30 years after the Tompkins Square Park Riots

This past weekend the East Village commemorated the three decade anniversary of the Tomkins Square Park Riots with two days of concerts and speeches in the once-notorious East Village park.

Protests over a 1 a.m. curfew of the park and eviction of homeless encampments there ended with multiple clashes with police and multiple instances of police brutality. It was among the first widely documented instances of police brutality caught on video and broadcast on the news. Angry protesters shouted dire warnings about gentrification, yelled “Die Yuppie Scum,” and vandalized a new apartment building. Police chased people down and clubbed them with night sticks. It was a low point in New York’s history but things would soon change.

I was an angry suburban punk rock high school kid in the late 1980s and I made it a point to go to New York and walk to Tompkins Square Park after the riot. While I made it there, I did not stay very long. The park was still a homeless encampment and drug-invested village of skels and squatters, even with the 1 a.m. curfew. I would walk along 8^th Street and St. Mark’s after visiting a great record store called It’sOnly Rock & Roll that did not survive to the late 1990s.

This year’s commemorative concerts included a reunion of Team Spider, a group I have long admired and followed that embody the best of the East Village punk rock ethos. For about a decade they had an elderly songwriter ZAK, join them for most of their performances. ZAK passed away in 2006. So I made it an imperative to get to the park to see Team Spider.

The fact that I felt safe enough to drive to the East Village in a minivan with my wife and three small children is testament to the radical changes that have affected the East Village in the interceding 30 years. Amazingly, I found a parking spot right alongside Avenue B. I parked right across the street from St. Brigid’s Church. The church has a storied history, including being used as a center for activists during the 1988 park protests. There is personal history there too. I was arrested for taping a flyer to a light post right on the corner outside the church in 2005.

We walked into the park between bands, and someone was on stage making a long-winded political speech. They had been there during the riots in 1988 and now the spirit of resistance was needed even more because Trump is a racist and in league with the Nazis and no borders and die yuppie scum and …I tuned out most of the rambling speech and instead said hello to friends that I saw there. Some of my friends that I know through music have not yet met my children, so it was good to introduce some of my punk rock family to may actual nuclear family.

Team Spider took the stage and rocked. Their brand of ska-infused, politically conscious punk rock is as relevant today as it was when they were performing regularly, and they even updated some of the lyrics to mention Donald Trump instead of George W. Bush. The concert was well attended – Choking Victim closed out the show after Team Spider – and evidence that the spirit of political protest has not been cleansed from our city streets entirely.

But by any measure of anti-gentrification politics, the yuppies have won in the East Village. There are only a few squatters left among the increasingly expensive real estate that have driven out much of the radical politics that fueled the protests. The 1 a.m. curfew on the park is still in effect and there’s a Starbucks where there was once a pizza place not long ago.

After we listed to Team Spider play, we brought our girls to a playground. I took a small detour to meet with old friends at the show, but soon it was time to go for ice cream. I am happy to report that Ray’s Candy Store is still on Avenue A and I and the family got to eat ice cream cones served by Ray himself. We found a bench in the park that was away from some of the homeless congregations that still take up a lot of space there and quickly ate the ice cream, though the summer heat made us all a mess. Soon it was time for home.

New York City has changed dramatically in the last three decades, and it wouldn’t be New York if it was any other way. We won’t always have the same punk rock bands to listen to in the decades ahead, but New York City will always be home to what is interest

A Brooklyn Survivor Prepares to Exit

The stars were aligned the right way and we got the band back together. This past Saturday, the 2008 version of my band Blackout Shoppers played five songs at Hank’s Saloon. It was somewhat of a miracle that we managed to play a halfway-decent half set, given that we hadn’t played together in years and didn’t have time to rehearse.

It was good to be among friends again playing music. And it was fitting that we held this fleeting reunion at Hank’s Saloon.

Hank’s Saloon is a quintessential New York institution and it’s a miracle that it’s still standing. That being said, it will be closing down sometime after September, the latest music venue to close up shop.

