communal tables to indulge in his variety of pizzas and other scrumptious items on the menu. Having written two books – My Bread (2009) and My Pizza (2012) – Jim has become a figurehead in the movement that is raising the standard for bakers everywhere, especially in Manhattan. It is his ultimate hope that the art of bread making will become as much of a cultural practice here as it is in Italy.

A new phenomenon has graced the neighborhood that is First Street — a place where one can not only do laundry, but also have a cup of coffee, enjoy a beer or a glass of wine, or munch on a sandwich while waiting for clothes to dry. Meet The Wash House, operated under the same owner as the Little Fox Café (a few blocks away on Kenmare Street). The space is narrow and offers high stools at skinny wooden tables placed against two walls and the front window and beautifully decorated with vintage mirrors. Behind the bar and counter area is where the washing machines and dryers reside. When we stopped in on a rainy afternoon, there were two people waiting for their laundry who looked content sipping coffee and snacking on grilled cheese. The barista told us that the grilled cheese is a favorite and that they also serve pickles courtesy of the Pickle Guys along with fresh baked goods brought in from local small businesses. We love the unique idea of a café and laundromat coming together in such a cozy and relaxed environment.

The first time we dropped by this shop in its little niche of 18th Street, we spent the better part of an hour sorting through old New York postcards. Recently, we were there again and could not help but spend more quality time slowly sifting through trinkets and curios displayed behind glass. Partners for over fifty years, Robert Pusilo and Paul Lemma's reserve of vintage 1950s lamps, baby boomer cartoon memorabilia, Murano glass, barware, a substantial collection of 1960s napkin holders, and salt and pepper shakers is a treat to wander through. And if all of this is not enough, it is Christmas all year round at Authentiques. The collections of ornaments and other decorations is remarkable as are the shelves filled with Halloween merchandise. Most certainly, this well-filled shop on 18th is a fabulous place for anyone with a penchant for nostalgia.

Mona Lopez met Al Howard when she was working at a bar in the Bronx. A detective with the New York Police Department, he would come into the bar to make sure that police were not stopping by and drinking while on duty. When Mr. Howard purchased Showman’s in 1978, he convinced Mona to check out his new place on 125th Street for a few days. Those “few days” turned into “over forty years, ” Mona said. “It’s been good. I’ve met a lot of great people. Mr. Howard is now in his nineties, he would like to sell Showman’s, and when he goes, so do I. Mona never tires of relaying the story that made Mr. Howard a hero in Harlem. On his first day out with his partner Phil Romans in 1958, Mr. Howard got a call that there was a problem at a book signing involving Martin Luther King Jr. A “crazy” woman had stabbed him with a letter opener, missing his heart by a speck. Mr. Howard told another woman who was about to pull the letter opener out to not touch it — and warned Dr. King not to “sneeze or move” as he could sense that the opener was too close to his heart and could be fatal. Mr. Howard and his officers summoned the ambulance that took Dr. King to Harlem Hospital, where they saved his life. Showman’s has had three homes through its long life in Harlem. When they were located next door to the Apollo Theater, Mr. Howard had the 125th Street beat. “He fell in love with the people going in and out of the theater dressed up in proper attire. ” The musicians would then go into Showman’s on their breaks and hang out, sometimes performing. The first Showman’s location held 300 people, the second could accommodate half that amount, and since 1999, the bar has the capacity to hold only eighty. Mona describes this space as far more intimate. No food is served, but occasionally she will cook something up and everyone is invited for a potluck dinner during the three performances each week. Mona welcomes the younger generation, particularly the students from Columbia University who appreciate the history and charm that Showman’s offers — but she emphasized, “Believe it or not, there are still people left who have been coming to Showman’s longer than I have been working here. ”

