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A Soaking to Talk About

A thick fog enveloped the Coney Island Boardwalk on Wednesday, where a morning storm drenched some parts of New York City with over three inches of rain.Todd Heisler/The New York Times A thick fog enveloped the Coney Island Boardwalk on Wednesday, where a morning storm drenched some parts of New York City with over three inches of rain.

Ladies, gentlemen and children, fold your umbrellas for a moment and take a bow. You have just lived through the fifth-rainiest May day in the modern history of New York and the rainiest day since Tropical Storm Irene battered the city two summers ago, according to the weather historian Steve Fybish.

Exactly 3.02 inches of rain has fallen in Central Park so far today, the National Weather Service said. According to Mr. Fybish’s extremely detailed records, this figure was last surpassed on Aug. 28, 2011, when Hurricane Irene brought 3.99 inches.

In the May rain category, Mr. Fybish said, Wednesday has been surpassed by only May 29, 1968 (3.99 inches); May 7, 1908 (3.82 inches); May 14, 1978 (3.38 inches); and May 31, 1940 (3.13 inches).

All this after the driest April since 1963.

Not only that, but 36 years ago Thursday, on May 9, 1977, it snowed.

Isn’t weather something!



Chesney Tops Album Chart

Kenny Chesney has his seventh No. 1 album on the Billboard 200 chart as “Life on a Rock” sold 153,000 copies in its first week, according to Nielsen SoundScan. Garth Brooks is the only country act with more No. 1 songs on the chart, with eight. Last week’s No. 1, Michael Bublé’s “To Be Loved,” slipped to No. 2 in its second week, with 96,000 in sales. Justin Timberlake’s “20/20 Experience” holds at No. 3 with 68,000. Fantasia’s “Side Effects of You” was No. 4 in its second week, with 36,000, while “The Heist,” from Macklemore & Ryan Lewis, rose from No. 11 to No. 5, with 35,000.

Macklemore & Ryan Lewis racked up a second No. 1 song this week with their recent release “Can’t Hold Us,” joining an elite club of acts who have seen their first two singles rise to the top of Billboard’s Hot 100. The hip hop duo’s “Thift Shop,” featuring the singer Wanz, has been in the Top 10 for months and held the No. 1 spot for six weeks, though not all in row. This week that song slipped down to No. 6. Billboard said the duo is the first act to send its first two charted singles to the top of the chart since Lady Gaga did so in 2009 with “Just Dance” and “Poker Face.” Bruno Mars, as a solo artist, pulled off the same feat with “Just the Way Your Are” and “Grenade.”

The other new entry in the Top 10 this week is Florida Georgia Line’s “Cruise,” landing at No. 9, a smash hit on the country charts that has been slowly rising on the pop chart over the last 36 weeks.

The rest of the Top 10 are all familiar to current listeners of Top 40 radio. Pink’s “Just Give Me a Reason,” on which Nate Ruess also sings, slipped to No. 2, followed by Justin Timberlake’s “Mirrors” at No. 3, and Rihanna’s “Stay,” with Mikky Ekko, at No. 5.



Thompson Picks Up Backing of a Fiscal Repairman

In recent weeks, William C. Thompson Jr. has been increasingly unfurling mayoral endorsements from African-American and Hispanic leaders, hoping to solidify his base.

But now Mr. Thompson, a Democratic candidate and former city comptroller, is adding someone who is synonymous with fiscal gravitas: Richard Ravitch.

Mr. Ravitch, a former lieutenant governor, is best known as a Mr. Fix-It, beginning in the 1970s, for helping to rescue fiscally wobbly institutions, like the Metropolitan Transportation Authority. He also embodies the kind of old guard Democrat who is comfortable with Wall Street and the corridors of power, and he will lead Mr. Thompson’s budget and finance advisory group.

For Mr. Thompson, Mr. Ravitch’s nod, twinned with the recent endorsement of Merryl H. Tisch, chancellor of the state’s Board of Regents, underscores his broad and diverse base of support. It also signals that, in a liberal Democratic field, Mr. Thompson can appeal to more centrist establishment figures.

Even former Mayor Rudolph W. Giuliani, a Republican, told a television reporter recently that if Joseph J. Lhota, a former deputy mayor of his, were not running, he would most likely back Mr. Thompson, whom he called an “honorable man.”

Mr. Thompson said that the city’s budget challenges meant that this was “an all-hands-on-deck moment.” But he said that “there is no better partner in that effort than Richard Ravitch” to help the city “overcome these fiscal challenges.”

In an interview, Mr. Ravitch said he had “nothing against” the other candidates, especially Christine C. Quinn, the City Council speaker, and Bill de Blasio, the public advocate. But he said he decided to back Mr. Thompson, a longtime friend, because “I think he will be the best fiscal steward by dint of his experience and his personality.”

