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P. Adams Sitney: Robert Moses was going to build the [Lower Manhattan Expressway]. His plan was to destroy what is now called SoHo. So all the businesses that could afford to, got out. Everyone knew it was doomed, so artists and various weirdos began to move into very cheap spaces. . . . I could have bought a Johns drawing if had 25 bucks. I could have bought a de Kooning drawing for 50. There was a set of [Josef] Albers prints that I loved, but it cost 60 bucks at the time. Barbara Rose: We lived in Frank’s loft at 84 Walker Street on the first floor. We had no heat and no furniture — we slept in a sleeping bag. Everyone lived illegally in their lofts. They’d sleep on a mattress and put a platform on top of it, so when the police would come you’d say, “It’s my model stand.” Nobody had any money at all. So you had to be together, because somebody [might have] enough money to cook chili one night. It was just crazy.
P, Adams Sitney: It was a great time to be poor, You could get a meal at Hong Fat’s for under a dollar, There was still Horn & Hardart [Automat], where you could sit all night with a cup of coffee, We did a thing we called “midnight ballet pointe shoes near me knocking.” There was a rule that you couldn’t leave a sandwich more than 24 hours, So at exactly midnight they’d throw all the sandwiches away, If you stood in front of your favorite, about 30 percent of the time, the guy on the other side of the window would give it to you instead of throwing it in the garbage..
Kenneth H. Brown: Larry Rivers, Amiri Baraka, Kenneth Koch, Allen Ginsberg — they were all downtown people. Uptown people like Susan Sontag and Gloria Steinem and the guy who wrote “The Paper Lion” [George Plimpton], they were the uptown scene. And they had money. I think they were kind of like the Ivy League. And we were the CCNY people, even though I went to Columbia.P. Adams Sitney: We had nothing to do with the people uptown. Except occasionally, a guy named Doc Humes, one of the founders of the Paris Review, had a salon on Sunday so you could go up there and eat and stick food in your pockets. [You could] get meals for a week by going to Doc Humes’ salon.
‘Sit in a booth and just read the papers’, Walter Bernard: [Henry Wolf] became art director at Esquire in the late 1950s, He’d do these covers where he signed his name if he did it completely, So I knew there was this guy Henry Wolf, It was in 1961 that I started to look for an art school to get my portfolio together, so I went down to the School of Visual Arts to enroll, and there was a brochure [announcing] that Henry was teaching, So of course I wanted to take that course, Robert Benton: This was before fashion magazines became catalogs, They presented extraordinary short stories in every issue, they weren’t just one outfit after another, And the design of those magazines, whether it was Harper’s Bazaar or Vogue or Seventeen or Esquire, was about a certain sort of style, It was a shift away from the American magazines of the ’40s and early-’50s ballet pointe shoes near me towards a more European design sensibility..
Barbara Nessim: Henry was pure. He believed in white space. He believed in simple design to tell a story. He did Harper’s Bazaar and tilted the ‘a.’ And really understood words, and pacing. Robert Benton: It was also a time when magazines were still a viable thing. I don’t know how many magazines there were in New York but there were a lot. And newspapers. The Herald Tribune hadn’t folded, so there was the Times, the Trib, the Wall Street Journal, the Mirror, the News, the Post and one other paper. We would go over to Jim Downey’s around 8 o’clock and sit in a booth and just read the papers and pass them back and forth and talk and have dinner. It was a lovely, lovely time.
Barbara Nessim: I did commercial jobs for girlie magazines, “Gentleman,” “Nugget,” “Swank.” I started in 1960 when I was still living at home [in the Bronx], and I also did work for little advertising agencies drawing ballet pointe shoes near me handbags for $3 apiece, whatever I could get, For “Nugget” I illustrated an article by Terry Southern and people of that ilk, That’s who was writing for these magazines, ‘I took everyone to the Peppermint Lounge, and taught them how to dance’..
Robert Benton: We played croquet in Central Park on Sunday mornings. I don’t know who had the croquet set, but a group of us — Gloria, Tom Jones and Harvey Schmidt, who wrote “The Fantasticks” — would meet and have this murderous croquet game and then go off and have breakfast somewhere. . . . Gloria also invented a game called Spoons, a wonderful, lethal form of double solitaire. Barbara Nessim: I used to like to go Latin dancing, which I still do. I used to go to the Palladium, where I saw Machito, Tito Puente, Celia Cruz, all the great Latin bands. . . . I liked to go on Wednesday night. Nobody did the Twist, so I took everyone to the Peppermint Lounge, and taught them how to dance.
Barbara Rose: The art world was hip, We liked jazz, and we liked rock-and-roll, which was very tied to pop art, I remember going to the Peppermint Lounge with Jasper Johns to dance the Twist when ballet pointe shoes near me Chubby Checker was there, Walter Bernard: We’d see all the foreign movies, obviously, especially French and Italian movies were a big deal, But you could go to off-Broadway and see “The Fantasticks,” “Waiting for Godot,” Albee, There were still coffee shops where people would read poetry or play music, Even Broadway, you could stand for not very much money, I think first thing I saw was “West Side Story.”..