The Bowery Boys: New York City History

Celebrating the history of the Metropolitan Museum of Art in the 150th year since its founding -- and certainly one of the strangest years in its extraordinary existence. The Met is really the king of New York attractions, with visitors heading up to Central Park and streaming through the doors by the millions to gasp at the latest blockbuster exhibitions and priceless works of art and history. And who doesn’t love getting lost at the Met for a rainy afternoon — wandering from the Greek and Roman galleries to the imposing artifacts within the Arms and Armor collection and the treasures of the Asian Art rooms? But this museum has some surprising secrets in its history -- and more than a few skeletons (or are those mummies?) in its closet. WITH Ancient temples, fabulous fashions, classical relics, Dutch masters, controversial exhibitions and the decorative trappings of the Gilded Age. AND Find out how the museum building has evolved over the years, employing some of the greatest architects in American history

Cleopatra’s Needle is the name given to the ancient Egyptian obelisk that sits in Central Park, right behind the Metropolitan Museum of Art. This is the bizarre tale of how it arrived in New York and the unusual forces that went behind its transportation from Alexandra to a hill called Greywacke Knoll. FEATURING The secrets of the Freemasons, a mysterious and controversial fraternity who have been involved in several critical moments in American history (including the inauguration of fellow Mason George Washington.) PLUS A newly recorded tale about another ancient landmark that has made its way to New York City -- a column from the ancient city of Jerash, brought here because of ... Robert Moses? boweryboyshistory.com boweryboyswalks.com This is a re-presentation of a show originally released on June 26, 2014 with new 2020 bonus material recorded for this episode. Support the show: https://www.patreon.com/boweryboys

Charles Stratton, who would become world famous as “Tom Thumb” in the mid-19th century, was born in Bridgeport, CT on January 4, 1838 to parents of average height, and he grew normally during the first six months of his life -- to about 25 inches or so. And then, surprisingly, he just stopped growing. When P.T. Barnum, the master showman, would meet Charles and his parents, Charlie was 4, and he’d be signed on the spot to play the part of “General Tom Thumb” at Barnum’s American Museum. He’d be given a fancy new wardrobe, a new nationality (British), and a new age -- 11 years old. Charles would perform for the rest of his life as “Tom Thumb”. He’d enchant European royalty and American presidents, and sell out crowds around the world. And in 1863, during the darkest days of the Civil War, he’d be married in New York’s Grace Church to Lavinia Warren, another Barnum employee and another performer of short stature. Their wedding would be a sensation, and would actually knock news from the battlefields off the fr

Fraunces Tavern is one of America’s most important historical sites of the Revolutionary War and a reminder of the great importance of taverns on the New York way of life during the Colonial era. This revered building at the corner of Pearl and Broad street was the location of George Washington‘s farewell address to his Continental Army officers and one of the first government buildings of the young United States of America. John Jay and Alexander Hamilton both used Fraunces as an office. As with many places connected to the country’s birth — where fact and legend intermingle — many mysteries still remain. Was the tavern owner Samuel Fraunces one of America’s first great black patriots? Did Samuel use his position here to spy upon the British during the years of occupation between 1776 and 1783? Was his daughter on hand to prevent an assassination attempt on the life of George Washington? And is it possible that the basement of Fraunces Tavern could have once housed a dungeon? ALSO: Learn about the two deadly

Interview with author Eric K. Washington, author of “Boss of the Grips: The Life of James H. Williams and the Red Caps of Grand Central Terminal”. The Red Caps of Grand Central Terminal were a workforce of hundreds of African-American men who were an essential part of the long-distance railroad experience. Passengers relied on Red caps for more than simply grabbing their bags -- they were navigators, they helped with taxis, offered advice, and provided a warm greeting. In his 2019 book, “Boss of the Grips: The Life of James H. Williams and the Red Caps of Grand Central Terminal”, author Eric K. Washington tells the remarkable story of Williams, “The Chief” of the Grand Central Red Caps. He was a boss to many, a friend to thousands of passengers, and a confidant to celebrities, politicians… even occupants of the White House. He also tells the story of Grand Central Terminal, and specifically, of the Red Caps who worked here, especially during the Terminal’s heyday in the first half of the 20th century. And a