“He certainly understands that he isn’t going to preside over an expansive period in New York City’s history,” Mr. Ravitch continued.

He added, “It’s important to have broad acquaintances and roots in the political structure, because ultimately whatever choice you make on the tough decisions, you’re going to have a lot of unhappy people, and there has to be a residuum of good will and relationships.”

Mr. Ravitch has made donations to candidates (including $2,000 to Mr. Thompson, and $1,000 to Ms. Quinn, for the 2013 election), but he rarely makes endorsements. In fact, he said he could not remember the last time he publicly backed a citywide candidate (other than himself, he joked, when he ran unsuccessfully for mayor in 1989).

He also said he had voted for Mayor MIchael R. Bloomberg, though he declined to say whether he voted for Mr. Bloomberg or Mr. Thompson in their contest in 2009.



Bowie Video Is Restored to YouTube

Even in 2013 David Bowie can shock people. The singer’s latest video, featuring women in stripper costumes cavorting in a bar with priests, was briefly pulled from YouTube on Wednesday, then returned with an adults-only label, according to Reuters and Mr. Bowie’s publicist.

The video for “The Next Day” disappeared temporarily from YouTube and was replaced with a note saying it had been removed because its content violated YouTube’s terms of service, the singer’s representative, Elizabeth Lutz, said in an e-mail.

Directed by the filmmaker Floria Sigismondi and written by Mr. Bowie, the video takes place in a bar where priests, a bishop and scantily clad women are dancing as Mr. Bowie, dressed as a prophet, and his band are playing. It stars Gary Oldman as a priest dancing with a woman in a leotard played by the French actress Marion Cotillard. Toward the end of the piece, she develops stigmata and bleeds profusely while Mr. Oldman screams that Mr. Bowie’s character is to blame. There is also a monk flogging himself, a woman with no eyes, and a cardinal who hands cash to women who kiss his ring.

A spokeswoman for YouTube told Reuters that the video was returned to the Web site with a restriction for viewers aged 18 and above after complaints. “With the massive volume of videos on our site, sometimes we make the wrong call. When it’s brought to our attention that a video has been removed mistakenly, we act quickly to reinstate it,” said the spokeswoman, whom Reuters did not name.



Labor Dispute Effectively Ends Minnesota Orchestra’s Season

The Minnesota Orchestra, where musicians have been locked out in a labor dispute since October, announced on Wednesday that it had canceled its concerts through June 2 - effectively, the rest of its season. At the same time, Michael Henson, the orchestra’s president and chief executive, announced a series of concerts for late July and early August, with repertory drawn from this season’s unperformed programs, saying in a statement that the concerts were added because “we are not willing to give up on our entire season.”

But those summer concerts are theoretical: throughout the season, the musicians have refused to negotiate during the lockout. Management, however, emboldened by the settlement last month of a similarly contentious labor dispute at the Saint Paul Chamber Orchestra, has asked the players to negotiate on May 20, 21 and 22, with the assistance of a federal mediator.

“We hope that the SPCO’s ratification of a new contract can demonstrate a way forward,” Jon Campbell, the orchestra’s chairman, said in a statement. “In that situation,  the board and musicians came together and bargained throughout a long lockout in order to reach a resolution that the community can afford. We again ask our musicians to return to negotiate in good faith so that we can do the same.”

The orchestra’s cancellation may have ramifications beyond the current season. Minneapolis newspapers have reported that Osmo Vanska, the highly regarded music director, wrote to the board last week threatening to resign if the lockout is not ended and a contract is not negotiated soon. He argued that with recording sessions planned for September, and a visit to Carnegie Hall scheduled in November, it is imperative that the orchestra resume regular rehearsals and performances by the end of this month to be prepared.

“I must make it clear,” Mr. Vanska wrote, “that in the case Carnegie Hall chooses to cancel the Minnesota Orchestra’s concerts this November, i.e. if they lose confidence in our ability to perform as a result of the extended lockout, then I will be forced to resign.”



New Zoo Rarity: Hogs With Uncloven Hooves

The Queens Zoo's new trio of mulefoot hogs awaits your visit.Julie Larsen Maher/Wildlife Conservation Society The Queens Zoo’s new trio of mulefoot hogs awaits your visit.

What’s new at the Queens Zoo these days are three female mulefoot hogs.

The mulefoot, a domestic hog named for its unusual non-cloven hoof, is black, beautiful and classified as “critically rare” by the American Livestock Breeds Conservancy.

A century ago, according to the conservancy, the mulefoot was widely bred in the Midwest “for ease of fattening and production of meat, lard and especially hams.” But it is no longer commonly bred by farmers, the zoo said.

The ladies are a year old and can be visited on the zoo’s farm.

It was not immediately clear whether hogs with uncloven hooves would be considered kosher.