Hank’s is both a dive bar, a music venue for every type of music imaginable, and a holdover from a past New York era that has managed to live on while its surrounding succumbed to the Brooklyn real estate juggernaut.

Characterized by the flames painted on the outside as well as the band stickers that some reckon are holding the building together, Hank’s is a small place with a concrete floor and a stage that is barely a foot off the ground. Tucked into the back, playing the Hank’s stage is a bit like playing in a cement box. It is hard to see the stage from most of the bar, and the sound can be wonky unless you are close to the stage, but some of the best shows I’ve ever seen or played have been at Hank’s. It is home to many genres of music and like any perfect dive bar, just about anyone can feel at home there.

Hank’s has an interesting history as well. Before it was Hank’s, it was called The Doray Tavern and was frequented by Mohawk Indian ironworkers who were regulars there up until the 1990s.

But late last year the inevitable news came out: Hank’s will be closing after this September. It stands to reason: in today’s Brooklyn anything remotely soulful or authentic is strangled to death by the high cost of doing business. Someone can make more money putting up an absurdly expensive apartment building there, so why don’t they? Good music, which is priceless, can’t often pay the rent.

There was a time not long ago when I would have railed to the uncaring sky about the injustice of it all. I would have felt rage instead of pity towards the naïve hipsters spending their parents’ money on overpriced apartments in the slums their grandparents worked hard to avoid. Instead I am grateful for the good times I have had at Hank’s and other places. I am thankful I was able to play at Hank’s one last time, to enjoy the music and the moment and take a lot of photos.

Hank’s can go out proudly, having outlived most of its competitors in a part of the city that is gentrifying at a dizzying pace. It has a special place in the hearts of New York music fans.

The essential conundrum of Times Square

News came out this past week that the company I work for will be moving all of its New York offices to Times Square, where we already have a flashy facility. It will be a big to-do with renovation and creating an office of the future and I’m sure the office will live up to the hype and it will be great for the company.

There’s everything to love about it but it means having to work in Times Square, which is both a blessing and a curse.

Times Square has undergone a complete 180-degree transformation over the last two decades. In the mid-1990s, it was still famous for its crime and pornography. I remember walking through as a kid and marveling at the graphic photos advertising the pornographic films, the barely-censored photos of naked women you tried to look at while pretending to ignore.

Times Square today is a tourist mecca that glows with the false light of a thousand larger-than-life screens and signs. It is a backdrop to television shows, a center showpiece of a city that crawled its way out of the financial and social gutter to become a well-regarded metropolis of the future. It’s found a way to personify the state of the five boroughs within its blocks. When New York was in a state of decay, Times Square reflected that. Now that economic interests have invested for the future here, Times Square reflects that also. Whether you love it or hate it, it is our city’s barometer.

Like much of the conversation today surrounding questions of the changing character of New York City, the gritty past tends to get sugar-coated. While I prefer watching pornography to shopping for Disney trinkets, the Times Square of today is no doubt better for New York City and a proud measure of our progress over crime. (Keep in mind that the tremendous makeover never completely washes out the criminal element or the sub-strata of sleaze or grit. There are still plenty of con artists, prostitutes and drug dealers making money in the Times Square area.)

Times Square’s success as an attraction for visitors makes it less appealing for local residents. Slow-moving foot traffic is maddening for someone trying to get to work. Long lines of people at overpriced tourist traps do not make for suitable lunch spots. Friends who have worked in Times Square report that some of the potential upsides, such as going to the office to watch the ball drop on New Year’s Eve, are foiled by strict rules, often dictated by security concerns.

But as with the rest of life, working in Times Square will be an opportunity to adapt and overcome. I’ll find the good lunch spots to go to and I’ll figure out how to move in and out without being caught up in mobs of plodding tourists. Being a New Yorker means being able to find the right path through adversity and make inconvenience into something triumphant.

The midtown canyons of concrete and glass will be calling for me within a year’s time. It will be another chance to embrace the chaos of living in New York, and make a new path to life in the city.

