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Dropped in a Park or Lost Wanderers, Most Groundhogs Live Isolated Lives in the City

A groundhog reared its head at Mount Loretto, a nature preserve in Staten Island, last spring.Vincent Mounier A groundhog reared its head at Mount Loretto, a nature preserve in Staten Island, last spring.

Staten Island Chuck lives the pampered life one would expect of a celebrity groundhog, lounging in a heated nursery at the Staten Island Zoo and noshing on sweet potatoes as the world outside shivers.

But as Chuck gears up to make a highfalutin weather prediction Saturday alongside heavily gloved handlers and politicians, his wild counterparts occupy the proverbial other side of the tracks.

Meet the Real Groundhogs of New York City, a population of perhaps a few dozen scattered throughout city parks, botanical gardens and cemeteries, some o isolated from any other groundhog community that naturalists do not know for sure how they got there.

Right now, of course, they are sound asleep, as groundhogs are meant to be in midwinter (the greenhouse conditions in Chuck’s lair throw his hibernation software out of whack). When the weather warms, though, they emerge from burrows in all five boroughs - from Astoria Park in Queens to Conference House Park at the bottom of Staten Island to Pelham Bay Park in the Bronx.

Sunny Corrao, a ranger with the parks department, recommends Fort Tryon Park at the relatively wild northern top of Manhattan, particularly the lawns just west of the heather garden and those along Broadway.

“You’re almost guaranteed to see groundhogs,” said Ms. Corrao, who regularly shows them off to passers-by through her binoculars and spotting scope.

A groundhog enjoyed a snack in Central Park last August.Murray Head A groundhog enjoyed a snack in Central Park last August.

Groundhogs also can be found in Central Park, hemmed in on all sides by concrete that poses a riddle as to their origin. The population there has been very small for a long time and possibly nonexistent some years, leading naturalists to doubt that groundhogs have survived there since before the park was cut off from other green space in the 19th century.

David Burg, president of the urban conservation group WildMetro, theorizes that groundhogs in Central Park and other city greenswards were dumped there - or descend from groundhogs dumped there - by frustrated gardeners who trapped them.

“Big parks in urban areas very often get nuisance animals released,” Mr. Burg said.

Some of the groundhogs in the Bronx may be decendants of Project X, a parks initiative during the Giuliani administration aimed at bringing back extirpated native species. In 1997, groundhogs were reintroduced in Van Cortlandt and Pelham Bay Parks.

Other groundhogs in the northern Bronx might have followed grass-lined roads such as the Hutchinson River Parkway. Possibly, a groundhog or two managed to navigate the streets, much the same way the city’s raccoons do, and cross a bridge into Manhattan.

“Teenage males are capable of many things,” said Robert S. Voss, a mammal curator at the American Museum of Natural History. “But it would be very, very high risk,” because groundhogs, unlike raccoons, are active during the day, when car, dog and human traffic is the highest. They also move slowly, and rarely venture far from their burrows or the green vegetation they consume in prodigious quantities.

Yet anot! her chall! enge facing New York City’s groundhogs: their populations are so small and separated from one another, some likely have difficulties finding mates, naturalists say.

A groundhog gamboled among the gravestones in Green-Wood Cemetery in Brooklyn late last summer.Marie Viljoen A groundhog gamboled among the gravestones in Green-Wood Cemetery in Brooklyn late last summer.

One balmy Wednesday in January, Matthew Wills, who writes the urban nature blog Backyard and Beyond, ventured into Green-Wood Cemetery in Brooklyn to show a reporter a burrow dug into a hill beneath a big family tombstone. He waited patiently for a while, but the groundhog did not show itself. In the breeze, it almost seemed as if faintsnoring could be heard from within.

Mr. Wills recalled that he had seen a groundhog in the cemetery on two occasions.

The first time was in the spring of 2011. The second was last fall. He had just finished a participatory art project when he saw a whiskered face pop up among the gravestones.

“It was like seeing an old friend,” Mr. Wills said. “I would hope there’s more than one.”



Kids Draw the News: Special 3-D Assignment

You can make a micro-apartment diorama this Sunday at the Museum of the City of New York. Or you could make one at home, as Violet, 8, did in Brooklyn.Andy Newman/The New York Times You can make a micro-apartment diorama this Sunday at the Museum of the City of New York. Or you could make one at home, as Violet, 8, did in Brooklyn.

This assignment is about Very Small Apartments.

Right now at the Museum of the City of New York in Manhattan, there is an exhibit of very small apartments that architects designed for a contest held by the city. (The winning design will be used to make a whole building full of very small apartments.)