Ancient space rocks, dinosaur fossils, anthropological artifacts and biological specimens are housed in New York's world famous natural history complex on the Upper West Side -- the American Museum of Natural History! Throughout the 19th century, New Yorkers tried to establish a legitimate natural history venue in the city, including an aborted plan for a Central Park dinosaur pavilion. With the creation of the American Museum of Natural History, the city finally had a premier institution that celebrated science and sent expeditions to the four corners of the earth. Tune in to hear the stories of some of the museum's most treasured artifacts and the origins of its collection. But there's also a dark side to the museum's history, one that includes the tragic tale of Minik the Inughuit child, subject by museum directors to a bizarre and cruel lie. PLUS: How exactly do you display a 68,100 lb meteorite? AND: What will be the fate of that controversial Theodore Roosevelt monument? A 2020 update! boweryboyshistory

PART 2 of our two-part podcast series, "A NEW DEAL FOR NEW YORK" In this episode, we look at how one aspect of FDR's New Deal -- the WPA's Federal Project Number One -- was used to put the country's creative community back to work and lift the spirits of downtrodden Americans. Federal Project Number One -- the "artistic wing" of the Works Progress Administration -- inspired one of the most important and lasting cultural revolutions in the United States, an infusion of funds that put musicians, painters, writers and the theater community back to work, creating works that would promote and celebrate the American experience. The already-rich creative communities of New York City thrived during the program in several unique ways -- from the stages of Broadway to the art studios of Harlem. In this episode we present several tales from the four main units of Federal One -- the Federal Music Project, the Federal Theatre Project, the Federal Art Project and the Federal Writers' Project Including the stories of these

PART ONE of a two-part podcast series A NEW DEAL FOR NEW YORK. For Part One, we look at the impact FDR and New Deal funding had in shaping New York City's bridges and parks -- thanks to an especially tenacious parks commissioner! New York City during the 1930s was defined by massive unemployment, long lines at the soup kitchens, Hoovervilles in Central Park. But this was also the decade of the Triborough Bridge and Orchard Beach, new swimming pools and playgrounds Faced with the nationwide financial crisis, newly elected President Franklin Delano Roosevelt chose to boldly take the crisis on a series of transformative actions by the government that became known as the New Deal. No other American city would benefit more from the New Deal that New York City. At one point, one out of every seven dollars from the Works Progress Administration (WPA) was being spent in New York. And the two men responsible for funneling federal funding to the city was Mayor Fiorello LaGuardia and his new parks commissioner Robert M

The Serbian immigrant Nikola Tesla was among the Gilded Age's brightest minds, a visionary thinker and inventor who gave the world innovations in electricity, radio and wireless communication. So why has Tesla garnered the mantle of cult status among many? Part of that has to do with his life in New York City, his shifting fortunes as he made his way (counting every step) along the city streets. Tesla lived in Manhattan for more than 50 years, and although he hated it when he first arrived, he quickly understood its importance to the development of his inventions. Travel with us to the many places Tesla worked and lived in Manhattan -- from the Little Italy roost where the Tesla Coil may have been invented to his doomed Greenwich Village laboratory. From his first job in the Lower East Side to his final home in one of Midtown Manhattan's most famous hotels. Nikola Tesla, thank you for bringing your genius to New York City. PLUS: The marvelous demonstration at Madison Square Garden in 1898 that proves that Tes

The newspapers of Joseph Pulitzer and William Randolph Hearst -- the New York World and the New York Journal -- were locked in a fierce competition for readers in the mid 1890s. New Yorkers loved it. The paper's sensational style was so shocking that it became known as "yellow journalism". So what happens when those flamboyant publications are given an international conflict to write about? On February 15, 1898, the USS Maine mysteriously exploded while stationed in Havana Harbor in Cuba. While President McKinley urged calm and patience, two New York newspapers jumped to a hasty conclusion -- Spain had destroyed the ship! The Spanish-American War allowed Hearst (with Pulitzer playing catch up) fresh opportunities to sell newspapers using exaggerated reports, melodramatic illustration and even outlandish stunts. (Think Hearst on a yacht, barreling into conflicts where he didn't belong.) But by 1899, with the war only a recent memory, the publishers faced a very different battle -- one with their own newsboys,

