Ed Sullivan being presented with a fancy layer cake from the Viennese Café Eclair in New York City for the 7th anniversary of the Ed Sullivan Show Entertainment

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Unidentified man, Elizabeth Krakauer nee Gottschalk and Hans Krakauer on board the ship Koenigstein traveling from Antwerp to New York City on their emigration voyage from Germany.

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Group portrait at the farewell banquet for Dr. William Antopol from the laboratory staff of Mount Sinai Hospital; Ken's Chop House, New York city Portraits Groups

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History department, City College, New York City.

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College of the City of New York (CCNY) Strike.

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Group portrait, testimonial dinner for Dr. Paul Klemperer's 10th anniversary at Mt. Sinai Hospital given by his students; Cavanagh's, New York City Portraits Groups

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Copy of English address given by Gershom Seixas after his return to New York City

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Papers presented at conference on the situation in China : under the auspices of the Committee of Reference and Counsel, representing the Foreign Missions Conference of North America : February 29, 1912, 156 Fifth Avenue, New York City.

http://www.archive.org/details/paperspresenteda00foreuoft

New York City: 12 December, 1980

This article compares two documentary treatments of the Central Park vigil for John Lennon in 1980: Happy Birthday to John (Jonas Mekas, 1995, 16mm, 18 min.), and Dix minutes de silence pour John Lennon/Ten Minutes Silence for John Lennon (Raymond Depardon, 1980, 16mm, 10 min.). Mekas and Depardon might seem an improbable combination but as the article demonstrates there are affinities, if not direct points of convergence, in outlook and documentary method: both sensibilities have been shaped by migrant experiences, and much of their work, for all its formal and structural differences, is preoccupied with experiences of exile and displacement, rootedness and the meaning of home, the country and the city (and in Mekas’s case, the country in the city). Mekas and Depardon are also Europeans who have developed an intimate social and artistic relationship with New York City; both are concerned with the place of autobiography in their work, using captions, inter-titles, diary entries, photographs, and 1st person commentary to complicate relations between the imaginary and the documentary. In addition to discussing the significance of these preoccupations, and differences in the manner in which both filmmakers witness the apotheosis of Lennon as cultural martyr (and natural New Yorker), the article also examines the phenomenon of public mourning, and how it often displaces its ostensible subject: associatively, in the case of Mekas; incidentally, in the case of Depardon; and intentionally, in the case of the mass media, and popular culture.

Identifying the urban communities of New York City using bikeshare data from NYC citibike

This study identifies a measure of the cultural importance of an area within a city. It does so by making use of origindestination trip data and the bike stations of the bike share system in New York City as a proxy to study the city. Rarely is movement in the city studied at such a small scale. The change in strength of the similarity of movement between each station is studied. It is the first study to provide this measure of importance for every point in the system. This measure is then related to the characteristics which make for vibrant city communities, namely highly mixed land use types. It reveals that the spatial pattern of important areas remains constant over differing time periods. Communities are then characterised by the land uses surrounding these stations with high measures of importance. Finally it identifies the areas of global cultural importance alongside the areas of local importance to the city.