On Sunday, the Museum is having a special activity for kids: you can go there and make your very own very small apartment, from a shoebox and other art supplies. You should go! We will be there and will take photos of some of your shoebox apartments and make a slideshow of them here on Kids Draw the News.

The Museum of the City of New York is at 1220 Fifth Avenue at 103rd Street. Here is a link to their small apartments exhibit.

If you can not make it to the museum on Sunday, you can also make a very small apartment at home and send us a picture of it for the slideshow. To send a photo of your small apartment directly to us, follow the instructions here: Submit Artwork Â'



Postal Service Considers Sale of Bronx General Post Office

The walls of the Bronx General Post Office are ornamented with 13 giant murals. They were painted in the 1930s by Ben Shahn and his companion, Bernarda Bryson.David W. Dunlap/The New York Times The walls of the Bronx General Post Office are ornamented with 13 giant murals. They were painted in the 1930s by Ben Shahn and his companion, Bernarda Bryson.
A detail of one of the murals.David W. Dunlap/The New York Times A detail of one of the murals.

The money-starved United States Postal Service is considering selling th Bronx General Post Office on the Grand Concourse â€" an official city landmark, a centerpiece of life in the borough for more than 75 years and a monumental gallery of the work of Ben Shahn, one of America’s leading Social Realist artists. Postal operations would move to a much smaller leased space.

The proposal was included in a letter that had been sent weeks ago to the Bronx borough president, Ruben Diaz Jr., and copies of it were later posted at the post office. The proposal was made more widely public Wednesday on a blog Welcome2Melrose. On Thursday, the Postal Service received a response from Mr. Diaz.

“Our office feels that the decision to close this historic facility is unacceptable, and we question the United States Postal Service’s methodology in selecting this site for sale,” John DeSio, the communications director for Mr. Diaz, ! said in a statement.

Described by the Landmarks Preservation Commission as the largest of 29 Depression-era post offices in New York City, the Bronx General Post Office occupies the entire block from East 149th to East 150th Street. Its most distinguishing feature are 13 lobby murals painted in the late ’30s by Mr. Shahn (1898-1969) and Bernarda Bryson (1903-2004), his companion and later wife.

A sculpture by Henry Kreis ornaments the south end of the General Post Office facade, which stretches along the Grand Concourse from East 149th to East 150th Street.David W. Dunlap/The New York Times A sculpture by Henry Kreis ornaments the south end of the General Post Office facade, which stretches along the Grand Concourse from East 149th to East 150th Street.

Lke much of the artwork of that era, the murals celebrate labor and its byproducts. There are colossal figures of farmers and mill workers, steel factories and hydroelectric dams â€" still powerful, though darkened, dulled, nicked and cracked. “My idea,” Mr. Shahn once said, “was to show the people of the Bronx something about America outside New York.”

Picking cotton.David W. Dunlap/The New York Times Picking cotton.

There was no mention of the murals in the letter to the borough president, dated Dec. 31, 2012, from Joseph J. Mulvey, a real estate specialist for the Postal Service in Milford, Mass. Instead, he wrote, “In the face of unsustainable deficits, the Postal Service must seek ways to cut costs and reduce the size of its infra! structure! .”

“Advances in mail-processing technology, alternate access, declining mail volumes and route consolidations have contributed to a number of underutilized facilities,” he said.

“We believe we have an opportunity in the Bronx to sell the existing Postal Service-owned property located at 558 Grand Concourse and right-size our retail operation into smaller leased space,” Mr. Mulvey continued.

The building has about 175,000 square feet of space, said Connie Chirichello, a spokeswoman for the Postal Service. In contrast, postal operations in that neighborhood would require only 7,300 square feet.

In an e-mail message sent on Friday, Ms. Chirichello said no final decision has been made regarding a Bronx consolidation.

In his letter, Mr. Mulvey said the Postal Service “wishes to work in partnership” with the borough president and the community. A meeting is scheduled this month, Mr. DeSio said.

Textile worker.David W. Dunlap/The New York Times Textile worker.

The landmark designation, which would regulate what alterations a buyer could make to the exterior, does not apply to the lobby where the Shahn murals are. In theory, new owners could do whatever they wanted. “There is no discussion at this time by postal officials about relocating the murals should a decision be made to sell the building,” Ms. Chirichello said.

Ed García Conde, who wrote the post in Welcome2Melrose, grew up in the neighborhood. “I loved the grandeur of the building in the middle of the South Bronx,” he said in an interview. But he can attest from personal experience that the General Post Office no longer handles nearly the volume of mail it used to. For instance, he no longer sees mail trucks coming and going around the cl! ock from ! his window.

“I’m not opposed to a sale,” he said. “What I’m concerned about is the interior. At the very least, the lobby must remain intact and not be turned into a Dunkin’ Donuts.”