The story of Little Picasso is of a woman who understands priorities. Isabella Grossman, originally from Israel, was a successful fashion designer working in China when she learned that her daughter was pregnant. She decided that she had to be in her granddaughter's life and chose to move to Manhattan. Between applying for positions in the fashion world, and working temp jobs, Isabella played with her granddaughter. Early on, she realized that her granddaughter was artistically talented, and whenever she could, she engaged her in elaborate art projects. One day, Isabella's daughter suggested to her mother that perhaps she should begin a new path and teach art to children. Thus, Little Picasso was born. Isabella teaches all ages from preschool up through high school, and always knows exactly how to adapt her lessons to the skills and interests of the children. As a grandmother myself, I was completely drawn to Isabella, both for her artistic passion and her devotion to her precious granddaughter. While listening to her, it became apparent that she is adamant about not teaching "cookie cutter arts and crafts. " Though she appreciates simple arts and crafts studios, she feels that there are enough places like that in the city. Isabella prefers to help children learn "real" art techniques, and educates them without them knowing that they are learning. Isabella spends time teaching students to make pyramids, and does folding projects that demonstrate how 2D foot plans become 3D shapes. Looking around, I found an amazing paper mache project made to look like an archaeological dinosaur dig and rows of sculptures and raised paintings making use of recycled materials. Some of the art, made with painted tissue paper, reminded me of Eric Carle's technique, known universally in his classic book, The Very Hungry Caterpillar. When I told Isabella this, she admitted that she reads that story to the younger children, whose lessons end each week with a picture book and a snack. In her small, warm studio, Isabella brings a worldliness that sets her above the rest. She informed me that she teaches her students to "literally think outside the box. " Though she is happy with the life that she has built for herself in New York, she would love to return to Israel one day, as she is torn having her son there as a "Lone Soldier, " and she is sorry she cannot be with him. Understandably, Isabella considers herself fortunate that she can spend so much time with her granddaughter, now five years old, and her two-year-old grandson, and open up new worlds of colors and forms to them and so many others in and around Manhattan.

The Anita Shapolsky Gallery is named for its founder, whom I had the pleasure of meeting when she invited me to No. 152. Having first opened in SoHo in 1982, by the late nineties, Mrs. Shapolsky told me that by the late nineties she was ready for a change, and so she moved the gallery closer to home – in fact, into the building on 65th Street where she had been living for twenty-two years. Since 1997, the gallery and Mrs. Shapolsky have shared a home. The relationship is truly a symbiotic one. "What would you do in a house without art? " she exclaimed. "They take the paintings down between shows, and I'm sick with nothing on the wall. " Her bedroom is tucked into the second floor of the building, concealed behind accordion doors, and in another room of the gallery, a shoe closet is just ajar. On the day that I sat down to speak with Mrs. Shapolsky, the feature exhibit, , was by the artist Russell Connor, whose art riffed on classic painters, pairing them and their masterworks with references to other, more modern pieces. Mrs. Shapolsky said that she thinks of it as an educational show, as it exposes visitors to art history, and brings the old and the new together. Having been invited to a lecture by the artist, I had the pleasure of meeting Russell Connor, and listened as he elaborated on a number of the paintings; each one has a hidden joke for the seasoned art historian. This exhibit was a change from Russell Connor's accustomed style; he usually prefers abstract art for which the Anita Shapolsky Gallery is best known. When Mrs. Shapolsky opened her gallery, she decided to focus on the Abstract Expressionists of the fifties, especially those of the New York school. She had no experience at the time working in or running a gallery, only a great passion for art. "It was madness, sheer madness, " she told me. But despite the mad ambition of the project, the gallery has been a great success. Mrs. Shapolsky drew on her connections to other artists and friends in order to bring the appropriate pieces into her space. Although she knew that the aesthetic was not popular at the time, Mrs. Shapolsky told me that she had grown up with the abstract expressionists, and felt that they represented an important artistic avante garde. The Anita Shapolsky Gallery excels not only at exhibiting important art, but also at connecting that art to people. To be both in a gallery and a home is a unique experience, and meeting Mrs. Shapolsky was a privilege. She is as much a part of the gallery as is the art. On the day that I met her, she was wearing a piece of art around her neck. Her jewelry was made by Ibram Lassaw, whose work can also be seen at the Guggenheim.

