Nazi trolls and fascists in black
Last week, a mob descended on New York University and effectively cut short a talk by Gavin McInnes, an author and commentator who was a co-founder of VICE. The day before, rioters caused a talk by Breitbart editor Milo Yiannopoulos at the University of California at Berkeley to be canceled.
Around the same time, a series of photos made the rounds of social media showing subway riders getting together to wash swastika graffiti from their subway car that some sad troll had scribbled there. It’s an example of the true New York. Some real Nazi thought they would get a rise out of someone and instead people rolled up their sleeves and did the right thing. People getting together to clean up some nasty vandalism makes New York, and America, a little bit greater.
There’s a reason Nazis are bad, and it’s not just because they sometimes graffito the subways. Nazis are awful because they believe they are entitled to step on the rights of others, to use political violence to silence their critics, and that they are self-righteous enough to sanction murder to further their ideas.
Censorship by mob violence is something we thought we had taken out of American life, and that in large, self-proclaimed “progressive” cities like Berkeley, California and New York would be treated as a sacred part of the social fabric. Indeed most New Yorkers who can read above a 12th grade level abide by the maxim often attributed to Voltaire: I disapprove of what you say, but will defend to the death your right to say it.
But many factions of the progressive left do not see the threat to free speech when street thugs, or the spoiled Trustafarian versions most likely to join the “black block,” decide to be arbiters of who gets to exercise the universal human right of free expression. To them, the speakers at Berkeley and N.Y.U. were “Nazis” who lost their human rights when they embraced the dark side of the ideological divide.
Neither of these people being touted as Nazis really are. Milo Yiannopoulos is gay and part Jewish; he would have been made into a lampshade during the Third Reich. Gavin McInnes is a libertarian whose views would have gotten him thrown in the nearest labor camp in post-1933 Deutschland as well (full disclosure: I have had articles published on McInnes’ Web site Street Carnage and once met him at a party).
What the Milo Yiannopoulos’ of the world are is a threat to the tired identity politics that has become the Gospel of a detached and sanctimonious activist left. If the “alt right” is an evil empire of straight white males that will shove everyone who voted for Hillary into a new Auschwitz, then a gay Jewish immigrant as their poster boy belies all the boogeyman hype.
The people burning things and rioting to stop Milo Yiannopoulos and Gavin McInnes from speaking are bigger fascists than any real “alt right” figure could ever dream of being.
There are real Nazis in America today. Most of them are keyboard commandos who like to dress in ridiculous uniforms. Some of them are dangerous criminals, but most couldn’t putsch their way out of their mother’s basement. These people feel emboldened, thinking that the breakdown of political orthodoxy signaled by Donald Trump’s victory means there is a market for extreme ideas. There isn’t.
New Yorkers have always reveled in their ability to get along with others despite the tribal nature of human life. If we’ve made a go of it here in New York, we figure, we’re a cut above the normal social mores that are taken for granted elsewhere. We put them aside though we know they are never completely gone. With millions of people crammed into the five boroughs like rats, we have a lot of hate for each other, but we’re pragmatic enough to get through our days frustrated but not hell-bent on murder.
“Hate speech” or “Free speech is not consequence-free speech” are calling card phrases of a dogmatic and intolerant left. This faction isn’t new but is newly. It is neither progressive nor just. When you judge them by their actions “antifa” is pretty damn “fa.”
New Yorkers aren’t fooled by self-proclaimed saviors who see a Nazi under every rock. Our city respects free speech, it is part of what makes us the most American of cities. The next time Gavin McInnes or Milo Yiannopoulos makes a public appearance in our Gotham, I plan to go see them.
Deep shame in the Queens bus game
I am convinced that living in areas not immediately within walking distance from a subway may save them from gentrification and cultural death. I am fortunate enough to live in one of those thankfully un-hip areas of the five boroughs. But while my neighborhood is still overpriced and overcrowded, it still retains some of its old-world New York charm and character.
But I rely on buses to get me to the 7 train that gets me to the 6 train that gets me to work. The 7 train and the 4-5-6 line in Manhattan are two of the most miserable and overcrowded subway lines in the entire system, which is quite an accomplishment.