Watching New York Pass by in Brooklyn

I’m standing outside of Hank’s Saloon on the corner of Third Avenue and Atlantic Avenue in downtown Brooklyn on the Saturday before Halloween. I’m there to play some punk rock songs as part of Green Hell, the Misfits cover band that has somehow managed to have a few reunion shows this year.

Hank’s Saloon is a ramshackle dive bar that still hosts live music. It’s a miracle that the place is still standing as Brooklyn’s booming real estate market has created an almost non-stop construction zone all around it. There was once a Walgreen’s across the street. Now there is a luxury high rise, The Hendrik, being constructed. A two-bedroom apartment in the Hendrik will cost you nearly $2 million dollars if you want to slum it; the four-bedroom penthouse will cost about $4 million. The developers had the sense to list it as being on Pacific Street since Atlantic Avenue, the larger thoroughfare, doesn’t have the sterling ring to it.

Farther up Atlantic Avenue is The Barclays Center where the Brooklyn Nets and the New York Islanders play. The Barclays Center was the death knell for Brooklyn culture for a lot of New Yorkers. Local artists and musicians were among those who fought tooth and nail against this stadium, which is a big ugly mark against the city and exhibit A in the corrupt influence of large developers on government. So far I’ve avoided setting foot in that place (I’m a Knicks and Rangers fan anyway).

Because it’s Halloween weekend, lots of people are coming by in costume. One such patron at Hank’s is a man dressed in brown with what look like several blond wig pelts hanging from his body and a face mask and head piece that look as if a giant tongue has replaces his head. As he enters Hanks, someone from a car stopped at the red light on Atlantic and Third shouts to him, “What is your costume?” He doesn’t answer because he’s not sure himself.

“You’re getting a lot of attention from motorists,” I tell him.

“Yes I know,” he says. “I took the subway here and people didn’t know what to do.”

“Are you a giant tongue?”

“Yes, that’s exactly what I am. I don’t believe in being any existing character.”

He said he initially had some kind of Donald Trump costume in mind, thus his plentiful supply of artificial blond hair and emphasis on a large mouth. But he decided to do something completely unique instead. I ask him to pose for a photo outside of Hank’s and he obliges, crouching down and doing a strange dance like you’d expect a giant tongue-man to do.

There are still plenty of skels around to testify to the traditional low desirability of this area. Atlantic Avenue still houses several Islamic bookstores and places of worship. A few of these Mohammedans were in a heated discussion as I walked to get something to eat with Filthy Phill, lead singer of World War IX, one of New York’s finest punk bands. He used to live not far from the area in Park Slope, but hardly recognizes anything now. We were looking for a Halal cart for some dinner before the show, but didn’t find one and settled for Shake Shack; it was delicious.

We got back to Hank’s and the show started. People performed in costume and everything was fun. It was not a large gathering but a lot of longtime friends where there and the music was good. It was great to see many of my music friends.

Green Hell forgot to bring set lists but it was no matter. We figured out what to play and the crowd loved singing along to the Misfits covers. By the end of the night, people were happy to have seen us and we were glad to have played our two shows in the city for some appreciative friends and fans.

We loaded up my pickup truck with gear and brought it to Skum City’s rehearsal space on the Lower East Side. I dropped a truck full of friends on the Upper East Side before driving home. One of them asks me if I miss hauling people and equipment around the city at all hours of the morning. I do and I don’t. I can’t do this every weekend of course, but if I go a year without doing some music in some way I just don’t feel right. I told friends of mine on tour one time: The only thing worse than being in a thankless punk band is not being in a thankless punk band. 

I got home at nearly four in the morning exhausted but extremely grateful that there are still places people can celebrate art and music, even among the construction of a future city we won’t recognize. We can go back to our regular lives a little better. As long as there is even some small critical mass of us, all is not lost. 

Stuck in Place in New York

New York City right now is a city where people are often stuck in place. Not because they lack ambition or a work ethic, but because the juggernaut of high real estate prices is making life difficult.

I work in an office where most of the people who work there that live within the five boroughs have a commute that is at least an hour on a good day. My commute to work is an hour and fifteen minutes under the best of circumstances and can be significantly longer when things are at their worst. We would all love to live closer to our office, which is in the Flatiron district, but none of us can afford to live nearby.