In the 1890s, powerful New York publishers Joseph Pulitzer and William Randolph Hearst engaged in an all-out battle for readers of their respective newspapers, developing a flamboyant, sensational style of coverage today referred to as "yellow journalism". This battle between the New York World and the New York Journal would determine the direction of the American media landscape and today we still feel its aftermath -- from melodramatic headlines to the birth of eyewitness reporting and so-called "fake news". The two men come from very different backgrounds. Pulitzer, a Hungarian immigrant who started his publishing empire in St. Louis, used the World to highlight injustices upon the working class and to promote worthy civic projects (like the pedestal of the Statue of Liberty). Hearst, himself the wealthy publisher of the San Francisco Examiner, entered the New York publishing world, specifically aimed at competing with Pulitzer. In many ways, he "out-Pulitzered" Pulitzer, creating extraordinary daily publ

The story of the Lenape, the native people of New York Harbor region and their experiences with the first European arrivals — the explorers, the fur traders, the residents of New Amsterdam. Before New York, before New Amsterdam — there was Lenapehoking, the land of the Lenape, the original inhabitants of the places we call Manhattan, Westchester, northern New Jersey and western Long Island. This is the story of their first contact with European explorers and settlers and their gradual banishment from their ancestral land. Fur trading changed the lifestyles of the Lenape well before any permanent European settlers stepped foot in this region. Early explorers had a series of mostly positive experiences with early native people. With the Dutch settlement of New Amsterdam, the Lenape entered into various land deals, “selling" the land of Manhattan at a location in the area of today’s Inwood Hill Park. But relations between New Amsterdam and the surrounding native population worsened with the arrival of Director-G

It's summer in the city, so we're re-issuing our Bowery Boys Movie Club podcast devoted to Midnight Cowboy, the 1969 buddy film starring Dustin Hoffman and Jon Voight. There are few time capsules of New York’s darker days quite as pleasurable as Midnight Cowboy. It’s hardly as provocative as when it was released in May 1969, but its ragged edges have only become more remarkable to view as a piece of history, paying tribute to an era often romanticized today. If you’ve never seen the film — don’t worry, we’ll walk you through it, scene by scene, with some history and bad jokes thrown in. Or you could stop and watch it now, and then listen — it’s up to you! Be sure to check out our blog post about Midnight Cowboy, which includes filming locations around the city. This episode is made possible by our supporters on Patreon, and is part of our patron-only podcast series "Bowery Boys Movie Club". Join us on Patreon to access all Movie Club episodes, along with other patron-only audio.Support the show: https://www

A history of the comic book industry in New York City, how the energy and diversity of the city influenced the burgeoning medium in the 1930s and 40s and how New York’s history reflects out from the origins of its most popular characters. In the 1890s a newspaper rivalry between William Randolph Hearst and Joseph Pulitzee helped bring about the birth of the comic strip and, a few decades later, the comic book. Today, comic book superheroes are bigger than ever — in blockbuster summer movies and television shows — and most of them still have an inseparable bond with New York City. What’s Spider-Man without a tall building from which to swing? But not only are the comics often set here; the creators were often born here too. Many of the greatest writers and artists actually came from Jewish communities in the Lower East Side, Brooklyn or the Bronx. For many decades, nearly all of America’s comic books were produced here. Unfortunately that meant they were in certain danger of being eliminated entirely during a

In New York City, during the tumultuous summer of 1776, the King of England lost his head. Two hundred and fifty years ago, Colonial New York received a monumental statue of King George III on horseback, an ostentatious and rather awkward display which once sat in Bowling Green park at the tip of Manhattan. On July 9, 1776, angry New Yorkers violently tore down that statue of King George and, as the story goes, rendered his body into bullets used in the battles of the Revolutionary War. Flash forward to 2020 — cities across the United States today are reevaluating the meaning of their own public monuments. Critics say that removing memorials to the Confederacy, for instance, work to ‘erase history’. But a monument itself is not history lesson, but a time capsule of the motivations of the culture who created them. And that’s why this story from 1776 resonates so strongly today. Public statues do have meaning. And for New Yorkers — in the run up to American independence — one statue represented oppression, ser

