Manhattan End-to-End via #1

Let's take a little trip. Let's travel from one end of Manhattan to the other.

Let's traverse this narrow thirteen-mile island that fascinates and captures the imaginations of peoples around the world.

And let's do it via the #1 subway line, noting the most signficant stops along the way, subway stations that are more than just various gateways into Manhttan -- they are portals into American culture, history, and power. 

Now there's something important to remember: Manhattan technically extends beyond Manhattan Island. There is a small neighborhood just north of the island called Marble Hill that is legally part of the Borough of Manhattan. So as we look north from the bottom of Marble Hill, we can look north towards the Bronx.

Then we turn around and see  the northern tip of Manhattan island as well as the bridge with the crosswalk and subway tracks that will take us into it.

Now we'll go upstairs to the Marble Hill 225th Street station and take a look at the subway route on the #1 that we'll be following (as well as map of the geographic route we'll be crossing).

Now the train has rattled into the station, we get on and sit down, and we're off!

After a few stops we hit 181th street street. This is where we'll find the George Washington Bridge. Dubbed "the world's busiest bridge," this northern-most expanse connects the city to the rest of America, with cars flowing in and out of NYC and the rest of the continent. It's also, apparently, a popular place for some lost souls to end their lives -- sometimes to dark, comic effect. 

Few more stops and we hit 137th street and City College. 

This public college in the heart of Harlem is one of the great institutions for American learning. For over a century, poor kids from all over NYC could go to City College and pursue the American dream. The students and graduates of City are extraordinary: ten Nobel Prize winners, mayors, Supreme Court justices, US Senators and Secretaries of State, Oscar-winners, Emmy-winners, Pulitzer Prize-winners, astronauts and founders of big companies, and so many more! Heck, even fictional people have gone to City College: Gordon Gekko from Wall Street and Don Draper from Mad Men most notably.

Also, it's where both of my parents worked for almost 40 years, met, fell in love, and produced Mr NYC.

One more stop and we're in Harlem, above ground, at 125th Street.

What else can I say about Harlem, the capital of the black American experience, where great black artists and pioneers lived and worked. Also, it's also one of the hearts of American culture with Apollo Theater and the Cotton Club.

One more stop and we're at 116th street and Columbia University.

One of the seven Ivy League Universities, this institution of higher learning pre-dates the United States itself, originally chartered in 1754 by King George II (hence the original name King's College). Besides being a great and famous university, Columbia has been a site for brilliance and controversy, where great minds have flowered and fought over decades. 

Now we chug down past several stops on the Upper West Side to 66th street and Lincoln Center. 

Home to ballet, opera, symphonies, musicals and plays, Lincoln Center is the multi-theater complex that, along with Broadway, defines NYC as the cultural capital of America. While encompassing only a few small blocks, its impact across America is massive -- including the many performances that are broadcast from there. I have personal recollections of performing at Lincoln Center and have blogged about it a lot -- including my own experience in partaking in a live broadcast. 

One more stop and we're all 59th Street and Columbus Circle.

The site of the big memorial to Christopher Columbus, it is one of the crossroads of Manhattan, with different avenues intersecting and hugging the lower southwest portion of Central Park. It is also, to my knowledge, the only traffic circle in all over NYC. And these days it is now home to the massive Time Warner building that looms over it.

Two more stops and we're in the most square in all the world -- Times Square. 

Dubbed the "Crossroads of the World" it is the very center of American culture, bedecked with electronic billboards, Broadway theaters, massive chain restaurants -- for many it is New York City, the heart of the heart of it all. And, obviously, it's where the world celebrates New Year's every year.

A quick one-stop and we're at Penn Station on 34th street -- or Pennsylvania Station as it's officlally known.

If the George Washington Bridge is the city's businest car-route into America, Penn is the easily the busiest railway route. Amtrak, New Jersey Transit and the Long Island Railroad all go through it, a central hub that connects the outer-edges of Long Island to the West Coast of the United States.

Penn Station also has a tortured history -- the once gorgeous station was torn down in the 1960s and replaced by a dingy undeground hovel. In the last twenty-years it has been dramatically rebuilt and re-imagined, a vast improvement of what it was but a sad reminder of what we could have had if we had only preserved the original. Hey, at least the new Penn Station now has a Dunkin' Donuts!

Now we go down several stops and hit Christopher Street -- Stonewall Station. 

Christopher Street is actually a quiet, beautiful area of Greenwich Village but it is now of the iconic birth place of American gay rights movement. On June 28th, 1969, right after the death of gay icon Judy Garland, the Stonewall Inn was raided by cops -- and for the first time, gay people fought back. It took decades for gay rights to be enshrined into American culture and law but it has triumphed mightly. And it all started on this small block of Manhattan.

Our journey is almost over but we have one more stop until the end -- the World Trade Center.

Of course it used to be the World Trade Centers -- until September 11, 2001 when it became Ground Zero, then, after an extensive rebuilding, One World Trade Center. 