As is chiseled into an elegant commemorative plaque in the lobby, the General Post Office was built in 1935, “during the administration of Franklin D. Roosevelt.” It was part of a Treasury Department program to employ out-of-work architects, engineers, artisans and artists. Thomas Harlan Ellett was the architect. In the austere facade, tall arched windows penetrated a solid wall of gray brick that is otherwise unembellished except for two sculptures, by Charles Rudy and Henry Kreis.

The plaque, between two farming scenes, proclaims, David W. Dunlap/The New York Times The plaque, between two farming scenes, proclaims, “This building was erected during the administration of Franklin D. Roosevelt.”

Inside is a different story: an unfolding panorama of American labor and landscapes on all four walls.

No stranger to controversy, Mr. Shahn worked with Diego Rivera on murals that were removed at Rockefeller Center because they included a depiction of Lenin. He worked with Lou Block on a mural for the Rikers Island penitentiary that was rejected by the municipal Art Commission because its depiction of prison conditions was deemed unsuitable.

At the Bronx post office, religious leaders found reason to object to a depiction of Walt Whitman standing before a blackboard with lines from his poem “Thou Mother With Thy Equal Brood,” which suggested about churches that “maybe their work is done.” The inscription was subsequently cha! nged to l! ines from “As I Walk These Broad, Majestic Days,” including this sentiment: “Democracy rests finally upon us.”

In this mural, Walt Whitman points to a blackboard with words from one of his poems: David W. Dunlap/The New York Times In this mural, Walt Whitman points to a blackboard with words from one of his poems: “There is no final reliance but upon us; / Democracy rests finally upon us.”


Week in Pictures for Feb. 1

Here is a slide show of photographs from the past week in New York City and the region. Subjects include a dolphin in the Gowanus Canal, the retirement of a Manhattan mail carrier after 45 years on the job, and the reopening of a historic church in the East Village.

This weekend on “The New York Times Close Up,” an inside look at the most compelling articles in Sunday’s Times, Sam Roberts will host a tribute to Ed Koch, with The Times’s Joyce Purnick and Clye Haberman. Also, Diane Coffey, Stanley Brezenoff and Neil Barsky. Tune in at 10 p.m. Saturday or 10 a.m. Sunday on NY1 News to watch.

A sampling from the City Room blog is featured daily in the main print news section of The Times. You may also browse highlights from the blog and reader comments, read current New York headlines, like New York Metro | The New York Times on Facebook and follow us on Twitter.



The Week in Culture Pictures, Feb. 1

Long before the audience’s arrival for a recent performance of the company’s production of “La Bayadère,” Maria Alexandrova, a principal dancer with the Bolshoi Ballet, warmed up at the historic theater.James Hill for The New York Times Long before the audience’s arrival for a recent performance of the company’s production of “La Bayadère,” Maria Alexandrova, a principal dancer with the Bolshoi Ballet, warmed up at the historic theater.

Photographs More photographs.

A slide show of photographs of cultural highlightsfrom this week.



Collector Says He Will Donate Johns Works to MoMA as promised

The art collector Donald L. Bryant Jr. is dismissing recent accusations that he is trying to go back on a pledge he made to the Museum of Modern Art and the artist Jasper Johns that he would donate three important paintings by Mr. Johns to the museum.

Mr. Bryant was accused of back pedaling on the deal to donate the triptych titled “Tantric Detail I,” “Tantric Detail II,” and “Tantric Detail III” in a lawsuit filed last week by the billionaire Henry Kravis and his wife Marie-Josée in Manhattan Supreme Court.

The paintings are co-owned by Mr. Kravis and in the art world’s version of a time-share, they have been shuttling back and forth between the Kravis and Bryant apartments. In their suit, the Kravises accused Mr. Bryant of trying to replace their existing contractual arrangement with one that “disregards, dishonors ad repudiates the pledge” to gift the art to MoMA.

But Mr. Bryant, through a spokesman, denied the charge, saying: “I have always planned to give my half of the paintings to MoMA. I have never said nor do I have any intention of reneging on my agreement with the artist to do so.”

Mr. Kravis and Mr. Bryant agreed to jointly buy the works in 2008, with the intention of eventually donating the paintings to the museum. They each paid half the purchase price. At the time, Mr. Bryant and Mrs. Kravis were on the museum’s board.

Their agreement also they said they would take turns every year exhibiting the canvases in their homes, according to court papers.

The yearly switch went smoothly until 2 1/2 weeks ago when the Kravises said they learned from an art delivery service that Mr. Bryant had canceled the scheduled Jan. 14th delivery. They accused Mr. Bryant of holding the works “hostage,” so as to renegotiate an agreement and abandon the gift to MoMA.