Developing…



New Zoo Rarity: Hogs With Uncloven Hooves

The Queens Zoo's new trio of mulefoot hogs awaits your visit.Julie Larsen Maher/Wildlife Conservation Society The Queens Zoo’s new trio of mulefoot hogs awaits your visit.

What’s new at the Queens Zoo these days are three female mulefoot hogs.

The mulefoot, a domestic hog named for its unusual non-cloven hoof, is black, beautiful and classified as “critically rare” by the American Livestock Breeds Conservancy.

A century ago, according to the conservancy, the mulefoot was widely bred in the Midwest “for ease of fattening and production of meat, lard and especially hams.” But it is no longer commonly bred by farmers, the zoo said.

The ladies are a year old and can be visited on the zoo’s farm.

It was not immediately clear whether hogs with uncloven hooves would be considered kosher.

Developing…



New Zoo Rarity: Hogs With Uncloven Hooves

The Queens Zoo's new trio of mulefoot hogs awaits your visit.Julie Larsen Maher/Wildlife Conservation Society The Queens Zoo’s new trio of mulefoot hogs awaits your visit.

What’s new at the Queens Zoo these days are three female mulefoot hogs.

The mulefoot, a domestic hog named for its unusual non-cloven hoof, is black, beautiful and classified as “critically rare” by the American Livestock Breeds Conservancy.

A century ago, according to the conservancy, the mulefoot was widely bred in the Midwest “for ease of fattening and production of meat, lard and especially hams.” But it is no longer commonly bred by farmers, the zoo said.

The ladies are a year old and can be visited on the zoo’s farm.

It was not immediately clear whether hogs with uncloven hooves would be considered kosher.

Developing…



One Wet Dog

Click here to enlarge.Fred R. Conrad/The New York Times Click here to enlarge.

Workers installing Paul McCarthy’s “Balloon Dog” (2013) on the grounds of the Frieze Art Fair, which opens Friday on Randalls Island.



Angry Response to Lhota’s Flip Remark Prompts His Apology

It was a simple question about improving airport security, the kind that candidates for mayor field up to three times a day at campaign forums across New York City.

But a flippant reply from Joseph J. Lhota, a Republican, has unleashed an unusually angry and biting reaction from the region’s police officers, amounting to the first real blunder of Mr. Lhota’s campaign.

In his answer at the forum on Tuesday night, Mr. Lhota, a former chairman of New York’s mass transit agency, said he had long harbored reservations about the quality of the police officers for the Port Authority of New York and New Jersey, who are responsible for securing the region’s airports, among other facilities.

“Quite honestly, and I know I will get in trouble for saying this, they are nothing more than mall cops,” Mr. Lhota said, to scattered applause from the audience at Pace University in Lower Manhattan.

He went on to complain that Port Authority police officers earned higher pay than the city’s police officers.

Mr. Lhota’s prediction of fallout was correct: Twitter erupted over his tart assessment and, by Wednesday morning, the unions representing the region’s police officers roundly condemned Mr. Lhota’s words as deeply insensitive and inaccurate.

“Mr. Lhota’s remarks are an insult to every man and woman who put their lives on the line every day as a police officer,” said James Carver, president of the Nassau County Police Benevolent Association.

The Port Authority police force lost 37 officers at the World Trade Center site on Sept. 11, 2001, a figure that many police union officials cited as they denounced Mr. Lhota’s comments.

“I’ve had 9/11 widows call me this morning,” said Paul Nunziato, head of the Port Authority Police Benevolent Association. “They are not pleased at all.”

In a show of solidarity, even the head of the powerful union representing the New York Police Department’s officers weighed in, disapprovingly, recalling the hours after the terrorist attack.

“On 9/11 we searched together for 23 N.Y.P.D. officers and 37 P.A.P.D. officers who sacrificed their own lives while evacuating others to safety,” Pat Lynch, the president of the Patrolmen’s Benevolent Association, said, referring to the two police forces.

“If that doesn’t speak to professional policing, then I don’t know what does,” Mr. Lynch added.

Mr. Lhota, then the deputy mayor for operations in the administration of Rudolph W. Giuliani, himself raced to the World Trade Center on Sept. 11. As deputy mayor, he was a fierce defender of police officers throughout his term. Later, he said he had developed cancer from exposure to materials at ground zero.

In that sense, he would seem a natural supporter of the Port Authority’s police officers and their allies in the city. But the fierce response to his statements on Tuesday suggested that he has squandered at least some of that good will.

On Wednesday afternoon, Mr. Lhota issued an apology. “I regret my unfortunate characterization of the Port Authority Police Department,” he said. “It was an inappropriate answer that does not accurately reflect the hard work of its officers.”

That was not enough for Mr. Nunziato.

“What is his apology worth to the children of these cops, or the widows?” he asked.

