Peace to Brad for hipping me to this on-line collection of William Gottlieb’s photography. It’s wonderful.

Man, imagine going back in time to witness 52nd street during its heyday?

The new production of Arthur Miller’s “A View from the Bridge” was enthusiastically reviewed by Ben Brantley in the New York Times earlier this week:

Even more than with “Death of a Salesman,” Miller used “Bridge” to sell his theory that true tragic heroes may well emerge from the common run of contemporary lives. So eager was he to make the point that he even included a one-man Greek chorus, an Italian-born lawyer named Alfieri (here played by Michael Cristofer), who speaks loftily about the grandeur of the story’s “bloody course” of incestuous longings and fatal consequences.

Perhaps Miller felt that plays, like classical heroes, required tragic flaws, and thus provided one for “Bridge” in the form of the long-winded Alfieri. This drama needs no annotator or apologist if it’s acted with the naturalistic refinement — and accumulation of revelatory detail — found in this interpretation.

I had wondered if “Bridge” really needed another revival. New York saw a first-rate production only a dozen years ago, directed by Michael Mayer, with Anthony LaPaglia, Allison Janney and the young Brittany Murphy (who died at 32 last year). But this latest incarnation makes the case that certain plays, like certain operas, are rich enough to be revisited as often and as long as there are performers with strong, original voices and fresh insights.

In today’s Wall Street Journal, Nathan Ward, whose book, “Dark Harbor: The War for the New York Waterfront,” will be published later this year, has an interesting column about the play’s orgins:

About a year after Miller’s death in February 2005, and a few months before Longhi passed away, I happened to interview the lawyer about the old waterfront. Unlike his “portly” stage likeness Alfieri, Longhi was, at 90, a tall, trim and elegant man. Sitting in his Manhattan law office on lower Broadway, he recalled how his friend Miller, who lived in picturesque Brooklyn Heights in the late ’40s, “often thought about that mysterious world of the Brooklyn Italian waterfront. . . . But he being an intellectual, who’s gonna talk to him? Nobody.” In his autobiography, “Timebends,” Miller remembered wondering, on his daily walks, about “the sinister waterfront world of gangster-ridden unions, assassinations, beatings, bodies thrown into the lovely bay at night.” But, he was forced to admit, “I could never penetrate the permanent reign of quiet terror on the waterfront hardly three blocks from my peaceful apartment.”

…Miller first heard the story that became “A View From the Bridge” while on a trip with Longhi to Sicily in 1948. “Longhi mentioned a story . . . of a longshoreman who had ratted to the Immigration Bureau on two brothers,” Miller wrote, “his own relatives, illegal immigrants who were living in his very home, in order to break an engagement between one of them and his niece.” Longhi told me, “it happened to my client . . . who turned to me and said, ‘I’m going to kill so-and-so,’ and then it turned out that I figured he must be in love with the kid. And I told this story to Miller and he said, ‘What an opera!'”

No one would mistake Red Hook or Columbia Street today for the place whose tough waterfront culture so shocked Miller in the late ’40s. But the last time I was down there, I saw a throwback to Eddie’s world, an aspect of New York dock life that never completely dies: Up on the Waterfront Commission building there was a new banner advertising a special crime-tips number that read: “HAD ENOUGH? Theft, corruption, and organized crime cost the port millions of dollars and thousands of jobs.” One side of the street may sell New Zealand meat pies and feature a French backyard bistro, but the ragged side of his old neighborhood Eddie Carbone would know at a glance.

Don’t miss this wonderful New York Times article by David Gonzalez about capturing the Bronx on film.

Slide-show? Slammin’.

It is always the same, the sudden, stomach-dropping, jolt.  Walking along a city block, looking up at a familiar store front or restaurant, a Closed sign hanging in the door way, or a vacant window. Something has happened. Change has come, like it or not.

I gasped last night as I walked past Sal and Carmine’s pizza shop on Broadway between 101st and 102nd (They make a salty but delicious slice.)  The grate was up and a red rose was taped against the metal.  Above it was a small xeroxed obiturary from a New Jersey paper.

Sal died late last week. I’ve been eating their pizza since I was a kid.  Sal and Carmine.  Two short, taciturn men in their seventies, though they look older. I never knew who was Sal and who was Carmine, just that one was slightly less cranky than the other. These are the kind of men that don’t retire but are retired.

The funeral was yesterday; the shop re-opens today.

As I read the obituary, people stopped and registered the news.  They congregated for a few moments, some took pictures with their cell phones, and then slowly walked away, the neighbhorhood taking in the loss.

A few months ago I invited myself to Ray Robinson’s apartment, ostensibly to get his list of ten essential baseball books, but really so I could lay eyes on his library of sports books.  Robinson, an author (Iron Horse) and longtime magazine editor, grew up on the Upper West Side, near Columbia.  When he was a kid, Robinson got a delivery job at a local liquor store, and he found himself making stops over at Babe Ruth’s apartment at 110 Riverside Drive. He’d say, ‘Thanks keed,'” Ray told me.  “He called everybody ‘keeed,’ because he couldn’t remember anyone’s name.  And he would invariably honor me with a couple of dollar bills.”

Ray and his wife, Phyliss were wonderful with me.  We chatted in the living room of their comfortable New York apartment for about an hour and Ray shared his selections of favorite baseball books with me.  I poked my nose through his collection and as I was about to leave, Ray said, “Oh, would you like to see my scrapbooks?”

“Sure, I would.”

Ray picked-up a bright orange plastic bag from the bottom of the bookshelf, the kind you’d get from the local Chinese take out.  He pulled out two weathered books, practically falling apart, one dated 1932, the other, 1933.  They were filled with pictures of players from every team in baseball.  Ray cut-out images mostly from The New York Sun, The Saturday Evening Post, assorted baseball magazines as well as baseball cards.  Then, along with some friends, he’d scout the hotel lobbies where the out-of-town teams stayed, to get autographs.

The books are lovingly, obsessively assembled, filled with small notations.  Ray expressed some embarrassment when I complemented him on how wonderful, how personal the books are. He dismissed his sketch of the Babe as being awful, but I liked it and his wife did too.

Ray asked if he should sell the books–after all, he’s got a couple of Lefty Groves in there, a Honus Wagner, Dizzy Dean.  Phyliss said that she didn’t think that was a good idea. I quickly agreed.

“You can’t sell these,” I said.  “They belong in a museum or for your grandkids.”

As I looked carefully through the two books, Ray kept wondering if he should sell them.  I said, “No way,” but when I left I felt foolish.  Who am I to say that he shouldn’t sell them?  There is probably some serious money in those two books.  Still, they feel too personal to part with.  They are not kept under a glass case, they are in a plastic bag on the shelf, a secret baseball treasure on the Upper East Side.

Yesterday, the New York Times featured a short essay by Ray Robinson about his scrapbooks.

Check it out and dig what I was able to see:

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