October 4, 1999 Issue
"Right now, it's a place for people who don't mind a little funkiness, which I don't. It's real grungy still, and that's what appealed to me."
-- Martha Stewart, "Pier Pressure"
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BY ALEX WILLIAMS
Unobstructed river views, fourteen-foot ceilings, block-long offices drenched in sunlight, and elevators that can carry a twenty-ton tractor-trailer: The newly defined Lower West Side has exploded as the most dynamic commercial district in the city. Art galleries, telecom companies, new-media firms, photo studios, and e-commerce companies by the score are passing on traditional midtown quarters and setting up shop in hulking riverside buildings that once served the shipping and manufacturing industries. It's raw, it's dirty, and you need to cab it from the subway to get there, but even Martha Stewart says it's a good thing.
The Show Has Legs
No one's had a more salutary effect on Broadway dancing in the nineties than ex-hoofer Susan Stroman. With Contact, her stunner of a show at Lincoln Center Theatre, the director-choreographer finds a dazzling muse in dancer Deborah Yates (especially opposite flustered foil Boyd Gaines).
After a century of preeminence in the business of making a market for securities, the New York Stock Exchange has seen its franchise under attack by computerized networks offering cheaper, faster, and (some say) fairer trades. NYSE chairman Richard Grasso has a plan to stay competitive in the electronic future -- but for many brokers, it may mean the end of a way of life.
Gay men find solidarity with the women of Sex and the City; who'd want Janet Maslin's job?
GOTHAM STYLE A Fashion Week roundup; plus, what they were wearing in the front row
If you build it, they will kvetch: When it comes to architecture and P.R., NYU could take a lesson from Columbia
Writer Joe McGinniss got his own interests confused with those of publisher Little, Brown
Tiny teapots; a champagne tub that parties like it's 1999
Watch on the rind: Cheese is good
Sales & Bargains
Are these pony-skin bags for real?
BY PETER RAINER
Mumford is a creepily mild look at therapy and the 'burbs
Thanks to Susan Faludi, men, too, can now enjoy the privileges of gender-based victimization
Two broad surveys of American art, both hamstrung by social themes, never get the big picture
Il Viaggio a Reims has been stitched back together; would Rossini be pleased with the results?