EPISODE 332 The Manhattan neighborhood of Yorkville has a rich immigrant history that often gets overlooked because of its location on the Upper East Side, a destination usually associated with wealth and high society. But Yorkville, for over 170 years, has been defined by waves of immigrant communities which have settled here, particular those cultures from Central and Eastern Europe -- Germans, Austrians, Hungarians, Czechs and Slovaks. The neighborhood developed thanks to its location to various streetcar and train lines, but that proximity insured that Yorkville would evolve in quite a different way from the more luxurious Fifth Avenue just a few blocks away. Yorkville's German cultural identity was centered around East 86th Street -- aka "Sauerkraut Boulevard" -- where cafes and dance halls catered to the amusements of German Americans. The Yorkville Casino was a 'German Madison Square Garden', featuring cabaret, film, ballroom dancing and even political rallies. Does the spirit of old Yorkville still e

The history of black and African-American settlements and neighborhoods which once existed in New York City in the 17th, 18th and 19th centuries. Today we sometimes define New York City's African-American identity by the places where thriving black culture developed -- Harlem, of course, and also Crown Heights and Bedford-Stuyvesant, neighborhoods that developed for groups of black residents in the 20th century. But by no means were these the first in New York City. Other centers of black and African-American life existed long before then. In many cases, they were obliterated by the growth of the city, sometimes built over without a single marker, without recognition. This is the story of a few of those places. From the 'land of the blacks' -- the home to New Amsterdam and British New York's early black population -- to Seneca Village, a haven for freed people of color in the early 19th century that was wiped away by the need for a city park. From Little Africa -- the Greenwich Village sector for the black w

During the Gilded Age, New York City had one form of rapid transit -- the elevated railroad. The city's population had massively grown by the 1870s thanks to large waves of immigration from Ireland and Germany. Yet its transportation options -- mostly horse-drawn streetcars -- were slow and cumbersome. As a result, people rarely lived far from where they worked. And in the case of most working class New Yorkers, that meant staying in overcrowded neighborhoods like the Lower East Side. In the 1870s, New York hoped to alleviate the population pressure by constructing four elevated railroad lines -- along 2nd, 3rd, 6th and 9th Avenues -- in the hopes that people would begin inhabiting Upper Manhattan and the newly acquired portion of Westchester County known as the Annexed District (today's South Bronx). In this show, we focus on the two eastern-most lines and their effects on the city's growth. Take a ride with us -- through Lower Manhattan, the Lower East Side, Midtown Manhattan, Yorkville, East Harlem and Mot

"To the beat of muffled drums 8,000 negro men, women and children marched down Fifth Avenue yesterday in a parade of 'silent protest against acts of discrimination and oppression' inflicted upon them in this country." -- New York Times, July 29, 1917 EPISODE 330 The Silent Parade of July 28, 1917, was unlike anything ever seen in New York City -- thousands of black men, women and children marching down Fifth Avenue. Today it is considered New York's (and most likely America's) first African-American civil rights march. The march was organized by the NAACP in direct response to a horrible plague of violence against black Americans in the 1910s, culminating in the East St. Louis Riots, a massacre involving white mobs storming black neighborhoods in sheer racial animus. There were no chants or rallying cries. The women were dressed all in white, the men in black. Thousands of onlookers had lined the parade route that day out of curiosity, amusement, pride, anger and joy. How did this unusual protest come to be?

EPISODE 329 Did you know that the first modern ambulance -- as in a 'mobile hospital' -- was invented in New York City? On June 4, 1869, America’s first ambulance service went into operation from Bellevue Hospital with a driver, a surgeon, two horses and equipment including a stretcher, a stomach pump, bandages and sponges, handcuffs, a straight-jacket, and a quart of brandy. Within just a couple years, the ambulance became an invaluable feature of New York health, saving the lives of those who might otherwise die on the streets of the city. They proved especially helpful in a riot -- of which there were many in the 19th century! In this show, you'll be introduced to a new way of thinking about urgent injuries and emergency care. True emergency medicine was not a serious factor in major hospitals until the 1960s. Yet on-the-job injuries and terrible trauma from violent crime was a perpetual problem in New York. What was life like in the city before the advent of the ambulance? How did ambulances work in the