Acco! rding to the court papers, Mr. Bryant asked to move the delivery date from January 1 to “after February 1” and impose a penalty for late delivery. The proposed new agreement made no mention of the donation to MoMA, Mr. Kravis said in his suit.

Informed of Mr. Bryant’s response, Gregory Joseph, Mr. Kravis’s lawyer, asked “Then why not acknowledge the existing agreement”

“We intend to pursue the litigation that confirms the existing agreement and documents MoMA’s rights,” Mr. Joseph said.



Big Ticket | Full-Floor Luxury for $12.9 million

823 Park Avenue 823 Park Avenue

A full-floor condominium with ample Park Avenue frontage and white-glove amenities in a prewar building that underwent a luxurious and luminous two-year makeover under the direction of the architect Barry Rice in 2004, sold for $12.9 million and was the most expensive sale of the week, according to city records. The original listing price was $15 million.

The residence at 823 Park Avenue, No. 8, has nine rooms and occupies nearly 4,200 square feet. The beige limestone Greek Revival-style building, built in 1911, was originally designed by the irm Pickering and Walker as one of the first rentals on the avenue, with an entire floor devoted to each apartment.

The monthly carrying charges, including taxes, for No. 8, a five-bedroom, four-and-a-half-bath unit, are $10,120. Although the building offers no outdoor space, there is a full gymnasium/health club in the basement and an elegant lobby finished in French limestone.

The corner living room to the south and mahogany-paneled library to the north sprawl for a full block between 75th and 76th Streets facing west on Park Avenue; both rooms have fireplaces with carved marble mantels and 10-foot-high coffered ceilings.

The oversize windows are framed in mahogany, and the floors are polished herringbone oak. The eat-in kitchen has three windows, honed blue slate countertops, and professional-caliber Viking equipment. The master bedroom, tucked away at the back of the apartment for privacy, has southern exposures, oak plank flooring, a walk-in! closet/dressing area and an all-marble bath.

The sellers, Joseph Oughourlian and Jennifer Banks of London, were represented by Charlie Attias of the Corcoran Group. Michele Kleier of Kleier Residential represented the buyer, the financier Thomas C. Uger. Formerly an independent director of PriMedia, Mr. Uger is a partner in Kohlberg Kravis Roberts & Company and a leader of its media and communications team.

Big Ticket includes closed sales from the previous week, ending Wednesday.



Big Ticket | Full-Floor Luxury for $12.9 million

823 Park Avenue 823 Park Avenue

A full-floor condominium with ample Park Avenue frontage and white-glove amenities in a prewar building that underwent a luxurious and luminous two-year makeover under the direction of the architect Barry Rice in 2004, sold for $12.9 million and was the most expensive sale of the week, according to city records. The original listing price was $15 million.

The residence at 823 Park Avenue, No. 8, has nine rooms and occupies nearly 4,200 square feet. The beige limestone Greek Revival-style building, built in 1911, was originally designed by the irm Pickering and Walker as one of the first rentals on the avenue, with an entire floor devoted to each apartment.

The monthly carrying charges, including taxes, for No. 8, a five-bedroom, four-and-a-half-bath unit, are $10,120. Although the building offers no outdoor space, there is a full gymnasium/health club in the basement and an elegant lobby finished in French limestone.

The corner living room to the south and mahogany-paneled library to the north sprawl for a full block between 75th and 76th Streets facing west on Park Avenue; both rooms have fireplaces with carved marble mantels and 10-foot-high coffered ceilings.

The oversize windows are framed in mahogany, and the floors are polished herringbone oak. The eat-in kitchen has three windows, honed blue slate countertops, and professional-caliber Viking equipment. The master bedroom, tucked away at the back of the apartment for privacy, has southern exposures, oak plank flooring, a walk-in! closet/dressing area and an all-marble bath.

The sellers, Joseph Oughourlian and Jennifer Banks of London, were represented by Charlie Attias of the Corcoran Group. Michele Kleier of Kleier Residential represented the buyer, the financier Thomas C. Uger. Formerly an independent director of PriMedia, Mr. Uger is a partner in Kohlberg Kravis Roberts & Company and a leader of its media and communications team.

Big Ticket includes closed sales from the previous week, ending Wednesday.



In Another Opening, Myanmar Holds a Literary Festival

Authors once imprisoned for their writings will be among those featured in Myanmar’s first international literary festival, which runs from Friday through Sunday.

The Irrawaddy Literary Festival comes as Myanmar is relaxing its censorship rules. After the country, formerly known as Burma, was controlled by a military junta for half a century, recent political reform has opened it to the outside world and allowed more freedom of expression. While writers must still submit their books to the government, it can no longer block their distribution.