“Oh, I’m sorry,” Mr. Nunziato said, his voice rising as he mocked Mr. Lhota. “I don’t think he has a chance to be mayor of New York City and I would certainly be out there campaigning against him if he ever got close.”



German Orchestra to Bring ‘Symphony for Palestine’ to West Bank

A few years in the making, a Middle East tour of a work called “Symphony for Palestine” will come to Ramallah, East Jerusalem and Jenin from May 30 through June 2, a German orchestra announced this week.

The symphony and the tour are a collaboration between the Dresdner Sinfoniker with Palestinian and Azerbaijani musicians. The orchestra, performing with an international group of musicians and led by the Italian conductor Andrea Molino, will perform the symphony by the Iranian composer Kayhan Kalhor in concerts in each city.

The symphony is dedicated  to two people whose deaths drew international headlines, according to a statement from the Dresdner Sinfoniker. They are Juliano Mer Khamis, the Israeli-Palestinian actor and political activist who was the director of Freedom Theater, founded in the West Bank city of Jenin. He was killed in April 2011 by masked gunmen presumed by police to be Palestinian militants.

Also being honored is Ahmed al-Khatib, a 12-year-old Palestinian from Jenin who was killed by an Israeli soldier in 2005 when the boy’s water pistol was mistaken for a real gun. The child’s parents donated his organs to several Israeli children.

Given the intensity of the Arab-Israeli conflict, Mirko Nowak, the press coordinator of the Dresdner Sinfoniker, said he nevertheless expected no problems entering Israel to perform the symphony. “We are in contact with the Israeli government,” Mr. Nowak said in a telephone interview on Wednesday. “We will enter from Israel, not Jordan.”

The Dresdner Sinfoniker has been involved with contemporary Middle Eastern culture for several years. The initial “Symphony for Palestine” tour to the region was scheduled in summer of 2011 but was canceled at the last minute because of the murder of Mr. Mer-Khamis.   Instead, the symphony had its premiere in Dresden in the summer of 2011, in collaboration with Palestinian, Iranian and Egyptian musicians, as well as Mr. Kalhor, the composer.

The   “Symphony for Palestine” collaboration joins other efforts to build bridges through music.  Georg Solti’s World Orchestra for Peace and Daniel Barenboim’s West-Eastern Divan Orchestra, both bring together players from different cultures and political persuasions.



Opponents Plan Rally Against New York Public Library Plan

A gathering in front of the New York Public Library’s Fifth Avenue flagship building is planned for Wednesday afternoon to register opposition to the library’s renovation plan.

The rally against the project - known as the Central Library Plan - was timed to coincide with the quarterly meeting of the library’s trustees.

“The Central Library Plan has got to be stopped,” said Theodore Grunewald, a member of the Committee to Save the New York Public Library, which organized the rally with Citizens Defending Libraries, another advocacy group.

“It defies common sense and logic,” he said. “It’s a carry-coals-to-Newcastle scheme in a city where library services are being cut across the board at a time when usage is up and capital improvements are needed.”

Mr. Grunewald said his committee was also seeking an independent financial review to determine the actual cost of the project, which has been estimated at $300 million to $350 million.

Ken Weine, a library spokesman, said, “We welcome public engagement with the renovation project, which has already led to improvements, and we look forward to continuing to meet with library patrons and citizens.”



Mayoral Hopefuls Divided on How to Punish Prostitutes’ Patrons

Yes, there were the usual questions focusing on term limits, pensions, education and temperament. But after dozens of forums over the last few months for mayoral candidates, Tuesday night’s back-to-back debates earned the distinction of coming up with an apparent original: What would you do to punish men who patronize prostitutes?

The question surprised the candidates, as well as the crowd of more than 600 at Pace University in Lower Manhattan, which sponsored the debates with the New York City chapter of the National Organization for Women.

In the first debate, for Republican candidates, the two participants argued for tougher penalties. Joseph J. Lhota, a former chairman of the Metropolitan Transportation Authority, said bluntly that “johns need to be prosecuted.”

“I have no problem publishing the names of people who were arrested for soliciting a prostitute,” Mr. Lhota continued, before calling for “a john list every day in the newspaper.”

Adolfo Carrión Jr., a former Bronx borough president, went further, saying he would publish their license plate numbers.

About an hour later, it was the Democrats’ turn, and the moderator, Joyce Purnick, a former metropolitan editor of The New York Times, took note of Edward I. Koch’s controversial directive as mayor to a public radio station to read the names of convicted male customers on air, during what was called “The John Hour.”

Christine C. Quinn, the City Council speaker, said she disagreed with publicizing the names: “I don’t support reading names or putting them on the Internet.”

Instead, Ms. Quinn said that she favored an “incredibly effective” program in Brooklyn, set up by Charles B. Hynes, the district attorney, that forces “johns” to sit through a program intended to deter bad behavior. “That’s way worse than having it read on the radio.”