When I asked Alex Harsley if he knew who owned the 1968 Dodge Dart parked outside his gallery, his response was “that is mine…I purchased it in 1974, and have enjoyed it ever since…my car is all about the good times. ” Complete with a penguin in the driver’s seat and an owl in the navigator seat, it certainly reflects the creative and historic atmosphere of the 4th Street Photo Gallery right behind it. Alex opened his gallery in 1973 and describes it as a “museum of the past. ” Although certainly showcasing past techniques, scenes and individuals through its extensive collection, Alex has always been one step ahead of the curve throughout his long career in photography and videography. Alex developed his photography skills by playing around with the different techniques he had created as well as by learning from his mistakes. His career as a professional photographer began in 1959 when he got a job with a New York Attorney’s Office. After being drafted into the army, Alex was able to become a supervisor in the photography department at Color Lab due to his knowledge of photo chemicals and his ability to be “very good at getting weird kind of situations that no one knew anything about. ” In the 1970s, Alex began to focus deeply on experimenting with the photo chemical process. He became interested both in increasing his understanding and in spreading his knowledge to other photographers. He was able to open an art organization with the help of other artists that he was working with at the time, which he used as a platform for research, collaboration and teaching. His organization, 4th Street Photo, is as much a community as it is a gallery. Since 1971, Alex has offered his space as a showcase for photographers of all backgrounds, as well as a meeting place where ideas are exchanged, portfolios are reviewed and new friends are made. It has been instrumental in giving distinguished photographers their first significant New York City solo exhibits. Throughout his career, Alex has done an immense amount of work freelancing in both photography and video, collaborating with other artists on projects, and even producing video that would be displayed in the Whitney. He has also had the incredible good fortune of having spent time photographing both John Coltrane at the Apollo Theater and Muhammad Ali when he was a young fighter. However, in the early 2000s, Alex realized that he was doing very little of his own work and decided to return to his own collection to begin the process of printing. He eventually produced around “2, 000 or 3, 000” of his own prints, many of which are displayed or stored in his gallery.

Despite its limited size, one could spend an entire day in George Glazer Gallery and probably still not see everything that the space has to offer. There are fascinating items covering every nook and cranny, from the ceiling to the staircase to the bathroom. Though there are many pieces, as George says, it is “exciting clutter” rather than overwhelming clutter, and a true treasure hunt to look through. I kept finding surprises, such as a column made from the inside of a piano, a set of miniature fire tools, and strings of scorekeeping devices for games of pool dangling high above my head. After years as a corporate attorney, George embraced his love of collecting art and opened his gallery in 1993. He began on the corner of Madison Avenue and 72nd Street, on an upper floor, but recently moved north due to rising rents. As he pointed out, however, the internet has made it so that it is no longer as important to have a prestigious address. According to George, having a well-maintained website and good social media skills is far more crucial to running a successful antique business. He also assured me that he has a strong international client base that reaches out to him online. Even though he has moved away from Madison Avenue, George is very happy to have found his current side street location. He loves the ceilings, which remind him of the original definition of “gallery, ” a room in an English country house with tall ceilings. There is a garden out back that George occasionally uses for storage and events. The biggest change he has encountered, however, is foot traffic. Now that he is on the ground floor, he has more people coming by to stare in the window and occasionally wander in. Though many pieces originate from outside the United States, such as a long Tibetan instrument mounted on the wall and the Venetian glass sconces made in the shape of clowns, most of the items in the gallery were purchased in the States. “There’s a remarkable amount of stuff here already, ” George commented. He not only collects pieces: George is also somewhat of an artist in his own right in the way that he arranges things, along with his gallery manager, Jeffrey. For example, I saw an old employee time card grid covered in various antique ornaments. The result was a visually fascinating display. “We make our own little art, ” George said with a smile, gesturing to a figure of Humpty Dumpty sitting on a bed of coral above the doorway. George’s passion is definitely globes. He has a vast collection, spanning from a rare celestial globe to an enormous thirty-six inch specimen. More generally, George’s taste leans towards items that have a practical or scientific purpose. He also collects judges’ gavels and has a fair number of door knockers. After observing as much as I could upfront, we proceeded to the back of the shop where George puts pieces that he is particularly fond of close to his desk so that he can appreciate them most of the day. My eye went right to a wooden satyr face and an odd madmen-esque desk sign that reads “MISS PARR. ”After showing me the back room where he occasionally fixes things, and telling me about a few prop-rental projects he has taken part in, George became introspective. “This place is an alter ego, ” he admitted. “It’s for sale, but it’s what I like. ” He continued on to say that his very specific style is not for everyone, but at the same time, he is confident that his often minimalist, modern antiques can fit into a wide variety of design schemes. His gallery is purposefully set up so that customers can see how things might look in a lived-in space. “It’s more like a place where people live. ” That is, if the people living there are slightly eccentric. “We have a lot of odd things, ” George confessed laughing.

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.