But I’m lucky. I’m lucky I have a job that I can safely commute to. I’ve also learned some of the tricks of the trade that can at least alleviate my daily aggravation somewhat. One of them is catching a ride on the Q34 bus when I can.
The Q34 is my preferred bus. I can get on early enough to have a place to sit in the morning and if I take it home in the evening I can usually get a set as well. Because it’s a smaller line and its riders are usually from a middle-and-working class part of Queens, there is a greater degree of civility than on the other buses I could take. The Q44 goes from the Bronx all the way to Jamaica, Queens and is almost always crowded. The Q20 is a local version of the Q44 when it passes by my home, so it picks up all the angry people who couldn’t fit or who would otherwise be miserably stewing on the Q44. After you’ve been on the Q44, the Q34 feels like a VIP lounge with diesel fumes; it’s the Rolls Royce of regular-fare bus rides when it’s working properly.
But here is the catch: the Q34 is a rogue ghost ship during the evening commute. Somewhere in a dark alleyway in downtown Flushing there must be a gaggle of Q34 drivers spending their evenings gambling or drinking themselves into a stupor while what seems like one lone bus drives the entire route by itself, and slowly. If you get to Main Street and see no line for the Q34, forget it. Then again, I’ve done that only to see a near-empty one drive by minutes later.
Normally I know to jump on the line for the Q34 when I see that there is one at Main Street. If there are people waiting in any significant numbers, it means enough time has elapsed since the last bus arrived that the next one cannot be too far off. This bus stop is at the corner of Roosevelt Ave. and Main St. in Flushing, Queens, which makes it one of the busiest pedestrian intersections in the city if not the world. It’s also right outside a busy Duane Reade convenience store. The stop is on a stretch of street that hosts several other bus stops.
The line for the Q34 got so long that it doubles up upon itself like a large snake folding itself in half. Pedestrians bump into people waiting on line even when they try not to. Multitudes of buses roll down that section of Main Street, very few of them are Q34s.
And last week I achieved something that is rare even in the miserable world of Queens bus transit: I stood on line for the Q34 longer than it would normally take to drive the entire length of the Q34 route.
One reaches a point oftentimes of waiting for public transit that you want to give up in disgust and find another means to get going to where you have to be, but you’ve invested so much time in waiting that you refuse to budge. Damn it, I’m going to get my money’s worth and the MTA isn’t going to win this round! I found myself standing in the cold among the other miserable people waiting for the Q34 with this same mentality. I would enjoy a seat on the Q34 this evening if it was the last thing I ever did.
I have no right to complain, as I have other options for getting home in the evening. But many of the people who ride the Q34 do not have that option, and the underserved but route is all that stands between them and a pricy cab ride or a long walk home.
I Want To Be Poet Laureate of Queens
The Borough of Queens is taking applications for its poet laureate, and I’m going to throw my sweaty hat into the ring. I think my chances of being accepted are low, but fuck it. I’m as good as anyone else and I like this borough very much.
Queens was where I lived when I moved back to New York. I had been away from the Northeast for several years and hadn’t lived in the five boroughs since I was an infant in the Bronx. I grew up mostly in Yonkers and while I came to the city frequently growing up, I am by and large a child of New York’s suburbs.
In college I decided I wanted to be a great American writer in the same way that thousands of other English majors do. I was determined to get myself back to New York City as if that would somehow magically bestow some great inspiration power and let me live a charmed literary life.
I got a job at JFK airport that helped me move back here and I went looking for apartments that were a reasonable commuting distance to JFK. I found a small studio in Ozone Park at $500 per month (it soon went up to $525). It was on 101st Avenue and John Gotti’s old Bergin Hunt & Fish Club was still there and only a few blocks away. That was a selling point that the realtor mentioned. “People know not to mess around in this neighborhood,” he said. Gotti had been locked up for several years by then but the neighborhood still had some old wise guys hanging around.
I enjoyed living in Ozone Park a lot. I would walk around the neighborhood as much as I could and enjoyed how quickly neighborhoods could transition from one to another. Not far from where John Gotti plotted his takeover of the Gambino Crime Family a store sold cricket supplies to the Indian and West Indian immigrants who were moving into Richmond Hill. I was not too far from Forest Park and I could also walk to the small apartment where Jack Kerouac wrote his first novel.