The story of this patch of Lower Manhattan is one of great triumph and tragedy in American history, where George Washington celebrated his victory in the American Revolution and where American was also brutally attacked two centuries later. It's the symbol of American financial power and dominance. Its where Manhattan and NYC began and where it grew out from. It is the complicated heart and soul of the world's greatest nation and its greatest city.

 

And now we come of the end of our journey. We reach the South Ferry-Whitehall Station aka. the Battery, and we pop up out of our seat and go upstairs into the very southern edge of Manhattan. 

We're right across the street from the entraces to the Governor's Island and Staten Island Ferrys, and we can see (and smell) the vastness of New York Harbor, the watery gateway to city and the force that unites the five boroughs. 

And then we walk down a few blocks, turning to look uptown to see where we came from ...

... and then we look down to the southern tip of Manhattan with the rest of NYC and America beyond it.

I hope you've enjoyed this trip along the #1 subway line, seeing the amazing stops and spots of Americana along the way. You can do it yourself in just under and hour. And I hope, maybe, that you learned something!

Classic Mr NYC

I recently blogged about the 1985 NYC crime classic movie Year of the Dragon by the mysterious New York director Michael Cimino. I blogged a few times about Cimino over the years, and you read all those posts here.

But you might not have known that, during the 1960s, when he was a young aspiring filmmaker in NYC, he made some brilliant TV commercials, including this one for United Airlines. This was the height of the Mad Men era, when advertising was become a respected artform all its own, and this is the kind of ad that Don Draper might have dreamed up. 

Anyway, this short commercial is worth watching, the start of the career for a director who would achieve greatness -- and infamy. 

Remembering "Night After Night with Allan Havey" (1989-1992)

The late night television talk show has been a staple of American life ever since Steve Allen launched The Tonight Show in NYC in 1954. Over the decades the names of late night hosts became staples of American culture: Carson, Letterman, Leno, and Stewart ruled the late night airways collectively for over half a century, and their replacements -- Fallon, Kimmel, Colbert, and ... Stewart -- have all dominated late night TV for over a decade now. 

In those same decades there have been lots of other talk shows that have come and gone -- Merve Griffen, Dick Cavett, Conan, Corden, and many others. Up until a few years ago there was a glut of late night shows until economic pressures led to many of them being cancelled. Even the big late night shows are in decline -- their ratings are way down, their doing fewer shows per week, their losing their bands, and they no longer have the kind of agenda-setting, social currency that they used to have.

But thirty-odd years ago, the late night landscape was very different. It was the time of the big transition from the 30-plus year reign of Johnny Carson to the duopoy of Leno and Letterman.

It was also the time when Arsenio Hall -- young, loud, black, and wild -- challenged the white-guy late night establishment and created memorable TV moments, including then-Arkansas Governor Bill Clinton playing the saxaphone and then getting elected president. Late night TV was a hot place, and it seemed like it was the pulse of American culture.

One totally forgotten late night show from that time was Night After Night with Allan Havey. It ran on Comedy Central (first called the Comedy Channel) from 1989 to 1992 and was really different and quite original. 

Coming several years before the start of The Daily Show, Night After Night was a largely tradditional talk show except for some big differences. Allen would begin each show sitting at his desk and, instead of the regular monologue, he'd just talk and riff. It was more like the opening to a radio show than a TV show but he did it really well and was very funny. Then he'd interview his guests and the conversations were much more interesting than anything you'd hear on the late night shows. This show obviously ran many years before podcasts but his interviews were more in-depth and podcast-like than anything else at the time. Also, he played a constant gag on the audience -- his studio audience literally consisted of one person, his "audience of one", usually someone visiting NYC.

Night After Night was a calm, smart, funny show that was, quite frankly, a relief from the raucous, loud, and sometimes quite dumb late night shows. And it was really New York, almost like a late-night Manhattan cable access show brought into the mainstream. 

I remembering watching this show in high school and enjoyed it a lot. I remember on the night that Johnny Carson retired in 1992, they simply paused the show so that everyone else could watch it, and instead just showed an advertisement for Tabasco the whole time. I remember he interviewed the lady who played (and still plays) Lisa Simpson who talked about how many times she had turned eight on the show. And I remember this episode from 1992 when he interviewed an actress/comedien named Stephanie Hodge who was the star of a Saturday night sitcom on NBC called Nurses (a spinoff of another show called Emptyness that was itself a spinoff of The Golden Girls). It aired in the summer of that year, just before I started 10th grade -- and just months before Night After Night was cancelled, and Stephanie Hodges was fired from Nurses. 

Many other late night shows have obviously come and gone since Night After Night was cancelled -- and Allan Havey has gone on to have a great career as an actor, including appearing on Mad Men. But there's never quite been another late night show like this, a really funky NYC show, and so Mr NYC is happy to remember this little piece of NYC late-night culture from a very different time.

Remembering "My Two Dads"

If you ever saw the movie The Player, you learn how movies get made -- a writer or director or producer or someone goes to a studio executive and "pitches," saying something like, "So here's the idea: we team a daredevil cop who doesn't play by the rules with a rookie or a babe or a chimp" (okay, so I stole this line from a Sonic TV commercial but you get the idea).

