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The Politics of Urban Regional Development

13 New York, New York In which Brown and Coupez cross the country in order to attend the Attica Day Protest in Buffalo and visit fellow female prison activists in Brooklyn As the summer came to a close, Rita andTherese decided to solidify their ties with their colleagues inAttica Brothers LegalDefense by attending the annualAtticaDay demonstration in Buffalo, NewYork, on September 21, 1975. After the protest, they would drive to Brooklyn and meet others who provided support to incarcerated women. Two of the Attica Brothers they had brought out to Seattle, Frank

Transnational Lives of New Immigrants

72 While California was welcoming our fi rst wine and our initial foray into London came as something of a lark, New York was another mat- ter. Getting restaurant buyers and retail shop own ers in Manhattan to pay attention to Shafer proved diffi cult. The East Coast wine estab- lishment was still much more oriented toward Old World wines, spe- cifi cally those of Burgundy and Bordeaux. Wine- buying habits in- grained over a couple of centuries had hardly been erased in the four years since the Judgment of Paris. The second thing that worked against us was

New York Artists' Models There is no model-market in New York, no certain place where those who wish to hire themselves out to artists as models appear at a par- ticular time and at a particular place. He in New York who wishes a model and hasn't taken up artistic headquarters in one of the fashionable studio buildings like Carnegie Hall, The Sherwood, The Rembrandt, and Van Dyke—where models go around like peddlers and offer themselves like wares—he must go on the hunt himself, and that will be trouble enough. I speak from experience. A list of names

9. NEW YORK I left for New York on February 11, 1929, and arrived there February 12, 1929. That night I played a dance with Luis Russell's band at the Savoy Ballroom. Benny Carter's band was at the Savoy too. We'd play a half hour and they'd play a half hour. Louis Armstrong was next door with Cal Dixon's band, but we drew all the crowd. We really had a romping band. The union let me in right away because I was the only one around playing my style of string bass and a lot of guys wanted me. Luis Russell's theme was Call of The Freaks. We called Luis

T H E P H O T O G R A P H Y O F M A X Y A V N O New York: 1938- 1941 O city, cities! We walked in all weathers on the wrinkled back Of that great lizard, the metropolis; streets were far Between our longing and the window of our loves .. . A camera was already wound in our heads: V\Ie had seen the young old women of Dorothea Lange, Ben Shahn's tough children in their father's hats, Dusty windshields of the inner migration. We were persuaded: "Art is a weapon, too" i. Underneath Third Avenue El, c. 1938 T H E P H O T O G R A P H Y O F M A X Y A V N O

O N E New York March One day in mid-March, a few weeks before the promotion cere- mony, Nakasato Michio had returned from a staff meeting to his general manager's desk in Project Development. The digital clock face set in his paperweight showed 3:30. One hour before his next meeting to negotiate on a project for tourism in Okinawa. As he was expected at an early dinner meeting hosted by a major construction firm, he could not idle away this precious hour. He set to work on a pile of papers awaiting his decision. Acknowledging a welcome cup of tea that a young

T H E N E W Y O R K S C H O O L 1 9 5 0 I should like to speak briefly of the generation of abstract artists in this country who came into prominence between 1940 and 1950 and who for the most part, though there are three or four exceptions, are now between 35 and 45, that is to say, born be- tween 1905 and 1915. For convenience's sake I shall call the group of artists to which I am referring the School of New York, and to identify the school more specifically, though others could be named, I can cite, as characteristic examples among the sculp- tors