Calyer Street has one of the most beautiful groups of landmark row houses in Greenpoint, where Calyer Street meets Clifford Place. These five Neo-Greek brick houses were built between 1879 and 1880. The quaint landmark houses seem to have jumped straight out of the Edward Hopper painting Sunday Morning. These houses delude you into thinking that Calyer Street is frozen in time—but change is coming quickly to Greenpoint, even to historic Calyer Street.
Perhaps no street is more historic than Calyer Street. The history of the street even predates its official opening, going all the way back to 1645 when the first European home in Greenpoint was built by Norwegian immigrant Dirck Volckerstzen 100 feet from where Calyer and Franklin meet. The house was built on a knoll, but was burned by the Native Americans in 1655 and rebuilt after the conflict had ended. The house and the hill it stood on were leveled to provide landfill for shipyards in the 1850s. Continue reading →
The other day, I gave a talk on the Irish history of Greenpoint, and a long-time Greenpointer offered me a new twist on a famous old Greenpoint legend.
Before diving into the story, lets get acquainted with the story’s protagonists. The legendary scandalista Eva Tanguay was a Vaudeville legend who came to perform at the B.F. Keith’s Theater at Manhattan Avenue and Calyer Street sometime around the turn of the century. Notorious as the “I Don’t Care Girl”—the title of her signature song—Tanguay established herself as the queen of Vaudeville in 1901 with the New York City premiere of her controversial show “My Lady.” The Lady Gaga of her day, Tanguay was brazen, impudent, and shameless in the eyes of the Prudish. Some of her hit songs like “It’s All Been Done Before But Not the Way I Do It” and “Go As Far As You Like” boldly suggested illicit pleasures. She wore a shockingly revealing dress made entirely of pennies and filled her act with racy double entendres. Greenpoint’s Mae West, who later became equally notorious, was an early admirer who later incorporated many elements of Tanguay’s act into her own suggestive performances. Continue reading →