Much is the same for TV shows: "Okay, so six friends in New York who hang out in an apartment and a coffee shop and joke about their love lives" -- such pitches are what make TV history.

At some point in the mid-1980s, a writer named Michael Jacobs pitched a show to NBC called My Two Dads and I'd love to imagine he told Brandon Tartikoff and Warren Littlefield (the guys who ran NBC at the time), "Okay, so two guys who live in New York banged the same chick back in the 1970s, find out that she died and that she has a teenage daughter and that either of them might be the father, so -- work with me here! -- they decide to raise her together because, you know, that's believable."

But that's exactly the premise for this late '80 sitcom that starred a post-Diner, pre-Mad About You Paul Reiser, some guy named Greg Evigan, and a girl named Staci Keanan who went onto greatness in the 1990s sitcom Step By Step. Each episode presented the two VERY NOT GAY men living together in a stylish NYC loft with lots of neon lights on the wall as they negotiate taking care of this wonderful young lady who has completed disrupted their previously swinging single lives -- and learning important life lessons about along the way. 

Much like Friends, My Two Dads existed in an NYC fantasy land of huge apartments and jobs requiring little work. Unlike other NYC series, the city existed in the background, making it an almost generic setting. But I remember when I occasionally saw this show as a kid  that it was the rare show (besides Kate & Allie, about two other VERY NOT GAY people, in that case women living together) set in NYC. 

What makes watching this show interesting is that, while it's painfully dated, it's a perfect time capsule from the 1980s: a sitcom about how great family is, even when that family consists of two men as parents but of course they are VERY NOT GAY (hard to believe but this show ran nearly 30 years before gay marriage was legalized and the idea of two non-straight men raising a family was unthinkable) plus lots of neon, pastels, and music with saxaphones. 

Believe it or not, as absurd as the premise for this show was, it actually ran for three seasons (from 1987-1990) during NBC's 1980s glory days of Cheers, The Cosby Show, Family Ties, Night Court, and LA Law. It was one of those shows that was a minor hit and, after it was cancelled, completely and totally forgotten about (until now). Today if you pitched a show like this you'd get laughed out of the room but it was perfectly in tunes with its conservative times. 

A few years ago I heard Paul Reiser on a podcast talking about how he came to be on My Two Dads. In the 1980s, Reiser had a big stand-up comedy career and was also acting in big movies like Beverly Hills Cop and Aliens. His agent told him that NBC wanted him to do this pilot but that it was so silly that it would never get picked up and he'd get a quick and easy pay day. Instead ... he found himself stuck on a show he didn't really like for three years but, he said, it made him realize that he'd like to create his own show and that eventually became Mad About You (a vastly superior and much beloved 1990s classic). 

If you're interested in this very odd piece of 1980's TV and NYC nostalgia, you can find a lot of full episodes on YouTube or watch the pilot here:

Remember -- VERY NOT GAY

Review: "Cimino: The Deer Hunter, Heaven's Gate, and the Price of a Vision" by Charles Elton

Over the years I've blogged about one of the most mercurial movie directors of all time -- Michael Cimino -- who had one of the most spectacular rises and falls in all of Hollywood history.

Originally from New York, Cimino directed brilliant TV commercials in the 1960s (the Mad Men era) before going out to Hollywood in the 1970s. He achieved major success in the movies, directing the 1974 Clint Eastwood hit Thunderbolt and Lightfoot followed by The Deer Hunter in 1978 -- a big hit that won Oscars including Best Picture and Best Director for Cimino.

Then it all came crashing down. 

His 1980 movie Heaven's Gate was one of the biggest flops ever -- and it triggered the sale of its studio, United Artists, effectively ending the company's existence. Until 1996, Cimino only directed four more movies -- including the great NYC crime thriller The Year of the Dragon in 1985 -- and then nothing at all until his death in 2016.

Cimino's life and career has always fascinating me. How could someone so talented, who had such major success, let it all slip away? How could he make a movie as great as The Deer Hunter followed by one as disastrous as Heaven's Gate? And what happened to him in those last twenty years of his life?

These questions about this unique cinematic figure also fascinated British author Charles Elton whose new book about Cimino is the first real biography of the director. Elton attempts -- and does -- answer some of these questions while leaving others frustratingly (for him and us) open.

One problem with writing about Cimino is that he lied -- a lot -- about himself: he embroidered his birthdate, his education, his family life, even his supposed military service to people. It's not clear if all this dishonesty was pathological or some kind of game he enjoyed playing with the press and public. And in a business of exhibitionists he was mostly reclusive, not courting publicity or attention. The people around him also mostly practiced this omerta, with few speaking publicly about him.

When Cimino died in 2016, the tributes and retrospectives of his life and career were few and far between -- this Oscar winning director seemed mostly forgotten except for a few like yours truly. So this new biography is a much appreciated -- and much needed -- evaluation of the life and career of a singular, controversial and important cinematic icon. I strongly recommend it. 