Even the New York Times, whose primary audience is the more affluent New Yorkers among us, ran a story about retirees who would like to return to the city but can’t because real estate prices are becoming so outrageous.

When I first moved back to New York and was looking for an apartment in early 1998 one of the places I looked for a studio was Wavecrest Gardens in Far Rockaway. They had beautiful studio apartments with ocean views for about $500 per month. There were some drawbacks that kept me away (it would have been a long commute to work and a coworker who moved there said he saw people smoking crack in the stairwells), but the apartments were beautiful and affordable. If prices had simply kept up with inflation, a $500 per month apartment in 1998 would cost roughly $740 today. A studio at Wavecrest Gardens now lists for roughly $1,000 per month today. So rents have moved up at more than double the rate of inflation over the past sixteen years. And for areas that are more fashionable, the increase has gotten even steeper. Parts of Astoria and Williamsburg list small studio for upwards of $2,800 per month, and probably more in some places.

I consider myself very fortunate. I have a steady job with a good salary and my family is healthy and does not want for food, clothing, or shelter. But if we were to try to move to a larger apartment to house our growing brood we would have to take on considerable debt to remain in the same neighborhood, and would not find a place much larger than what we have now for what we could afford.

I have many friends who are bright, hard-working people trying to raise families in safe neighborhoods with good schools. They are not looking for handouts or set-asides. They can’t afford to stay where they are and can’t afford anything else in the area. Some friends and family have fled to New Jersey, some are considering leaving the Northeast entirely, heading to wherever they can make a sound living and provide for their kids.

New York is a place famous for attracting creative people, but creative people need affordable places to live and New York is starting to lose is creative critical mass. Artists and writers don’t need to have the same geographic presence they once did. In the digital age it doesn’t matter if you’re creating your work in New York or Detroit or Tuscaloosa. Most of the Western world downloads its content from the Internet, and traveling to a geographic center to get your work recognized is not as necessary as it used to be.

New Yorkers don’t mind paying a premium to live in the center of Western civilization. And New York is not an anti-capitalist place. It’s the most capitalist place on Earth in many ways. New York is a very tough place to get ahead but at the same time is famous for providing more opportunities than anywhere else in whatever your field of choice. If we want to continue to be that way, then something’s got to be done about the cost of housing. You have to get people to live here and stay a while before they can accomplish things.

If it doesn’t make sense to stay in New York, the middle and working classes will be gone and what will be left wont’ be pleasant for anyone. 

Outer borough arts explosion

I recently went to a friend’s art opening at Q.E.D., a small art space in Astoria. Going to a friend’s art opening made me feel like I entered a proper adult sphere of being a creative person. Luckily Q.E.D. is as unpretentious as an art space can get without being a punk rock venue or a squat of some kind.

My artist friend, Michael Harper, is a former drummer for my band Blackout Shoppers and has played with Furious George and other punk groups. He is a far cry from the obnoxious snob you would expect to find having their work displayed on the walls of an art space in New York City.

But that is one of the good things that is happening in the city right now. While the high price of real estate had driven many good art and music venues out of Manhattan and the established art world is horrendously pretentious and completely out of touch with aesthetics and real value, the outer boroughs have responded by adapting and setting up their own respective art, literature and music scenes.  Astoria’s Q.E.D. has comedy shows, open mic for poetry, music and storytelling. It hosts performances as well as classes—it is even hosting a Burns Night lecture—all days of the week.

More and more space like this are starting to open up in all of the outer boroughs. The kind of art spaces that used to proliferate our central borough can no longer generate the money they need to stay afloat. There are a few notable exceptions, such as the Lower East Side’s ABC NoRio, that have been around for a long time and manage to stay afloat with government grants, smart fundraising and a thrifty, DIY spirit. But these venues are very rare now. Those kinds of places are now in the other four boroughs.