While immediate literary success proved elusive, I managed to publish my first poetry collection while I was living in Ozone Park. ‘Five Borough Blues’ was a small broadsheet of poems published by New Jersey-based Lucid Moon Poetry (RIP Ralph Haselmann Jr.).
Years later, after living in Inwood for a decade, I moved in with the woman who is now my wife and that brought me to Flushing. I got to learn Northern Queens whereas Ozone Park is in Southern Queens.
The greatest borough continues to impress me. I do miss Inwood a good bit, I can’t lie. But Queens has many more great neighborhoods that are still real neighborhoods and not overpriced tourist zones.
Queens has both the greatest number of interesting neighborhoods, real residential neighborhoods with character, as well as cultural institutions and a variety of environments that the other boroughs don’t have. Do you have the beachfront and harbor areas like Broad Channel and the Rockaways in Manhattan? No. Can you find 24-hour Korean barbeque in Staten Island? Good luck.
And without fail, Queens continues to inspire me to write poetry. The entire city does, to be sure, but Queens is my home and it’s where I believe you find the most New York part of New York. It has the widest array of cultural offerings and the largest sampling of interesting people anywhere in the world. It stands between the city and its suburbs. It has all manner of terrain. It even has its own zoo.
I will gladly accept the (unpaid) responsibilities of the Queens Poet Laureate. I will let no excellent verse about this borough go unwritten. Applications are due April 24th (April is national poetry month).
But whether or not I am poet laureate of Queens, I will continue to let the city inspire to create good written works. It deserves no less.
Brooklyn Isn’t Safe for Rock & Roll
Last Friday, my band Blackout Shoppers was fortunate enough to be one of several bands to play for the last time at The Trash Bar. A great music venue, The Trash Bar has been a great place to see a show. They have a great sound system and manage to bring a wide array of music there.
Trash Bar is the kind of live music venue that used to thrive in Manhattan, and now it’s found itself priced out of Williamsburg. It’s the latest victim of the city’s own success and Brooklyn’s transformation from downtrodden borough to one of the most expensive places in the world to live.
The Williamsburg section of Brooklyn used to be a bad place. Frank Serpico was shot not far from the Williamsburg Bridge. Apartments in that building are now listed for sale at up to $1 million.
Williamsburg is where young artistic types began moving to at the end of the last century because space was cheap and the area was close to Manhattan. But creative young people can’t afford to live in the popular parts of Brooklyn anymore. The kind of people more likely to move to these areas now are wealthy people who had traditionally occupied the more upscale parts of Manhattan. A recent episode from the TV show Broad City captured this perfectly. One of the show’s main characters is chatting with three high-priced lawyers. They all tell her that they currently live in Murray Hill (a high-priced part of Manhattan) but that they are all moving to Williamsburg.
It follows a familiar pattern, a pattern we saw in the East Village and Lower East Side of Manhattan: A run-down area attracts enthusiastic artists and musicians because living is cheap. Those artists make the area desirable, which raises property values. Those property values drive away the artists and their venues that began the rejuvenation.
While it was the place that music venues fled to when Manhattan became too overpriced, Williamsburg is losing the art and music that made it attractive.
Bushwick has become the new Williamsburg, although the pace of gentrification seems to speed up in some respects. Prices on apartments start to rise in advance of the vanguard of gentrification that makes a neighborhood safe. Williamsburg has been relatively safe for a while now, but Bushwick is still more dangerous with higher crime.
This kind of gentrification has been going in the city for years. Since the time of the Dutch settlers, this has been a city in flux. Nothing stays for too long. The churn of commerce and change is constant. The city wouldn’t thrive otherwise.
It’s true that the city is losing some of its trademark characteristics and grit. No doubt part of Big Apple lore is lost forever. It’s not all bad though. I’m glad I can walk down the Bowery without being afraid for my life, though I’m sad that there aren’t as many music venues there.
Williamsburg been overpriced for years, but I didn’t think that Trash Bar would get priced out of existence in a decade. It brought in big crowds and even catered to the obnoxious yuppies and hipsters with some of its live music and its karaoke. The show we played Friday night was well attended. The bands played great and it sounded excellent. Everyone left it all on stage and we walked out with our heads held high.