Cynthia Harris RIP

Cynthia Harris was one of those actresses who never became a big star -- but who was in everything. She has died at the age of 87.

With a career spanning decades, she is probably best known for playing Wallis Simpson in the 1970s mini-series Edward & Mrs Simpson and then, in the 1990s, as the intimidating mother-in-law Sylvia Buchman on the great NYC show Mad About You.

In between, she appeared in the huge 1987 hit movie Three Men and a Baby -- another NYC classic.

Cynthia Harris was herself an NYC native and, in addition to appearing in movies and TV, had a very successful stage career -- including in the original run of Company back in 1971. She was one of those solid, dependable actresses who could do anything, a great talent. She will be missed. RIP. 

Interview: Jean-Pierre Dorleac, International Costume Designer, on His Career and "Quantum Leap"

“Theorizing that one could time travel within his own lifetime … "

In the early 1990s, when I was a youngster, the Golden Age of Television had yet to arrive. There were no streaming shows and cable television didn't have many original (or good) shows then. The big networks still ruled absolutely. Hit shows were watched by twenty to thirty million people each week, and even lesser-rated shows got around ten million or so viewers. The audience sizes back then are unimaginable today. This was the era of LA Law, Doogie Howser, thirtysomething, Cheers, The Cosby Show, Growing Pains, Dallas, etc. -- shows about lawyers, doctors, cops, families, etc. which were mostly boring to me and my fellow adolescents. But there was one show that was a huge exception, standing out and shining brightly like a star, a show that my friends and I were utterly obsessed with – Quantum Leap.

Quantum Leap was one part science fiction, one part history lesson of the second half of the twentieth-century, and one part buddy comedy. It’s about a brilliant scientist named Sam Beckett who, in the late 1990s, builds a time machine called Project Quantum Leap and finds himself “leaping” into the bodies and lives of different people at different places in the past. Sam is accompanied on his leaps by his friend from the future, Al – a cigar-chomping, quip-a-minute retired Navy man who appears as a hologram (Al steps into something called an imaging chamber at Project Quantum Leap linked to Sam’s brain, and only Sam can see and hear him – except for, as we learn, small children and the mentally disabled). In each episode, Al tells Sam what history he must change, what he needs to “make right that once went wrong” so that Sam can then “leap out” and into a new adventure or – as is always teased – back home to the future.

And for a show about time-travel, it’s fair to say that Quantum Leap was way ahead of its time. When Sam landed in a new place and time each week, the episode would hook the viewers in with the music and clothes and scenery – and that would brilliantly set the stage to introduce the characters and, more deeply, force us to confront much that was uncomfortable in our recent past. Years before #MeToo and Black Lives Matter, Quantum Leap made Americans reckon with their county’s ingrained racism and sexism. While the stories and characters might be sentimental, it was always brutally honest: yes, the South in the 1950s was racist as hell; yes, the New York City corporate world of the 1960s was sexist as hell (this was more than 25 years before Mad Men felt the need to remind us week after week); yes, the military was deeply homophobic; yes, the Cuban Missile Crises and Kennedy Assassination made everyone nuts; and yes, the Vietnam war was a tragedy that haunts our country, even to this day. Yes, the second half of the twentieth century in America was a wild, crazy place -- and Quantum Leap dramatized it so well and so originally.

Quantum Leap ran from 1989 until 1993 and each week was a masterclass in writing, acting, and production Along with shows like Twin Peaks, Larry Sanders and The Days and Night of Molly Dodd, it paved the way for the Golden Age of Television that we enjoy today.

As I mentioned, for a show that jumped around several decades between the 1950s and 1980s, the costumes were extremely important. And the costumes on Quantum Leap were brilliant – they accentuated the characters, gave them a dimensionality beyond the story and script, rooted them not only in the time and place they were living in but also were extensions of who these particular people were – and helped us understand what was going wrong with them so that Sam could set their lives to right.

Almost all the costumes on Quantum Leap were the work of one man, Jean-Pierre Dorleac, a name that popped out every week in the opening credits. Jean-Pierre has had a truly legendary career in show business, designing costumes for the original Battlestar Gallactica in the late 1970s and other classic shows like Max Headroom, Airwolf, and Jake and the Fatman as well as movies like The Blue Lagoon and The Only Thrill. He’s won an Emmy and worked in theater and opera as well, all over the world. His long and successful career is a tribute to his great talent and eye for how the costume can help make the character.

Jean-Pierre has a lively Twitter presence and, while he had a long and varied career in many mediums, it’s clear that his time on Quantum Leap was very special to him. He was the costume designer for almost every episode (except the last five) and he probably had the biggest, most challenging, and most enjoyable costume design job in all of television history. That’s why it was AWESOME that Jean-Pierre was kind enough to answer some of Mr NYC’s fanboy questions about his career, his work on Quantum Leap (especially some of the NYC episodes), and what he thinks the legacy of the show is in the 21st century, almost 30 years since it went off the air.

Thank you so much for doing this interview Jean-Pierre. 

