Comments on: On Broadway http://www.greatwhatsit.com/archives/22 The daily organ of the Northeast Corridor Social Club Sat, 11 Feb 2012 04:32:57 +0000 hourly 1 http://wordpress.org/?v=3.3.1 By: The Great Whatsit » Bearded http://www.greatwhatsit.com/archives/22#comment-182 The Great Whatsit » Bearded Mon, 06 Mar 2006 13:50:11 +0000 http://www.greatwhatsit.com/blogtest/archives/22#comment-182 [...] I had other reasons too. More than ever since moving here, my life this year has synched up with my seaport surroundings. The neighborhood bar I frequent is often filled with what our group of regulars refers to fondly as “the boat people”: the crew of the South Street Seaport Museum’s historic schooner, the Pioneer, whose conga-line bar-singing antics I’ve mentioned here before. Their beards started creeping in with the cold. One new volunteer sailor even transformed himself in a matter of weeks from a two-tone, Vespa-riding ska kid, skinny tie and all, into the very image of Herman Melville: [...] [...] I had other reasons too. More than ever since moving here, my life this year has synched up with my seaport surroundings. The neighborhood bar I frequent is often filled with what our group of regulars refers to fondly as “the boat people”: the crew of the South Street Seaport Museum’s historic schooner, the Pioneer, whose conga-line bar-singing antics I’ve mentioned here before. Their beards started creeping in with the cold. One new volunteer sailor even transformed himself in a matter of weeks from a two-tone, Vespa-riding ska kid, skinny tie and all, into the very image of Herman Melville: [...]

]]> By: Bryan Waterman http://www.greatwhatsit.com/archives/22#comment-23 Bryan Waterman Thu, 26 Jan 2006 15:11:00 +0000 http://www.greatwhatsit.com/blogtest/archives/22#comment-23 WNY represents! Thanks for the comments. RE: The question about the difference between then and now: I think the observations about an ongoing performance-orientation in our culture are spot on. Of course we preen and strut like peacocks--at least a certain segment of the population does (those who have time and money to worry about what they wear). I see two differences between the older literary descriptions of Broadway and what happens now, both of which you've already hit on: First, social space has democratized to the point that the divisions between performers and audiences--clearer distinctions in the 18th-century city--are not as readily recognizable as they once were. Is this a bad thing? Of course I don't really long for the day when only the wealthiest of New Yorkers had a right to promenade on Broadway. And maybe today's fashionistas sneer the way the fashionable have always sneered, so the division still exists, at least in their minds. I was thinking more about the unique situation, in these descriptions, that there was a specific street for all this to happen on. It's interesting to me that a single street was designated, at least as a literary trope, as the place where such politics played out. (Of course the Bowery offered a counter-promenade, but that's another story.) This leads to the second point your comments bring out: the way the fantasy of being watched has been both geographically universalized (insert Daniel's comment about "entering stage left every time I walk out my front door") and also largely internalized, probably in the face of population growth, diversity, and the semi-democratization of social space. ("Semi-" because I have to remind myself that since the Giuliani regime, certain people <em>have</em> been deemed unworthy to take up space on Broadway, especially in Disney's Times Square, and are shuttled out of view whenever necessary.) Kasa Mi's point about iPods and the cinematic nature of our fantasy lives while we walk around listening to our own personal soundtracks is spot on. But the ubiquity of that performance itself says something about the problems of the celebrity fantasy, doesn't it? It's not just about being seen walking down a street; it's about being <em>somebody</em> recognizable, and if the only validation we're willing to give ourselves is available at the very exclusive level of mass celebrity, what does that really say about the quality of the rest of our lives? It's why, for me, the "Rhinestone Cowboy" personality is both compelling and really, really sad. And then there's the connection a friend made offline about promenading as a metaphor for blogging. Not sure I want to go there in the first week of The Great Whatsit's reincarnation ... WNY represents! Thanks for the comments.