According to The Associated Press, more than 100 authors from around the world are expected to attend, including the Nobel Peace laureate Daw Aung San Suu Kyi, the opposition leader who spent about 20 years under house arrest before being elected toparliament last year. Others include Jung Chang, the Chinese author of “Wild Swans,” whose books are banned in China; the British historian Timothy Garton-Ash; and the New Delhi-based writer William Dalrymple.

“I feel extremely happy the festival can happen at all,” Ms. Chang told The A.P. “I dream for the day when my books can be read in China.”



Popcast: On Wayne Shorter, the Jazz Standard-Bearer and Cosmic Philosopher

Wayne Shorter's new album, “Without a Net,” will be released on Blue Note on Tuesday.Andrew Councill for The New York Times Wayne Shorter’s new album, “Without a Net,” will be released on Blue Note on Tuesday.

This week, Nate Chinen talks with host Ben Ratliff about Wayne Shorter, the subject of his piece in this weekend’s Arts and Leisure section.

Mr. Shorter, about to new album with his quartet (“Without A Net,” on Blue Note), played groundbreaking music with the Miles Davis quintet and Weather Report; he’s still considered standard-bearer in jazz as we know it. But what sort of bandleader is he How is it that a nearly 80-year-old musician is seen as the essence of an evolving music Why his insistence on talking about eternity and the falsity of endings And what’s the link between Buddhism and Louis Armstrong

Listen above, download the MP3 her! e, or subscribe in iTunes here.

RELATED

Nate Chinen on Wayne Shorter

Ben Ratliff’s “Listening With” piece on Wayne Shorter

Ben Ratliff’s obituary of Butch Morris

SPOTIFY PLAYLIST
Tracks by artists discussed this week. (Spotify users can also find it here.)



The Sweet Spot: Feb. 1

In this week’s episode, A. O. Scott and David Carr talk about the transformation of our favorite magazines, who runs them, and why they’re succeeding and failing.



Book Review Podcast: The Legacy of Louis Agassiz

Yuko Shimizu

This week in The New York Times Book Review, Rebeca Stott reviews “Louis Agassiz: Creator of American Science” by Christoph Irmscher. Agassiz was a prolific and influential scientist and teacher, but his racist beliefs and his opposition to evolutionary theory tarnished his image. Mr. Irmscher calls his subject “distinctly undelightful.” Ms. Stott writes:

Agassiz and his peers stand in the shadow of Darwin’s extraordinarily liberal, kindly, generous good nature. Alongside Darwin, some of these men look selfish, mean-minded and bigoted. They are difficult to like.

But irreconcilable contradictions make for interesting biographies. And Irmscher doesn’t allow the “undelightful” aspects to disappear in the service of myth making. Instead, he draws out the complexities of his subject and helps us to see them as part of the fabric of 19th-century science. There’s no airbrushing in “Louis Agassiz: Creator of Ame! rican Science.”

This week, Mr. Irmscher discusses the life of Agassiz; Leslie Kaufman has notes from the field; Timothy Naftali talks about Richard Nixon; and Gregory Cowles has best-seller news. Sam Tanenhaus is the host.



Vandalized California Petroglyphs Recovered

The United States Bureau of Land Management announced that investigators had recovered five petroglyph panels that were chiseled and sawed away last year from a volcanic escarpment in a remote area of the Eastern Sierra region of California, The Los Angeles Times reported.

No suspects have been publically identified in the theft, which shocked members of the Paiute-Shoshone tribe, who hold the carvings sacred. The glyphs, which depict fauna like deer, rattlesnakes and bighorn sheep, as well as geometric shapes, are not particularly valuable on the black market, so it was unclear why someone went to such trouble to steal them, officials said at the time the thefts were discovered in October.

Federal officials told The Los Angeles Times that they found the panels after receiving an anonymous tip in the mail. “Now, the healing can begin,” Bernadette Lovato, field office manager for the bureau, said. “Recovery was a priority for me, and the public outrage intensified the need for them to be returned.”



Architectural League Names Winners of Emerging Voices Competition

Eight designers have been selected by the Architectural League of New York as the winners of its annual juried Emerging Voices competition. The awards highlight individuals and firms who have distinguished themselves in architecture, landscape design and urbanism.

The winning firms are: Cao | Perrot Studio of Los Angeles and Paris; DIGSAU of Philadelphia; dlandstudio of Brooklyn; Gracia Studio of Tijuana and San Diego; MASS Design Group of Boston and Kigali, Rwanda; Ogrydziak Prillinger Architects of San Francisco; PRODUCTORA of Mexico City; and SO-IL of New York City.