First, I would like to say thank you very much for your interest in my work, especially “QUANTUM LEAP.”

Tell us a little bit about your background and how you became a costume designer.

I have been in show business since I was 10 years old, when I was featured in a review in England (where I received my formative education) singing and dancing to a popular song of the era. “Keep Your Sunny Side Up.” My performance, which turned out to be quiet entertaining and captivating, launched me on the road of entertainment.

I went on to perform in stage productions, radio and eventually television and film as an actor. Sometimes, due to restricted budget, I made my own costumes from scratch. In the sixties when I was studying for a degree in Historic Apparel, I went to work for various designers in Paris as a workroom assistant, shopping textiles, making patterns, and helping in fitting (by handing the designer pins at first). Dior, Cardin, and Givenchy were amongst the notable designers I worked for. I was still doing theater at the time, which at times, required my participation in the costumes I wore. One of the plays I did, “Oh, Dad, Poor Dad, Mama’s Hung You in the Closet and I’m feeling So Sad,” lost its costume designer to illness, and I volunteered to take over. My work created such sensational reviews, I thereafter concentrated more on the designing aspect of entertainment than on being a performer. Soon, because of my special knowledge in 18th Century apparel, I was asked to be the historical consultant to the costume designer for the Royal Shakespeare’s production of Peter Weiss’ bizarre play, “Marat/Sade” concerning the aftermath of the French revolution as performed by the inmates of a mental institution outside Paris. It won many awards and brought me to New York when it opened there, and consequently to Los Angles where the east coast world premiere was staged. I won the Los Angeles Drama Critics Circle award for the costume designs in 1973.

Fate had a very funny, supplementary hand in its success, which is fully explained in my book, “The Naked Truth” available at Amazon.com, eBay, and at my website www.jean-pierredorleac.com.

In time, I realized through my experiences in the making of costumes for the theater, and the expertise I have developed in couture creations, it had culminated in an ability to create costumes that had an underlying, subliminal message, placing them apart from just being attractive and in sync with the narrative.

Within three years I did another two dozen well-known plays in Los Angeles, San Francisco, Chicago, Seattle, New York, Paris, Berlin, London, and Hawaii. And through them, I caught the attention of Edith Head, who then mentored me. Before long, renowned actress, Nancy Walker, requested me to do her costumes alone for her new series in 1977, “Blansky’s Beauties.” Through this, I was inducted into the entertainment’s union, The Costume Designers Guild, that opened more doors to other venues, like my first feature with Henry Fonda, Susan Sarandon and Eileen Brennan, “The Great Smokey Road Block” (a terrible title on a badly shot film with a sensational cast, that bombed).

Although I had become pigeon-holed as mostly a period costume designer, Universal recognized my special talents in fantasy and I was offered Battlestar Galactica in 1978, for which I went on to win an Emmy. I, of course, jumped at the chance to do the show, mainly because it would offer a different aspect of my abilities to the industry as well as the public.

You worked on lots of TV shows and movies over the decades but, on Twitter, it seems like your work on Quantum Leap remains close to your heart. How did you end up working on the show?

One of the associate producers on Battlestar Galactica was Don Bellisario. Matter of fact, he wrote the script for which I won my Emmy. Following the series demise, Don produced a wonderful show entitled The Tales of the Gold Monkey. During its run, he asked me to do a spinoff series from Magnum P.I, that never was aired, but I did become his favorite designer. So, years later, when Quantum Leap was done, he called me in after they shot the pilot episode, to redo a lot of the scenes in it, specifically an entirely new wardrobe for Dean Stockwell, playing a very sybaritic fellow named “Al.” I stayed and did EVERY show in all the season thereafter, except for the last five when I left the production to do Heart and Souls in San Francisco with Robert Downey, Jr., Kyra Sedgwick, Elizabeth Shue, Charles Grodin, and Alfre Woodard.

For nearly every episode you had to design costumes for a different decade between the 1950s and 1980s, as well as for a different part of the country. It must have been a both big creative joy and challenge. How did you approach creating costumes for not only a specific era but also for totally new characters each time?

By the time Quantum Leap came along, I had developed a knowledge of the 20th Century that surpassed all the other earlier periods. I don’t think you could fill half-a-page of what I DON’T KNOW regarding the trends in fashion for the last hundred and fifty years. Therefore, QL came easy to me. I didn’t have to do much research for any of the episodes unless I was looking for something that was out of the ordinary. The one thing that comes to mind immediately was the 18th Century stylization for the wedding dress in “Sea Bride”. I wanted to design something lovely, because it was a wedding dress, yet something comical at the same time, so that Beverly Leech has to struggle with it in the opening scene when she has to hide in the ship’s small stateroom closet. I remember combing old 1957 magazines to find that Dior had used a pannier for some of his gowns at that time, and that gave me the idea for the design I needed. Everything else in that show, including the drop-dead red tango dress, and all the shows, thereafter, just came off the top of my head.