Bill de Blasio, the public advocate, and William C. Thompson Jr., a former comptroller, agreed with Ms. Quinn that the names should not be publicized, with Mr. de Blasio saying, “I don’t think that’s the way to be able to end things or change things.”

Only John C. Liu, the comptroller, agreed with Mr. Lhota: “I support the concept.”

But Mr. Liu joked that he did have a problem with the name â€" “john” â€" and suggested that the male customers be called “Bills” instead, at least for the night, since there were two Bills on stage.



Anatomy of a Scene: ‘The Great Gatsby’

In this video, the director Baz Lurhmann narrates a scene from “The Great Gatsby,” featuring a conversation between Jay Gatsby (Leonardo DiCaprio) and Nick Carraway (Tobey Maguire). Mr. Lurhmann discusses the location of the shoot (an area of Sydney made up to look like Long Island) and how a rain storm almost prevented the scene from happening.



As Candidates Vow to Hire Educator as Chancellor, Quinn Keeps Options Open

Several candidates for mayor on Tuesday pledged to hire an educator as the next schools chancellor, breaking with Mayor Michael R. Bloomberg, who three times tapped leaders from business and government for the post.

But one candidate â€" Christine C. Quinn, the City Council speaker, who is considered a front-runner for the Democratic nomination â€" left the door open for a nontraditional pick. Ms. Quinn said she would not rule out any candidates for chancellor, especially those who work at education nonprofits but hold no formal credentials.

“I want to make sure we consider everyone potentially out there,” she said during a forum for mayoral candidates at the Eagle Academy for Young Men, a school in the Bronx. A few hours later, at a forum hosted by Pace University and the National Organization for Women’s New York City chapter, Ms. Quinn repeated her position, and was booed by some members of the audience.

Bill de Blasio, the public advocate and also a Democratic candidate for mayor, attacked Ms. Quinn over the issue, accusing her of supporting the nomination of Cathleen P. Black, a former chairwoman of Hearst Magazines, in 2010. Ms. Black’s time in office was widely panned, and she resigned after 95 days in office.

“You cannot get out of this rut and move the schools forward without an educator in leadership,” Mr. de Blasio said at the first forum.

At the time of Ms. Black’s appointment, Ms. Quinn told The New York Post that Mr. Bloomberg had the right to pick anyone he pleased to be chancellor. She praised the mayor’s selection of Ms. Black’s predecessor, Joel I. Klein, a former federal prosecutor, saying he had done a “terrific job.”

Mr. de Blasio initially welcomed Ms. Black’s appointment but also called on her to hold forums to articulate her views on education.

State law requires a chancellor to hold an advanced degree in education and have at least three years of teaching experience. The state allows waivers for “exceptionally qualified persons.” Mr. Bloomberg sought waivers for his three appointments: Mr. Klein, in 2002; Ms. Black in 2010; and Dennis M. Walcott, a former deputy mayor, in 2011.

Among the candidates who said Tuesday that they would name only an educator who did not need a state waiver as chancellor were the Democrats Sal F. Albanese, a former City Councilman from Brooklyn; John C. Liu, the comptroller; and William C. Thompson Jr., a former comptroller; the Republican Joseph J. Lhota, the former chairman of the Metropolitan Transportation Authority; and the independent Adolfo Carrión Jr., a former Bronx borough president .



Metal Band’s Frontman Charged With Attempting to Hire Hit Man

Tim Lambesis performing in New York in 2007.Michael Falco for The New York Times Tim Lambesis performing in New York in 2007.

The frontman for the Christian metal band As I Lay Dying was arrested on Tuesday in Oceanside, Calif., and charged with attempting to hire a hit man to kill his estranged wife, the San Diego County Sheriff’s Department said.

Detectives arrested the singer, Tim Lambesis, 32, at 2:00 p.m. in a store shortly after he had asked an undercover detective to murder his wife, who lives in nearby Encinitas, the sheriff’s department said. The investigation began a week earlier, when sheriffs received a tip that Mr. Lambesis had asked someone else about performing a hired killing. The singer was charged with solicitation of another to commit murder. No other details about the investigation were given.

Formed in San Diego in the early 2000s, As I Lay Dying is a metal-hardcore outfit that has released six albums and has sold more than 1 million albums. Their most successful was “An Ocean Between Us” (Metal Blade) in 2007, peaking at No. 8 on Billboard’s album chart. A single from that album “Nothing Left” was nominated for a Grammy for best metal performance. Their last album, “Awakened,” was released last fall and debuted at No. 11 on the album chart.

The band is a veteran of the festivals like the Warped Tour, Ozzfest, Rockstar Mayhem and Revolver’s Golden Gods Awards. Mr. Lambesis, whose songs often touch on religious themes, also started a comical side project â€" Austrian Death Machine - a spoof band that makes fun of Arnold Schwarzenegger. Last month, he raised nearly $80,000 from fans through an Internet campaign record a third album.