This yearʼs jury included Henry Cobb, Paul Lewis and Annabelle Selldorf. Past Emerging Voices have included Morphosis Steven Holl, Amale Andraos and Dan Wood of WORKac, Enrique Norten and Deborah Berke.

Winners will present lectures in March at the Scholastic Auditorium in SoHo. In April the League will also present online features about the firms that explore their work through interviews and video.



Architectural League Names Winners of Emerging Voices Competition

Eight designers have been selected by the Architectural League of New York as the winners of its annual juried Emerging Voices competition. The awards highlight individuals and firms who have distinguished themselves in architecture, landscape design and urbanism.

The winning firms are: Cao | Perrot Studio of Los Angeles and Paris; DIGSAU of Philadelphia; dlandstudio of Brooklyn; Gracia Studio of Tijuana and San Diego; MASS Design Group of Boston and Kigali, Rwanda; Ogrydziak Prillinger Architects of San Francisco; PRODUCTORA of Mexico City; and SO-IL of New York City.

This yearʼs jury included Henry Cobb, Paul Lewis and Annabelle Selldorf. Past Emerging Voices have included Morphosis Steven Holl, Amale Andraos and Dan Wood of WORKac, Enrique Norten and Deborah Berke.

Winners will present lectures in March at the Scholastic Auditorium in SoHo. In April the League will also present online features about the firms that explore their work through interviews and video.



Remembering Ed Koch

On the brink of power: Ed Koch on primary day in 1977, two months before he was elected to his first term as mayor.Paul Hosefros/The New York Times On the brink of power: Ed Koch on primary day in 1977, two months before he was elected to his first term as mayor.

With the death on Friday of Edward I. Koch , the “little Jewish kid from the Bronx” who grew up to govern New York City through 12 of its most memorably turbulent years, remembrances of the man, his deeds, his words and his 88 years flowed in from all over the world in every possible form.

Today on City Room we are curating moments from Mr. Koch’s seemingly infinite public life, and the reaction to his passing.

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Remembering Ed Koch

On the brink of power: Ed Koch on primary day in 1977, two months before he was elected to his first term as mayor.Paul Hosefros/The New York Times On the brink of power: Ed Koch on primary day in 1977, two months before he was elected to his first term as mayor.

With the death on Friday of Edward I. Koch , the “little Jewish kid from the Bronx” who grew up to govern New York City through 12 of its most memorably turbulent years, remembrances of the man, his deeds, his words and his 88 years flowed in from all over the world in every possible form.

Today on City Room we are curating moments from Mr. Koch’s seemingly infinite public life, and the reaction to his passing.

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Long Before the Brooklyn Nets, There Were the Black Fives

The basketball team of the Alpha Physical Culture Club in  Harlem in a 1910 photograph.Courtesy Black Fives, Inc. The basketball team of the Alpha Physical Culture Club in Harlem in a 1910 photograph.

In 1996, the National Basketball Association published an encyclopedic history â€" 800 pages about the players and the teams. Claude Johnson, who was the league’s director of international licensing at the time, leafed through it and found only two and a half pages devoted to the all-black teams that had predated the N.B.A.

Only two teams were mentioned. There must have been others, he thought.

He has spent the past 16 years filling in the gaps, starting with amateur basketball clubs organized in the early years of the 20th century. They wre followed in the 1920s by a few professional teams â€" some with black owners, some with white owners, including one run by, among others, the grandfather of the wrestling promoter Vince McMahon.

Last year Mr. Johnson published a book of his own: 62 pages of text, 51 footnotes and more than 30 photographs. The book, “Black Fives: The Alpha Physical Culture Club’s Pioneering African American Basketball Team, 1904-1923,” focuses on a club team that figured in one of the photographs he assembled in 2007 for a book of postcards of early black basketball teams.

Soon many of those photographs, enlarged to poster size, will have a place in Barclays Center, the home of the Brooklyn Nets. They will be unveiled on Feb. 4, and a ceremony will honor descendants of Black Fives players during halftime at the Nets-San Antonio Spurs game on Feb. 10.

Mr. Johnson is counting on the photographs to dispel the notion that the Nets are the first important basketball ! team to call Brooklyn home.

That distinction, he said, belongs to a team called the Smart Set Athletic Club, one of the dozens of all-black teams that once flourished in the Northeast and Midwest. In the Smart Set’s first lineup was a player named Edwin F. Horne Jr. â€" Teddy Horne, the father of the singer Lena Horne.