One caveat to this is that Brooklyn has become so popular and overpriced that it is an outer borough in geography only – it long ago took on the same level of pretension and established demand that has long plagued Manhattan. This wasn’t always the case, of course. Before Williamsburg was the shit show of hipsterdom it is notorious for being today, it was a bad neighborhood where artists and writers fled to after being priced out of Manhattan. Parts of Brooklyn remain a haven for artists today, though time is running out for them even in the farthest reaches of the borough.

And New York’s outer boroughs have always been epicenters for the arts. Jack Kerouac wrote his first novel in Ozone Park, Queens. Louis Armstrong lived in Corona. Stanley Kubrick and Ace Frehley are from The Bronx. Matthew Brady, The Wu-Tang Clan and Blackie Lawless of W.A.S.P. hail from Staten Island. New York both attracts millions of creative people and produces great creativity among its natives that there is no neighborhood in the city that has not seen a glimmer of artistic greatness in some decade.

We can do nothing to roll back the clock and stop development and real estate price inflation, but like the good people of Astoria and elsewhere, a great art space is wherever you can make one. The outer boroughs are carving out space for the future of the arts in New York City.  

Brooklyn’s Rapid Cultural Death Claims Two More

It has taken Brooklyn less than a decade to achieve the kind of overpriced cultural rot that normally takes a generation in other places.

There have been some very large events that illustrate this: the demolition of the beautiful Prospect Heights neighborhood to build the ugly Barclays Center being a landmark event that marks a shameful chapter in city history.

Brooklyn wears its shame again as two very excellent music venues have found it necessary to close their doors. The Trash Bar and The Lake are two places where I’ve seen and played some of the best shows ever. Their closing demonstrates how lousy, overrated and overpriced Brooklyn has gotten.

With the rapid rise of real estate in Manhattan, the outer boroughs became a refuge for the arts, and many music venues moved or set up in Brooklyn.

The Trash Bar quickly became Brooklyn’s home for punk rock shows that were chased out of Manhattan. Many of the great traditional punk shows that had made their place in Manhattan were now at the Trash Bar: Murphy’s Law’s St. Patrick’s Day, Halloween and New Year’s Eve shows were held at The Trash Bar. When our band, Blackout Shoppers, had its 10^th Anniversary show, it was at The Trash Bar. Some of our best shows were there. We were honored to play a tribute show to Norman Bates and the Showerheads’ J. Garino there that included a reunion of The Six and Violence. The Bullys held their Johnny Heff tribute shows there after they lost their regular spot in Manhattan. For many years a picture of Johnny Heff, the Bully’s guitar player who was a New York Firefighter who lost his life in the September 11 attacks, looked over the stage.

Also in Brooklyn, at an address the owners prefer not to publish, is The Swamp, formerly known as The Lake, formerly known only by its street address. Not far from the Montrose stop of the L train, The Swamp is just a few blocks away from a major Brooklyn thoroughfare but in a quiet-looking, industrial area. It serves as a great example of how punk rock has been kept alive by DIY spaces. The Swamp was basically a very large apartment that was run as a venue by people who lived there. They built a stage and bleacher seating in a room that served as a performance space. It was a great punk rock venue like no other. When my wife and I got married, we threw a wedding celebration there that featured some of our favorite bands. Less than a year later, Blackout Shoppers held an album release concert there to mark the long overdue completion of our second album. The Swamp also hosted reggae and other shows and it hosted combined punk and reggae shows that packed them in. It was an honor to play shows there and it will be sorely missed.

Brooklyn stopped being an “up and coming” borough nearly 10 years ago. It’s now an overrated playground for the wealthy and clueless. There are a few artists and enclaves still fighting the good fight, but it’s a losing battle against the tides of money and history.

We will welcome you all to Queens and the Bronx.

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. 

Gentrification Nation

Let’s get some definitions out of the way first: Gentrification is integration that you don’t like. Integration is gentrification that benefits you.

Filmmaker Spike Lee made news when he complained about the gentrification of Brooklyn recently, decrying the efforts of white interlopers to “bogart” black cultural enclaves like his native Fort Greene.

But Lee suffers from the one-sided view of gentrification that informs much of the current debate. Real estate investors have helped foment ethnic changes in neighborhoods for generations both in New York and beyond, and the “hipsterization” of today’s neighborhoods echo the block busting and white flight of decades ago.