RE: The question about the difference between then and now: I think the observations about an ongoing performance-orientation in our culture are spot on. Of course we preen and strut like peacocks–at least a certain segment of the population does (those who have time and money to worry about what they wear). I see two differences between the older literary descriptions of Broadway and what happens now, both of which you’ve already hit on: First, social space has democratized to the point that the divisions between performers and audiences–clearer distinctions in the 18th-century city–are not as readily recognizable as they once were. Is this a bad thing? Of course I don’t really long for the day when only the wealthiest of New Yorkers had a right to promenade on Broadway. And maybe today’s fashionistas sneer the way the fashionable have always sneered, so the division still exists, at least in their minds. I was thinking more about the unique situation, in these descriptions, that there was a specific street for all this to happen on. It’s interesting to me that a single street was designated, at least as a literary trope, as the place where such politics played out. (Of course the Bowery offered a counter-promenade, but that’s another story.) This leads to the second point your comments bring out: the way the fantasy of being watched has been both geographically universalized (insert Daniel’s comment about “entering stage left every time I walk out my front door”) and also largely internalized, probably in the face of population growth, diversity, and the semi-democratization of social space. (“Semi-” because I have to remind myself that since the Giuliani regime, certain people have been deemed unworthy to take up space on Broadway, especially in Disney’s Times Square, and are shuttled out of view whenever necessary.) Kasa Mi’s point about iPods and the cinematic nature of our fantasy lives while we walk around listening to our own personal soundtracks is spot on. But the ubiquity of that performance itself says something about the problems of the celebrity fantasy, doesn’t it? It’s not just about being seen walking down a street; it’s about being somebody recognizable, and if the only validation we’re willing to give ourselves is available at the very exclusive level of mass celebrity, what does that really say about the quality of the rest of our lives? It’s why, for me, the “Rhinestone Cowboy” personality is both compelling and really, really sad.

And then there’s the connection a friend made offline about promenading as a metaphor for blogging. Not sure I want to go there in the first week of The Great Whatsit’s reincarnation …

]]> By: Daniel G http://www.greatwhatsit.com/archives/22#comment-19 Daniel G Thu, 26 Jan 2006 04:23:26 +0000 http://www.greatwhatsit.com/blogtest/archives/22#comment-19 At the expense of possibly admitting that I don't "get it", I honestly don't understand how difference in fashion or attitude truly changes the core desire. I'm forever amazed at the consistency of human emotions and desires, regardless of the pretense. I remember when I was a child, I was walking with my father, and we passed a guy with a 12" green mohawk. My father, noticing my awe, turned to me and said, "He doesn't look like that when he wakes up in the morning. That takes some work." What difference does it make if we're wearing big sunglasses or green mohawks, both of which carry an attitude of, "don't look at me." Isn't painfully obvious these are our own peacock displays? And what's the difference? Speaking of best hats, do you think those rabbit trooper hats are cheap? Isn't it the same human emotion, to perform and put on a display? Is it not just as grand a display? I've never felt like the "stage" of the street has suffered in the slightest, nor the performance. regardless of whether the sparkle of Braodway has been replaced with dirty black gum spots. The display goes on all the same. I feel that the tradition of promenading has been present my entire life, before I was even conscious of it. The tradition seemed as alive on Gran Via in Madrid as it does on Elizabeth outside Cafe Habana on any given Sunday afternoon, as long as the sun's out. Just because people are, or pretend to be, in denial about their motives, does it really change the underlying emotion? I feel like I'm entering stage left every time I walk out my front door, regardless of whether or not I'm up for it. Maybe I just don't get it.... Either way, I enjoy the discussion, and I'm enjoying your class. See you Monday. Daniel At the expense of possibly admitting that I don’t “get it”, I honestly don’t understand how difference in fashion or attitude truly changes the core desire. I’m forever amazed at the consistency of human emotions and desires, regardless of the pretense. I remember when I was a child, I was walking with my father, and we passed a guy with a 12″ green mohawk. My father, noticing my awe, turned to me and said, “He doesn’t look like that when he wakes up in the morning. That takes some work.”
What difference does it make if we’re wearing big sunglasses or green mohawks, both of which carry an attitude of, “don’t look at me.” Isn’t painfully obvious these are our own peacock displays? And what’s the difference? Speaking of best hats, do you think those rabbit trooper hats are cheap?
Isn’t it the same human emotion, to perform and put on a display? Is it not just as grand a display? I’ve never felt like the “stage” of the street has suffered in the slightest, nor the performance. regardless of whether the sparkle of Braodway has been replaced with dirty black gum spots. The display goes on all the same. I feel that the tradition of promenading has been present my entire life, before I was even conscious of it. The tradition seemed as alive on Gran Via in Madrid as it does on Elizabeth outside Cafe Habana on any given Sunday afternoon, as long as the sun’s out.
Just because people are, or pretend to be, in denial about their motives, does it really change the underlying emotion? I feel like I’m entering stage left every time I walk out my front door, regardless of whether or not I’m up for it. Maybe I just don’t get it…. Either way, I enjoy the discussion, and I’m enjoying your class. See you Monday.
Daniel