And that’s all you can do as a New Yorker. Change is never going to stop, so don’t let it stop you. There will be new places to make and see music. The pioneer spirit that brought the Dutch to the New World and brought rock clubs to formerly desolate and dangerous parts of the city can’t be killed off, it’s just moving to a new neighborhood.
Revenge of the Outer Boroughs
This past weekend the wife and I attended a co-ed baby shower for my friend and spiritual advisor Rabbi Jay Levitz and his wife Sarah. We were in Oceanside, Long Island, New York, a short drive outside the city for us, as we live in Eastern Queens. As we talked with Jay, the conversation turned to what constitutes the “bridge and tunnel crowd.”
We all agreed that the term was more of a cultural construct than a geographic one, though we acknowledge that the two go hand in hand in many ways. Where I live now in Queens is not a trendy area at all and is too far from any of the celebrated night life to become popular among the moneyed classes or the upwardly mobile youth any time soon. That is actually a blessing. We happen to have decent access to public transportation, though getting into Manhattan always involves at least one bus and one train. My commute to work is at least one bus and two subways, and it is terrible, subject at all times to the fickle whims of the increasingly incompetent MTA.
The “bridge and tunnel” term may have been initially meant to denote people coming from outside of New York City—especially from New Jersey, considered by many to be a cultural leper colony filled with only guidos and hill people. But my current settings would qualify me as a bridge and tunnel crowd person when I venture into Manhattan for cultural events.
Manhattan was once the undisputed epicenter of New York City’s cultural life. Now that cultural life is much more diffuse and spread through the outer boroughs, most prominently in Brooklyn. New movie theaters, restaurants and music venues are more likely to be opening in Brooklyn or Queens today than in Manhattan. Accordingly, real estate prices in the outer boroughs are still going through the roof.
This shift has made use of the term “Bridge and Tunnel” a bit outdated, but the cultural chasm between whose who perceive themselves as cultured city residents and the people who travel to the city only on the weekends to party is not gone. Someone who takes the Long Island Rail Road from Mineola to see a concert in Brooklyn is considered part of the bridge and tunnel crowd, though they did not use a bridge or tunnel (yes, I understand that the LIRR in Brooklyn does use subway tunnels and uses overpasses on its way to the city; shut up).
And these social demarcations between what is city and what is not stretch to the outer boroughs as well. I mentioned that I drove to Long Island to attend a baby shower this weekend, but as I live in Queens, I already live on Long Island. When New Yorkers talk about “Long Island” they don’t mean the Island itself but Nassau and Suffolk Counties, the parts of the Island that lie outside of the border of New York City.
I could never justify the expense of living in a more trendy or celebrated area of Manhattan. I had a chance to move to the Upper East Side one time. I looked at an apartment in Yorkville and realized that I would be doubling my rent and would still not be able to fit the modest furniture from my small studio in Ozone Park, Queens into the new place. It wasn’t worth the money. I could have said I lived on the Upper East Side, but I’d be living like a hobbit.
So while proximity to Manhattan is become less and less of a cultural touchstone to judge a neighborhood, I propose a new measure of the value of where you live: proximity to live Shakespeare.
A good measure of the value of any place to live is how far away you are from some free Shakespeare. When I lived in Inwood in uptown Manhattan, it had yet to become a trendy place to live and people hadn’t heard of it. But I lived across the street from Inwood Hill Park which had free Shakespeare plays every summer. Score.
I can’t easily walk to free Shakespeare like that, but I am a very short trip from more than one of the venues of the free Shakespeare in the Park in Queens.
Some will argue that this Shakespeare standard is an unfair way to judge where you live, but I don’t think so. I don’t want my children to live in a world where they can’t easily see some free Shakespeare every summer. I’ll be dragging their soggy asses to Two Gentlemen of Verona this season; I won’t need a bridge or tunnel to get there.
Ars Gratia Artis
The gay community is a collective rainbow huff over the movie “Ender’s Game” because Orson Scott Card, the author of the novel on which the movie is based, holds conservative views on gay marriage and homosexuality. Lots of gays refuse to see the film and some have organized boycotts.