Billboard reported that Mr. Lambesis is an avid bodybuilder and motorcycle enthusiast who studied at Liberty University, has several faith-related tattoos and owns a recording studio. He also founded the Modern Rebellion clothing line a few years ago. In recent years, he and his wife, Meggan, adopted three Ethiopian children together, then quarreled and separated. Meggan Lambesis filed for divorce in September.



Beatles Concert Show ‘Let It Be’ Coming to Broadway

A scene from the West End production of LIB London Ltd. A scene from the West End production of “Let It Be.”

For a group that split up more than four decades ago and never reunited, the Beatles are certainly finding plenty of opportunities to appear on Broadway. “Let It Be,” a popular British concert show based around the band’s music, will make its mop-topped way from the West End to Broadway this summer, press representatives for the production said on Wednesday.

“Let It Be,” which was created to celebrate the 50th anniversary of the Fab Four, had its debut at London’s Prince of Wales Theater last fall, then transferred to the Savoy Theater, where it continues to play an open-ended run.

The Broadway production, press representatives said in a news release, will include live performances of songs like “Twist and Shout,” “She Loves You,” “Drive My Car,” “Yesterday,” “Hey Jude,” “Come Together” and “Let It Be,” and uses “state-of-the-art projection technology and 3-D sound to put audiences at the heart of the Beatles’ meteoric rise from their humble beginnings in Liverpool’s Cavern Club, through the heights of Beatlemania.” (If you choose to retreat afterwards to an ashram in India, that’s up to you.)

“Let It Be” will begin its Broadway previews at the St. James Theater on July 16, with its opening night scheduled for July 24. Its limited run is planned to conclude on Dec. 29. It follows such Beatles-themed shows as “Rain: A Tribute to the Beatles on Broadway,” which ran from fall 2010 to summer 2011. And if you’re old enough to own an original vinyl copy of “Sgt. Pepper’s Lonely Hearts Club Band,” you may still recall “Beatlemania” â€" which was not the Beatles, but an incredible simulation â€" that ran from 1977 to 1979.



Republicans, Reporters, Drug Addicts and an Orphaned Mural

Having a hard time imagining a palatial Republican Club in the middle of blue Manhattan â€" with a sumptuous main lounge, fireplaces at either end, that offers a panorama of Bryant Park through its great windows, and an oak-trimmed dining room where each of the pilasters is topped by an “RC” crest?

Michael C. Dailey of Daytop, left, and Eric Hadar, who bought Daytop's building at 54 West 40th Street.David W. Dunlap/The New York Times Michael C. Dailey of Daytop, left, and Eric Hadar, who bought Daytop’s building at 54 West 40th Street.

Would it sound more like a New York story if we told you that the Republicans reluctantly turned the clubhouse over to a bunch of journalists, after which the building was used by a drug-rehabilitation program that installed a mural, depicting the path out of addiction, along the curving grand staircase on which luminaries of the Republican Party once trod?

That’s 54 West 40th Street: a place of second lives and second chances.

As the 20th century opened, it was the site of St. Ignatius of Antioch Episcopal Church, which is now on the Upper West Side. In 1902, the Republican Club â€" a social group with a political bent suggested by its name â€" built an ornate 11-story clubhouse on the church site, which it occupied from 1903 until 1961, when the structure was sold to the Overseas Press Club.

In financial distress, the press group sold the property in 1973 to the Daytop Village rehabilitation organization. (“Drug Addicts Yield to Persuasion,” if you’ve ever wondered how it got that name.)

Daytop was all about second lives, and it commissioned a monumental mural, “Ascent,” by the artist Lumen Martin Winter (1908-1982). The allegorical mural depicted a journey from hope, through despair, and back into hope. The segments unfolded as one climbed the stairs. The happy ending came when one arrived at the second floor.

More recently, as Daytop faced its own financial crisis, brought on in part by declining Medicaid reimbursements, it reached an agreement to sell the building to Eric Hadar, the co-founder and chairman of the Allied Partners real estate concern. Mr. Hadar is no stranger to second lives, having battled addiction himself until entering treatment in 2008 after he was arrested for possessing drugs.

Mr. Hadar and Daytop settled on a purchase price of $26.5 million in 2010. A closing was scheduled for 2011. Daytop’s money troubles were mounting. The organization asked Mr. Hadar if he would release his deposit so that Daytop could use the money. He was counseled against doing so, he recalled, but his “personal affinity” for the work of Daytop overruled common sense. After all, Mr. Hadar said, “The only scenario under which I could have lost money would have been if they filed for bankruptcy.” He smiled a bit ruefully at the recollection.