Like the Negro League stars in baseball, the Black Fives were talented players who helped to shape the game before the integration of the N.B.A. in 1950. The best-known black teams were the Harlem Rens, named for the Renaissance Ballroom in Harlem, and the Harlem Globetrotters. The Rens, which Mr. Johnson describes as the first black-owned, all-black professional basketball team in history, won 88 straight games in 1933.

But they were following a path set by the earlier club teams that Mr. Johnson is determined to lift out of obscurity, among them the Smart Set in Brooklyn and the Alpha Physical Culture Club in Harlem.

“For years, I was that guy saying, ‘I’m gong to write a book,’” he said. “There’s a difference between saying ‘I’m going to write a book’ and writing a book.”

He self-published it, even learning a complicated graphic design program to do the layout, page by page, and hired a copy editor to go over the manuscript. “I’m still figuring out how to write,” he said. “I got straight Ds in English.” (That was in Cincinnati, said Mr. Johnson, 51. “People get Ds for different reasons,” he said. “As soon as I hit ninth grade, different school, different environment, I straightened up and got As and Bs. I had been lost in this giant combination junior high-high school which had 3,000 kids. I was just lost.”)

Amassing the material took the detective work of a historian â€" sorting through tidbits of information, reading and cross-referencing articles from old newspapers, interviewing descendants of players. It started with a book by Arthur Ashe that he read while he was at the N.B.A., “A Hard Road to Glory:! A Histor! y of the African-American Athlete, 1919-1945.”

“On what’s got to be the first page,” he said, “he mentions several teams. One was the Smart Set Athletic Club. I’m a licensing guy, I’m living in Brooklyn, I’m thinking, ‘The juxtaposition of smart and athletic, that would be cool on a T-shirt.’ I called up my brother, who’s a designer, and he said, ‘Yeah, that’s really cool.’”

But he found nothing on the Smart Set in the league’s archives, at the Basketball Hall of Fame or at the Library of Congress. “Eventually, I found myself in the Schomburg basement,” ,” he said, referring to the Schomburg Center for Research in Black Culture on Malcolm X Boulevard in Harlem.

He built on the information he found in the black newspapers stored there on microfilm. “You know how you can be a stalker of a person who lived back then” he asked. “I was looking at all the possible records. Census records. The city directory. The World War I records. If you look at Th New York Age and it said, ‘J. Kingsland played a good game,’ well, who was J. Kingsland”

James Kingsland, it turned out. Through his research, Mr. Johnson determined that he joined the Smart Set in 1908-09.

“The pre-1910 teams were strictly amateur, club spirit teams,” he said. “In the mid-1910s, things started to become semipro, and by the time it got to Bob Douglas” â€" who, in 1923, formed the Rens â€" “he realized the only way to do this was to have a fully professional contract. All the other teams fell by the wayside except the Rens, and they became so successful, no one could beat them.”



This Week\'s Movies: Feb. 1

In this week’s video, Times critics look at the zombie comedy “Warm Bodies,” Don Coscarelli’s “John Dies at the End” and “Koch,” a documentary about the former New York mayor. See all of this week’s reviews here.



Bolshoi Ballet Postpones \'Rite of Spring\' Premiere

The Bolshoi Ballet has postponed the late-March premiere of the choreographer Wayne McGregor’s new “Rite of Spring” because of the health of its director, Sergei Filin. Mr. Filin has been in the hospital since Jan. 17 after he was attacked with acid by a masked man. Curiously, it was not the Bolshoi Theater that announced the cancellation, but Emerging Pictures, the United States distributor for the films of the Bolshoi Ballet and Opera, which was scheduled to present a screening of Mr. McGregor’s “Rite” on April 21.

In a news release Barry Rebo, a managing partner at Emerging Pictures, said, “We very much regret this unavoidable cancellation.” But it remains unclear why Mr. Filin’s incapacity makes this particular production impossible. Tthe Bolshoi, which has around 220 dancers and a technical and administraive team of around 3,500, has soldiered on stoically through the crisis, continuing to rehearse and perform as planned. It is unlikely that Mr. Filin would have been directly involved in the creative process of Mr. McGregor’s “Rite,” and the Bolshoi has many ballet masters who assist visiting choreographers in teaching and rehearsing works.

And there are two other productions of “The Rite of Spring”â€"by Maurice Béjart and Pina Bauschâ€"that are proceeding as planned in March and April, as part of a 100th-anniversary celebration of the ballet’s premiere. Neither Mr. McGregor nor a spokesperson from the theater could be reached for comment.



Art in Odd Places, Plus Some Evens, Equals a Numbers-Themed Festival

Art in Odd Places, which presents visual and performance art in unexpected public spaces in New York, is inviting proposals for its coming annual festival.