Character costume ideas come from the script. They are born when I begin to read it and then grow into a full figure by the end. Having learned from past endeavors, I want the character to blend with the other actors so there is continuity within their scenes yet have some unique characteristic that sets them apart. It requires imagination, especially with men, as they aren’t as bedecked as women.

There is an adage that goes, “If it ain’t on the page, it ain’t on the stage.”

I saw on Twitter that in one episode you had to create KKK outfits and that it was a hard and painful thing to do. What were some of the hardest costumes you had to create as well as some of the most fun?

Having lived and worked on five continents in the same number of decades, I have tried to learn as much as I can about people. One, it helps me incorporate character in my design, and two, I learn about diversity and how it brings individuality to everyone. Each person has something wonderful to express in how they dress, no matter how much someone else thinks differently. Everyone’s ideas and concepts matter. The two things I abhor are bigots and fabulist. I have a hard time with titles as well, as I have always felt they cover a lot of sins. I’ve met as many people with an academic, medical, engineering, theatrical, artistic, and other degrees, as I have met people who know more by experiencing life and learning the hard way through vocational training. I believe the value of someone’s abilities lie in the merit of their work, not how much they can attract the public’s fancy by being a flash in the pan with a glorified handle.

Having to generate a faction of history by making KKK robes, as there were none from the 50’s in existence, mainly due to changes in design, I was faced with having to create the actual monstrosities, including The Grand Dragon in red. It upset me very much, just in knowing how abhorrent the sight of them would be to many people that were my friends, especially in the south, where the episode occurred. In other episodes of QL, over the years, I had to come up with Nazi and Russian uniforms, but they were ordered from costume houses. They were not of my creation. But the KKK robes that I watched being constructed, really left me sick.

On the other hand, there were many fun things I did for the show that left me elated. There was “Play It Again Sam,” (with the widow who couldn’t help it, if she looked good in black), “Sea Bride,” “One Strobe Over the Line” (glamor, glamor, glamor)“A Single Drop of Rain,” “Glitter Rock,” (Rock the Redhead), “Miss Deep South” (especially the silly Carmen Miranda get-up for ‘Quanta La Gusta’), “What Price Gloria” (Sam’s dinner ensemble with the quivering feather hat), “Private Dancer,” “Southern Comfort” (all those wanton women in lingerie) and “It’s a Wonderful Leap,” among many.

Okay, let’s get to the NYC part. You designed the costumes for the brilliant episode “What Price Gloria” where Sam becomes a secretary dealing with sexual harassment. What are your memories about that episode and the challenges of making Scott Bakula an attractive, dignified professional woman in 1961 NYC?

It didn’t start with Sam. Nothing ever did. It started with Gloria, who you are supposed to be seeing. She was a gorgeous woman. It’s always easy to dress gorgeous women as everyone looks at their faces, not what they’re wearing. And if she were curvy and appealing, it was even easier. I choose simple sheaths that weren’t revealing in anyway at the office, with smart but subtle jewelry. As the story progressed, I selected more feminine styles when we realized that it wasn’t how Gloria presented herself that was making the wolf howl, it was his vain glorious believe in himself. I tried to choose designs that were very reminiscent of the early 60’s and especially chic because it took place in New York City’s business world. I was helped in keeping the look light by the fact that it took place in October of 1961, in the Big Apple. Having lived there at the time, I knew what the weather could be like.

One of the best episodes of Quantum Leap, as well as maybe the best NYC episode, is “Private Dancer” where Sam becomes a Chippendales’ dancer in 1979 and saves a deaf lady from a horrible fate. That episode is both one of the most hilarious and poignant episodes of TV I’ve ever seen on any show (the beginning of the episode, where Sam leaps into the dancer mid-jump, with screaming women all around, Kool and Gang’s “Ladies Night” blaring in the background is one of the funniest things ever). Also, it was probably the most realistic portrayal of late 1970s NYC I’ve ever seen, the costumes are clearly from the 1970s but don’t have a “paper-dollish” look and seem to capture how these struggling dancers at that time would have really dressed. What do you remember about working on that episode?

Well, it wasn’t about putting Sam in next to nothing as the Zorro dressed dancer! That was fun. What was a lot of work, were the dresses to be used in the dance sequences. I had seen Debbie Allen’s choreography in other films and knew I was going to have to have outfits that twirled, floated, and looked seductive, yet classy. They also couldn’t look expensive as these dancers had no money and when they bought things, they tended to stay with styles similar to workout/rehearsal garments.

Debbie Allen’s white gown, at the disco, was little more than four panels of triangular shaped wedges of white matte jersey with self-string straps, belt, and a self-wrapped turban. And the red handkerchief dress worn for the final audition by the young girl was silk jersey with a minimal scattering of sequins at the V-neckline and at the edges of the numerous skirt panels. I wanted simplicity at its best for these scenes as the dance was supposed to be the center of attention and where your mind should linger.