Because that’s just what Daytop did, in April 2012, a move that effectively voided the sale agreement. “We rejected it because the market had moved upward since the contract was signed,” said Michael C. Dailey, the chief executive of Daytop.

Lumen Martin Winter's modernist mural was added somewhat incongruously to a neo-Classical staircase.David W. Dunlap/The New York Times Lumen Martin Winter’s modernist mural was added somewhat incongruously to a neo-Classical staircase.

Then who should emerge as the strongest suitor but Mr. Hadar? He agreed again to buy the building â€" this time for $32 million. “My philosophy was that the building had increased in value,” Mr. Hadar said, “but I had no carrying costs. In my mind, though it seemed like I was paying an added $5 million, I didn’t feel as if it was the end of the world. While I was a little disappointed, I was pleased that it would allow Daytop to go forward.”

Mr. Dailey said he was gratefully astonished by Mr. Hadar’s negotiating posture. “He stepped up with an unexpected degree of both cooperation and fellowship,” Mr. Dailey said. Daytop was so impressed with Mr. Hadar’s collegiality â€" and his decision not to sue â€" that it invited him to join the board. He accepted.

Mr. Hadar was not acting from pure philanthropic impulse. He already owned an abutting building, 50 West 40th Street, so he now controls a site on Bryant Park that could accommodate an apartment and hotel tower of more than 40 stories. The views promise to be spectacular. That project is likely to involve tearing down No. 54 and all but the facade of No. 50.

For the time being, however, Mr. Hadar is content to renovate No. 54, which he has leased to WeWork, which will run it as collaborative office space for individuals and small businesses. Mr. Hadar said WeWork was sharing the cost of the $9 million renovation. The lease runs 15 years, though Mr. Hadar can exercise an option in 2020 to redevelop the entire site.

Mirrors at opposite ends of the lounge create the impression of infinity.David W. Dunlap/The New York Times Mirrors at opposite ends of the lounge create the impression of infinity.

What is not yet settled is the fate of “Ascent.”

While certainly not the equal of Tintoretto’s murals for the Scuola Grande di San Rocco in Venice, Mr. Winter’s mural is a consequential work by an artist who had a number of important commissions: the monumental bas-relief at the Roman Catholic Church of St. Paul the Apostle on Columbus Avenue, the mural “Titans” at United Nations headquarters, a mosaic mural of the Annunciation in the Catholic chapel at the United States Air Force Academy, and two murals for A.F.L.-C.I.O. headquarters in Washington, “Labor Omnia Vincit” and “Labor Is Life.”

For the Daytop mural, Mr. Winter painted representational figures in a crosshatched pattern that makes them seem to float against fantastic geometric patterns. The work is on canvas, so it can be removed. But Daytop has no room for it in its new headquarters, 204 West 40th Street, and has yet to find a recipient interested in such a site-specific mural. So it is still unclear whether “Ascent” will eventually have a second life.



A Corporal’s Taxi Ride

Dear Diary:

In the 38 years that I spent working in Midtown, I had my share of cab rides that were less than commendable. On those occasions, I just closed my eyes and reconnected with the memory of a cab ride taken years before.

Early in June 1951, my flight landed at La Guardia Airport near midnight, bringing me home on furlough. Having to take a taxi into the city was a grim prospect on a corporal’s pay. When I climbed into a waiting cab, I responded to the driver’s “Where to?” by boldly insisting, “Drop me off at the nearest subway station on Queens Boulevard.”

I totally caught him off guard and pressed my advantage. “Look I live in the city and need to save some money for my leave.”

The driver growled, slammed the flag down on the meter and drove off, briskly passing every subway entry he encountered. Dumbstruck, I sat and anxiously watched the meter tick-tick-tick my meager cash stash away.

Nosing the cab into Manhattan, the driver grinned and said: “Scared you, didn’t I? My son, Bernie Jr., is in the service, too. So, if you’re worried about the fare, I got one word for you, kiddo … fuggedaboutit.”

Not a chance, Bernie. Not a chance.

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Blue Note to Partner With ArtistShare

Blue Note Records, the most storied label in jazz, has plans to partner with ArtistShare, a pioneering crowd-funding platform, for a hybrid called Blue Note/ArtistShare. The joint venture suggests one tactical response to the pressures now facing the record business, especially in and around the jazz field.

The new arrangement â€" orchestrated by Brian Camelio, the founder of ArtistShare; Bruce Lundvall, chairman emeritus of Blue Note; and Don Was, Blue Note’s president â€" will essentially serve as a low-risk development arm of the label. Blue Note will help select the artists, and apply its imprimatur and promotional resources to each finished album. But the costs of recording will be shouldered by fans, in the standard mode of ArtistShare projects. Musicians will retain full ownership of their master recordings.