I have not read the book or seen the movie, but I understand it to be science fiction and that it does not overtly or metaphorically address any gay rights issues. It was written decades ago before issues of gay rights were as ubiquitous in our public discourse as they are today. The author is indeed outspoken against gay marriage and gay rights etc.
People are welcome to boycott any film or book for any reason, but there’s one important element I think that the boycotters are missing. That is: Enjoying a work of art is not an endorsement of the political views of the artist.
I’m all in favor of gay marriage and treating gays equally under the law in all relevant respects, but it’s not something I’m going to let get in the way of reading a book or seeing a movie.
You are free to decide what you want to see or read based on the political views of the creators. But at some point you are going to paint yourself into a corner. You will at some point find yourself patronizing the work of an artist with whom you disagree vehemently.
And even if Card penned a violent homophobic screed that called for some kind of lavender holocaust, reading it or watching it doesn’t mean you agree with it. Everyone should be willing to challenge themselves and purposely seek out opposing viewpoints in art, politics, religion and all aspects of life. If we can’t listen to the opposition, we can’t form our own arguments thoughtfully.
But let us also enjoy art for art’s sake. If “Ender’s Game” is a shitty book and movie, let it fail on its own merits, not because you hate the religious or political view of the author.
I was disappointed to learn Pablo Picasso was a communist and Louis-Ferdinand Céline was a fascist. It broke my heart to see ZZ Top play the George W. Bush inauguration and to read about Julianne Moore shilling for illegal immigration amnesty. Should I boycott all the works of these artists? No. I disagree with them but my patronage of their work is not an endorsement of their views.
The case of Alec Baldwin, a bona fide leftist who recently issued a mea culpa for calling a reporter a “cocksucking fag,” scrambled the minds of the powers that be at MSNBC, which suspended his TV show for the offense. But no matter how disgusted you are with him for whatever reason, you can’t deny his acting skills. Does watching his films mean you endorse his leftism or his gay slurs or his unique (gay) marriage of the two? No. You can watch “Glengarry Glenn Ross” guilt-free no matter what your political persuasion.
An artist’s goal is to make art that is powerful enough that it can overcome and outlast the foibles of the artist. Only time will tell. Did Robert Johnson approve of homosexuality? Did Nathaniel Hawthorne believe in equality between the races? Those questions are completely irrelevant to those men’s contributions to the world.
At some point art and politics must go their separate ways. Whatever your politics, can we least agree that one of the biggest sins of all is limiting your intake of art?
The Fine Art of Not Belonging
One of the perks of working as a financial journalist is that you sometimes get to go to parties in nice places where food and drink are free. It doesn’t make up for working for years without a raise and being in constant fear of being laid off, but it’s nice nonetheless.
Last evening was one such party, a charity event put on by people in finance.
Ostensibly my coworker and I were there to meet people that would help us do our job. Schmoozing with financial people is part of my job, but it’s a part of the job that I am bad at.
I dressed well enough and was pleasant and polite and still had no hopes of blending in. Members of the financial class are their own race, though they are made of different races. They can look through you as if you are not there and walk with a confidence that bristles with a condescending hostility and feels perpetually offensive and false. I wore a nice suit but maybe there was something in the way I said thank you to the caterers, or the fact I thanked them at all, that gave me away as decidedly not one of the financial class.
There’s nothing wrong with finance, but the people who work in the higher echelons of finance today are not cut from the same material as the people who invent things or pioneered and forged new industries. They are custodians of other people’s money and often speak in a gloating jargon that moves lots of money but creates little of value. I’m sure many of them are decent people and good at their job, but they do not possess the fire of the technology entrepreneurs or venture capitalists I met during previous jobs.
After thirteen years of working in financial journalism, I have actually gotten worse at the art of fitting in at these types of gatherings. My motivation for the easy smile and the glad-handed talk has waned. But I am glad not to fit in among this alien class. Somehow I feel that in the important calculus of life I’ll have more to show for it at the unspoken reckoning at the verge of the great beyond.
I ate as many miniature lobster rolls as I could without making a spectacle of myself and made my discreet exit after putting in a respectable amount of time at the event. I briefly enjoyed the sights of the city on the first really warm evening of the spring before making my descent to the subway for home.
Matthew Sheahan 
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