The theme of this year’s event â€" which takes place Oct. 11 through Oct. 20 on 14th Street from Avenue C to the Hudson River â€" is number.

To wit: “How numbers crowd us.  Hurrying us, burying us, buoying us, worrying us. Dates to remember and forget, time to make, numbers in funds, pools, mints, checks, and balances, a lucky promise, the first, the last, boom and dip, growth and decline, profit and loss, debt and depression, taxes, tolls, polls, inflation, treasure and foreclosure, precision, penury, exactitude, excess, codes, ciphers, coins, currency, rhythm and cycles, counting and accounting, counting votes, counting cards, counting all his money, counting the hours, counting sheep, counting down, count your blessings, don’t count your chickens, stand up and be counted, discounts and ecounts, but who’s counting … ”

You get the gist.

And if you’re short on ideas, a news release about the festival provided some possible inspiration:
14 - #1 - 10 - 100 - 3.14 - 69 - 99 - 212 - 718 - 7eleven - 9/11 - 911 - 3/11 - 24/7 - 365 - 10-4 - 13 - 666 - 1492 - 1776 - 1857 -1968 -1984 -1989 - 12/21/2012 - 47% - 99% - 1% - 0 - ∞ - 2013

Applications will be accepted online until midnight on March 1.



Volunteer Traffic Director

Dear Diary:

Once again, I was visiting New York, a city that has amazed me since childhood, when family vacations to visit Pennsylvania relatives sometimes included a couple of days in Manhattan.

During my most recent visit, strolling along Broadway in Midtown one weekday afternoon, I couldn’t help noticing a Fire Department ambulance hopelessly stalled in gridlock on a side street, siren blaring, emergency lights flashing.

“Wait a second,” I told my companion, “this could be interesting.”

Quickly, a middle-aged man in a business suit emerged from the sidewalk crowd and walked onto Broadway. Upon reaching the center of the signalized intersection, he set his briefcase at his feet. His arms now free, he signaled Broadway traffic to a halt in both directions.

Now heeding his direction, not the red light, drivers quickly cleared the side street, opening the intersection for the emergency vehicle. The ambulance turned left and proceeded up Broadway. The anonymous good Smaritan retrieved his briefcase, exited the intersection and walked off.

I felt like we bystanders should have applauded his decisive action which, who knows, may have helped save a life.

Read all recent entries and our updated submissions guidelines. Reach us via e-mail: diary@nytimes.com or telephone: (212) 556-1333. Follow @NYTMetro on Twitter using the hashtag #MetDiary.



Celebrating Grand Central, Then and Now

On Feb. 2, 1913, The New York Times published an eight-page special section heralding the opening of the new Grand Central Terminal. Browse the section below or download it here. On Feb. 2, 1913, The New York Times published an eight-page special section heralding the opening of the new Grand Central Terminal. Browse the section below or download it here.

One hundred years ago, a set of keys was handed to the station master of the new Grand Central Terminal, and one day later, Feb. 2, 1913, The New York Times heralded the erminal’s opening with an eight-page special section.

“One Signal Tower Controls Seventy-Nine Acres of Tracks”

So read the headline over one of many articles praising the technological wonders and modern luxuries of the terminal. Among other things, the new terminal marked a change to electric trains from the days of steam and diesel.

Free of noxious fumes, smoke and steam, the new tracks and train yards could be buried in tunnels under Manhattan’s streets, creating the spectacular breadth of Park Avenue we know today and defining a new Midtown that had been divided by street-level rail yards. Many advertisements in the special section were for real estate in the newly accessible and open neighborhood.

On Friday, a daylo! ng slate of events are scheduled at Grand Central to celebrate the terminal’s big birthday.

The special section in 1913 included articles that focused on different aspects of the vast new terminal. One praised the modern luxuries:

“…if hair gets out of curl in a damp day’s journey the woman passenger may go to the women’s hair dressing parlor in the Grand Central Terminal, a magnificent apartment with walls and ceiling of Carrara glass, where not but her own sex will see while she has her hair dressed in the very latest style.”

Other articles mentioned logistic and architectural highlights, including the series of ramped walkways, rather than stairways, easing the movement of baggage, and, of course, the new kissing galleries:

“Slightly elevated it is promised that they will offer exceptional vantage points for recognition hailing, and the subsequent embrace. Time was when embracing went on all over the terminal, and the indignan handlers of the baggage trucks would swear that their paths were forever being blocked by leisurely demonstrations of affection. But we have changed all that.”

We’ve gathered the pages from 1913 into a package that can be browsed below. The special section is available to download in a highly legible form.

Or print it out for an authentic re-creation of the 1913 newspaper reading experience.

Download the Special Section (PDF)