Gentrification today usually refers to middle or upper-class whites moving in to non-white neighborhoods, causing property values to rise and the non-white residents getting priced out of living there. But in the not-so-distant past it meant poor non-whites moving into mostly white neighborhoods in numbers large enough to drive down property values and chase away the white residents.

For every black family being priced out of newly trendy neighborhoods in Brooklyn, there are a half dozen white families that were chased out of New York City years ago. My father’s family was one of them. My grandparents had seven children and were able to raise them all in the Fordham Road area of the Bronx starting in the late 1940s. By the time my youngest aunts were in high school in the 1970s, the area had become too dangerous and they left for Westchester.

The hipster Brooklynites that Spike Lee assails are indeed loathsome beings, and ironically they’ll be the first to agree with and trumpet Lee’s remarks. (One of the surest signs that you’re a hipster is that you don’t recognize that you’re a hipster.) But many of these new residents have only bought into the cinematic view of Brooklyn that Lee popularized in hisfilms. They want the urbane cultural currency of living in a black neighborhood without any of the risk and inconveniences of living in a black neighborhood. They are miserable wretches. Fine.

But if Spike Lee is right to complain about the whites moving into Fort Greene, then the previous generations of whites who were chased out of Brooklyn were right to complain. If ethnic displacement is bad for blacks, then it’s bad for whites and everyone else. You can’t claim virtue in preserving black neighborhoods and not white neighborhoods. If it’s a worthy cause to keep Harlem, Fort Greene and Bed Stuy as they are, then it’s virtuous to keep Breezy Point, Woodlawn and Middle Village the way they are.

But no matter how you remember them, old neighborhoods are destined for change. The coming and going of people from New York is so great that just about every neighborhood and enclave looks ethnically different than it did decades ago. 

That same rapid force of change that we would curse now is the same force that helped make the city what it was at our preferred moment. There is no golden age of New York City except in our own separate minds. The Roman Empire that gave us Rome is long gone, but Rome is still there. The American empire that helped birth New York City is fading now, but New York City will be here forever. That change is unavoidable; it’s helped New York survive.

The more you selectively rail against gentrification, the more hopeless your cause. In New York City, the worst place to live is in the past. 

More Bars Bite the Dust

            News came out this week that Motor City, a bar on Manhattan’s Lower East Side, is closing. Motor City was a good bar, though honestly it had been years since I’d been. It could be hit or miss. It could be full of trendy yuppies or full of punk rockers or metal heads on any given night. I’d spent much time drinking there with punk rock friends but sometimes I’d go and leave before I could even get a drink because it was full of rude people in their Upper East Side finery. You could buy someone a drink even if they weren’t there. They had a chalk board and would write the name of the person and the drink you bought them. And when I’d leave a drink for “Mike Dynamite” or “Knick Knickers,” the bartenders knew who I meant.

            The Lower East Side is nothing like it was when I was a youth. I’m still amazed at the fancy hotels and wine bars that now sit where there used to be flop houses and hoards of homeless. But for many Motor City was one last vestige of drinkable grit in an area of New York that once boasted grit and toughness as its major charm.

            Possibly worse news was that Coney Island’s Cha-Cha’s is gone for good as well. Cha-Cha’s was a beach bum’s dive on quickly gentrifying Coney Island. It was troubled even before Hurricane Sandy and Sandy put the final nail in the coffin of the pace, even though there had been plans to reopen. It was full of leather-skinned, salty beach people who were glad to spend their days getting blind drunk at the beach. It was a bastion of authentic Coney Island sleaze and booze. And they even had live music. It was a pleasant place to be when you were at Coney Island, a sign that the old times were still alive in some way. Not that’s gone also.

            We’ve gotten used to it now, places closing. It no longer fazes us. The churning engine of real estate capitalism built New York, and spares no one in its money-fueled gallop. There is no sentimentality in calculating the bottom line. If they could tear down Yankee Stadium without a fight; nothing is sacred.