The last NYC episode I’ll ask about is “It’s a Wonderful Leap” that takes place in 1958. In that episode you had to turn Scott Bakula into a Jewish cab driver. His costume and look in that episode, especially the glasses, is quite memorable (so much so that Stephen Colbert referenced that episode in 2015 because, sadly, it includes a child Donald Trump). I also remember all the costumes had a vibrant, 1950’s feel about them. Was that a fun episode to work on (Trump excluded)?

Funny, but I have blanked out tRump being in it! God knows why…ha ha ha ha!

Yes, “It’s a Wonderful Leap” was a wonderful show. After the various times I had spent in NYC, I was quite knowledgeable regarding Hell’s Kitchen, so Sam’s costume was quite easy to put together. I think I only bought one hat to the fitting as I knew it was perfect with the turtlenecks, scarf and beaten jacket of a cabdriver. The glasses were something I picked out from a selection that Props had, as they are a prop item on a shoot.

Most of my time was spent with my old, dear friend Liz Torres. I had known her since 1975 when she had appeared at the Backlot Room of Studio One, in Hollywood.

Liz is one of the most talented actresses in the world who can sing like a bird, dance like a ballerina, and realistically act the hell out a scene. I knew I didn’t have to create much of a character for her as it would all come from her. So, I went for a magical look in whites and grays that didn’t grab your attention, giving away the fact that she was ghost from the 20’s. We made everything, including her hat, shoes, coat, and dress that was beaded. I found old garters and we rolled her stockings down to just below her knees and rouged them…very de rigueur for a flapper of that period.

Longshots on television are rare, so when Liz found out there was going to be one on the street, she spoke with the director first, and then improvised the Charleston dance step so the audience could see our efforts with the stockings and garters. She was definitely one of my favorite actresses of all the ones that I’ve ever worked with.

The rapport between Sam (Scott Bakula) and Al (Dean Stockwell) was amazing, they worked brilliantly together. Did you ever get to watch them work and create that magic?

Yes, many times. I went to the set every day when they were on the lot, and many times when they were on location as well. A major part of my job as a costume designer for film or television, is being on the set to establish a new costume that has never seen before, not even by Dean. Having been in the business for so many years, Dean didn’t like to deal with fittings. So, he and I established a look for him at the beginning. I also had the studio tailor take all his sizes. After a month, we were so in sync, I simple designed his outfits without anyone’s input, and took them to the set the day they worked. He would put them on in his motor home, and then come out with his cigar and parade around the set where all the grips, lighting technicians, sound, camera men and props would ooh and ah about how crazy they were. He loved showing them off as much as he did acting in them.

He and Scott worked together in tandem as they were both extremely professional and didn’t mess around; it was always a business, that they made appear like fun. But they always knew their lines and hit their marks right on time. No one had to wait for either of them.

Finally, even though the show’s been off the air for almost 30 years, my friends and my wife still love it. What do you think is Quantum Leap’s legacy? Was it one of the shows that paved the way for the later Golden Age of TV?

I think its legacy was the great scripts. I don’t remember too many that didn’t hold my interest all the way though. I loved the fact that they also taught some moral responsibility amidst all the foolery. Plus, even though it was achieved though writer manipulation, there was usually a pretty rewarding and uplifting ending that sometime was quite nostalgic.

I’m very rewarded by the followers on Twitter, who, for the most part, didn’t see the show when it was first released, but have becomes fans over the decades from the many times it has aired. That is very unusual for a TV series; it hasn’t been that way with the many other shows I’ve done. But I’m forever getting a residual check for the episode I appeared in, “Shock Theater,” so I know the show is always airing somewhere in the world.

And I’m grateful after all these years that it has become the phenomenal cult hit it is. Between it, “Somewhere in Time,” and “Battlestar Galactica” my costumes have been exhibited all over the world and I have lectured as much as I have done. Examples of my creations have been exhibited worldwide. Benefits for AIDS Project Los Angeles have celebrated my work, as have The Mannequins Auxiliary of the Assistance League of Southern California where an hour long, dazzling fashion show paraded my creations. The Los Angeles County Museum of Arts showcased my costumes and sketches in their exhibition and book, HOLLYWOOD AND HISTORY: COSTUME DESIGN IN FILM, as well as exhibitions at The Metropolitan Museum of Art, New York City; La Palais de la Civilization, Montreal, Canada; and La Place Vendôme, Paris, France. Recently, ATAS exhibited thirteen examples at the Fashion Institute of Design and Merchandising in Los Angeles, in a presentation of award-winning television costumes. 

What a career! What a legacy! Thank you so much Jean-Pierre!

Make sure to visit Jean-Pierre’s website and check out his book at the links above. Also, delve into Mr. NYC’s QL fandom here.

Mr NYC Reviews the 20-Teens

Hard as it is to believe but, as the minutes tick down towards the end of the year, the second decade of the 21st century is ending and the third is about to begin. This very blog will also enter its third decade which, if you don't mind me saying, is something of an achievement.

So what happened in NYC during this past decade, the twenty-teens?