]]> By: Kasa Mi http://www.greatwhatsit.com/archives/22#comment-18 Kasa Mi Thu, 26 Jan 2006 03:11:50 +0000 http://www.greatwhatsit.com/blogtest/archives/22#comment-18 Yes, interesting article...and I wonder if people still do that today--get really dressed up and flaunt their existence without having any real destination. Is it still about cultural politics? Maybe it's more about economics and social politics these days--the market playing off the need for people's materiality and materiality of self. Just think of what it does to the psyche: You have your newest fashionable risk, and you're desiring to see how people might take it in (for example those big bear feet boots or an outlandish dress). You get dressed, throw on your "oversized glasses", perhaps a hat. You put on your earphones...probably the white ones signifying you have an IPOD which you are sure to make visible. And you make your way onto a populated street. Sure enough you get a few stares, some comments. Maybe it's not so much about cultural politics like the old days--since anyone can walk on the streets of Broadway these days, and since even if you wore the craziest outfit, it's not like you would be banned from Broadway. Perhaps it more about economics and social politics--the judgments others pass on you, and the image you portray about what you have and what others don't or what others want. Maybe you don't care about what others say, but it's the fact that they are taking notice that creates more self-awareness (good or bad). And what do you (and when I say "you" I mean universal)? You walk along as if this is your movie...as if you are the star in your own film, listening to your IPOD that is the soundtrack of your promenading existence. Are we are pretentious asses? Yes, interesting article…and I wonder if people still do that today–get really dressed up and flaunt their existence without having any real destination. Is it still about cultural politics? Maybe it’s more about economics and social politics these days–the market playing off the need for people’s materiality and materiality of self. Just think of what it does to the psyche: You have your newest fashionable risk, and you’re desiring to see how people might take it in (for example those big bear feet boots or an outlandish dress). You get dressed, throw on your “oversized glasses”, perhaps a hat. You put on your earphones…probably the white ones signifying you have an IPOD which you are sure to make visible. And you make your way onto a populated street. Sure enough you get a few stares, some comments. Maybe it’s not so much about cultural politics like the old days–since anyone can walk on the streets of Broadway these days, and since even if you wore the craziest outfit, it’s not like you would be banned from Broadway. Perhaps it more about economics and social politics–the judgments others pass on you, and the image you portray about what you have and what others don’t or what others want. Maybe you don’t care about what others say, but it’s the fact that they are taking notice that creates more self-awareness (good or bad). And what do you (and when I say “you” I mean universal)? You walk along as if this is your movie…as if you are the star in your own film, listening to your IPOD that is the soundtrack of your promenading existence. Are we are pretentious asses?

]]> By: Bryan Waterman http://www.greatwhatsit.com/archives/22#comment-17 Bryan Waterman Wed, 25 Jan 2006 23:22:01 +0000 http://www.greatwhatsit.com/blogtest/archives/22#comment-17 2 things i really couldn't care less about, though it feels good to work on a magazine again, even if it's mostly for fun. 2 things i really couldn’t care less about, though it feels good to work on a magazine again, even if it’s mostly for fun.

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