“Young artists worldwide are making fresh musical statements left and right, but are forced to do their own marketing campaigns, too, often when their main focus should be their creative output,” Mr. Lundvall said in a statement released on Wednesday. While Blue Note/ArtistShare has the potential to lighten that burden, it still leaves the artist in charge of his or her own fundraising efforts.

But in ArtistShare, which Mr. Camelio formed a decade ago, there’s an admirable track record â€" one that predates Kickstarter, by far the best-known brand in crowd-funding. (There have been some recent legal entanglements between the two companies.)

The composer-bandleader Maria Schneider, who just released her third album through ArtistShare, has been its emblematic success story, winning widespread acclaim and multiple Grammy awards. Among the other prominent jazz musicians using ArtistShare are the pianist Billy Childs and the guitarist Jim Hall. But experienced, established figures like these will expressly not be the focus of Blue Note/ArtistShare.

Instead, its emphasis will be on up-and-comers, something for which Blue Note has historically prided itself. The label recently released well-received albums by the singer José James and the pianist Robert Glasper; among its forthcoming releases is a debut effort by the bassist Derrick Hodge, due out on Aug. 6.



Blue Note to Partner With ArtistShare

Blue Note Records, the most storied label in jazz, has plans to partner with ArtistShare, a pioneering crowd-funding platform, for a hybrid called Blue Note/ArtistShare. The joint venture suggests one tactical response to the pressures now facing the record business, especially in and around the jazz field.

The new arrangement â€" orchestrated by Brian Camelio, the founder of ArtistShare; Bruce Lundvall, chairman emeritus of Blue Note; and Don Was, Blue Note’s president â€" will essentially serve as a low-risk development arm of the label. Blue Note will help select the artists, and apply its imprimatur and promotional resources to each finished album. But the costs of recording will be shouldered by fans, in the standard mode of ArtistShare projects. Musicians will retain full ownership of their master recordings.

“Young artists worldwide are making fresh musical statements left and right, but are forced to do their own marketing campaigns, too, often when their main focus should be their creative output,” Mr. Lundvall said in a statement released on Wednesday. While Blue Note/ArtistShare has the potential to lighten that burden, it still leaves the artist in charge of his or her own fundraising efforts.

But in ArtistShare, which Mr. Camelio formed a decade ago, there’s an admirable track record â€" one that predates Kickstarter, by far the best-known brand in crowd-funding. (There have been some recent legal entanglements between the two companies.)

The composer-bandleader Maria Schneider, who just released her third album through ArtistShare, has been its emblematic success story, winning widespread acclaim and multiple Grammy awards. Among the other prominent jazz musicians using ArtistShare are the pianist Billy Childs and the guitarist Jim Hall. But experienced, established figures like these will expressly not be the focus of Blue Note/ArtistShare.

Instead, its emphasis will be on up-and-comers, something for which Blue Note has historically prided itself. The label recently released well-received albums by the singer José James and the pianist Robert Glasper; among its forthcoming releases is a debut effort by the bassist Derrick Hodge, due out on Aug. 6.



Blue Note to Partner With ArtistShare

Blue Note Records, the most storied label in jazz, has plans to partner with ArtistShare, a pioneering crowd-funding platform, for a hybrid called Blue Note/ArtistShare. The joint venture suggests one tactical response to the pressures now facing the record business, especially in and around the jazz field.

The new arrangement â€" orchestrated by Brian Camelio, the founder of ArtistShare; Bruce Lundvall, chairman emeritus of Blue Note; and Don Was, Blue Note’s president â€" will essentially serve as a low-risk development arm of the label. Blue Note will help select the artists, and apply its imprimatur and promotional resources to each finished album. But the costs of recording will be shouldered by fans, in the standard mode of ArtistShare projects. Musicians will retain full ownership of their master recordings.

“Young artists worldwide are making fresh musical statements left and right, but are forced to do their own marketing campaigns, too, often when their main focus should be their creative output,” Mr. Lundvall said in a statement released on Wednesday. While Blue Note/ArtistShare has the potential to lighten that burden, it still leaves the artist in charge of his or her own fundraising efforts.

But in ArtistShare, which Mr. Camelio formed a decade ago, there’s an admirable track record â€" one that predates Kickstarter, by far the best-known brand in crowd-funding. (There have been some recent legal entanglements between the two companies.)

The composer-bandleader Maria Schneider, who just released her third album through ArtistShare, has been its emblematic success story, winning widespread acclaim and multiple Grammy awards. Among the other prominent jazz musicians using ArtistShare are the pianist Billy Childs and the guitarist Jim Hall. But experienced, established figures like these will expressly not be the focus of Blue Note/ArtistShare.

Instead, its emphasis will be on up-and-comers, something for which Blue Note has historically prided itself. The label recently released well-received albums by the singer José James and the pianist Robert Glasper; among its forthcoming releases is a debut effort by the bassist Derrick Hodge, due out on Aug. 6.