A bunch of stuff, some great, some awful. The New York Times has an interesting list of developments in NYC in the 20-teens that includes the following: the growth of ferry service around the city (good), the dramatic decline of retail stores and the preponderance of empty storefronts (bad), the phenomena of Hamilton that made Broadway relevant again (good), the rise of cashless businesses (neither good nor bad, just reality), the growth of massively tall, skyline-ruining "needle" buildings (bad), universal pre-K (great!), and others. 

One thing this list also includes is the sale of the Chrysler Building for $150 million after previously selling for $800 million. It's truly bizarre that a huge NYC iconic building could sell for less than the most expensive apartments in town and lots of other big name buildings. The reason? It's very old and has tons of structural problems, dramatically decreasing the value. This tracks another big-name purchase that was sold for way less money than one would expect -- the radio station WABC, which was sold for only $12.5, much much much much less than most buildings or apartments in this city. The reason? Very low ratings with an ossified, dying listenership, and practically zero growth potential in the age of podcasts and the Internet. The Chrysler Building and WABC, once mighty NYC institutions, were victims of the changes of this decade.

Another big-time radio station in NYC that wasn't just sold but vanished altogether was WPLJ, where I used to intern, another demographic/technology victim.

One thing about NYC in the 20-teens is that TV about this great city was better than ever: Mad Men, 30 Rock, The Marvelous Mrs Maisel, and many others reflected the wild lifes and times, both past and present, of this town. 

New York City also lost of number of icons, some from death, some from infamy: Ed Koch, Lou Reed, Al Goldstein, and Stan Brooks all died during this decade, representatives, in their very different ways, of this city during the era I call "funky town." Of course, some other NYC icons are still alive but have fallen dramatically from grace: Harvey Weinstein, Anthony Weiner, Louis CK, and Charlie Rose all began the decade in great positions of power NYC only to end it in disgrace and irrelevance. 

The city also saw some physical transformations: Long Island City went from being a real estate desert to a real estate oasis. Hudson Yards opened, creating a brand new neighborhood in the heart of Manhattan. Pedestrian plazas and bike sharing exploded, literally changing the experience of the city streets. 

There were obviously political transformations: Occupy Wall Street (2001), a new mayor (2013), AOC and the Democratic takeover of the State Senate (largely due to elections in NYC in 2018), and naturally, a New Yorker was elected President of the United States but, instead of being a great thing, it was a national tragedy (2016). 

Sports: the Giants won the Superbowl (2012), and anyone remember "Linsanity" (also 2012)?

As always, a lot happened in NYC during the 20-teens -- some things historic, some things just moments in time. I have no doubt that NYC in the 2020s will be equally, if not more, memorable.

P.S. A couple of non end-of-the decade related stories you might find interesting: one is an obituary for an acclaimed activist-artist and another is a long story about how Robert Moses, in a rare feat of true public service, made the Met into the true "people's museum", marrying elite art with the masses, that it is today.

Chemical Reactions

I don't usual do a "Throwback Thursday" kind of thing but I guess here's my small contribution to the meme: my grandfather used to work at Chemical Bank. It was a big time bank in NYC and the whole country (in 1996 it was bought and subsumed into Chase Bank, thus vanishing into history).

Anyway, this is an old 1960s commercial for Chemical Bank and, if you ever doubted that the patriarchy exists or wonder why women are so angry, this was the commercial's slogan: "The New York woman. When her needs are financial, her reaction is ... chemical."

Wow! I can only imagine the Mad Men-like white guys with slicked back hair wearing tweed suits and glasses, sitting around a conference table trying to come up with a catchy slogan for this client, and one of the creeps saying, "Guys! Guys! Guys! I got it, I got it! How about this? 'The New York woman. When her needs are financial, her reaction is ... chemical ...'"

"Oh that's good!"

"Yeahhhhhh!"

"I like it!"

"Definately ..."

"I think we got it boys, I think we got it!" 

Now wonder Trump is President.

Coney Island & Fifth Avenue Immortal

There are no two worlds in NYC as different from each other as Fifth Avenue in Manhattan and Coney Island out in Brooklyn. And yet they reflect and compliment each other in great ways. 

One is the epicenter of business, advertising, glamour, elegance, and wealth. The other is the epicenter of wildness and fun. People go to Fifth Avenue to work and revel in the elegance of NYC. People go to Coney Island to let loose in the craziness of NYC.

That's why I loved seeing these two articles about 5th Avenue and Coney Island past. One is an article about a new collection of pictures of 5th Avenue from the 1960s -- one where the men and women are dressed very formally in Mad Men-esque attire. The other is an article from the 1970s about a gang member in Coney Island who's trying to go straight, living in the shadow and danger of the Boardwalk, a world unto itself. 

Then, of course, there are the famous events that takes place in both locales each year -- the Easter Parade on 5th Avenue and its famous bonnets and Nathan's Hot Dog Eating Contest on the 4th of July. Two great, totally different, NYC experiences.

Heck, 5th Avenue and Coney Island are so iconic that there are even great songs about them! Lou Reed's classic "Coney Island Steeplechase" and Irving Berlin's Easter Parade. 

NYC is forever complimenting itself, a ying and yang all its own.