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Tag Archives: Julie Seyler

Newark is Nothing New to Those of Us in the Know

24 Friday May 2013

Posted by Lois DeSocio in Food

≈ 5 Comments

Tags

Food, Fornos of Spain, Julie Seyler, Lois DeSocio, Newark, Newark Ironbound, NJ, The Write Side of 50

Forno's of Spain

Fornos of Spain. All photos by Julie Seyler.

BY LOIS DESOCIO AND JULIE SEYLER

My little New Jersey town conveniently straddles two big cities – Manhattan and Newark. I can make it to downtown Newark in 15 minutes, and on a Sunday, sans traffic, can drive to Manhattan in 20.

But it’s a hard sell to get my Manhattan friends to bridge or tunnel it over to the Jersey side for anything, much less dinner. Why would anyone leave Manhattan to eat? And eat in Newark? For the 25 years that I’ve lived nearby, a suggestion to dine in Newark has provoked comments from the uneducated about how they don’t understand how I could live so close to a city that they consider to only have bragging rights as a murder capital. Given that Newark’s Ironbound district rivals any Manhattan neighborhood for flavor of both the palatable and neighborhood kind – they are missing out.

But Julie was recently open to giving it a go, and took the PATH to Newark, where we met at Fornos of Spain – a somewhat touristy, but still tasty, Ironbound fixture. Shocking that Julie, a born-in-Jersey girl, who will fly for seven hours to eat tapas in Madrid, had never, in 50-plus years, ventured anywhere in Newark beyond its Penn Station platform. Dare I say – she and her camera were smitten? At least with the name:

In the Ironbound section of Newark, New Jersey there is a restaurant called Fornos of Spain. It is readily accessible from Manhattan via either the PATH or NJ Transit to Newark Penn Station. Last week, Lois and I dined there with our contributor buddies, Frank and Bob. We reveled in clams casino and gambas al ajillo; grilled grouper, paella valencia and filled-to-the-brim pitchers of sangria. I am pleased to say the sangria was not cloyingly sweet, as I, too, as this New York Times article points out, remember it being when I was drinking it in the 1970s.

Paella Valencia.

Paella Valencia.

Sangria.

Sangria.

The next day I set about looking for the Fornos, you know, the restaurant “of Spain.” I assumed that the Newark joint was a scion of a famous place in Spain, probably Madrid. An Internet search just turned up thousands of reviews of the Newark restaurant. I discussed the dilemma with Lois, who had a simple explanation: ‘Well, Jule, fornos means ovens in Portuguese, therefore the restaurant is actually called the Ovens of Spain.’ What? I mulled this over. That doesn’t make sense, because if fornos means ovens in Portuguese, why didn’t they call the restaurant Fornos of Portugal? And even that is not the final word on the subject because couldn’t there be a family named The Fornos? Maybe they came from Spain. So, what’s in a name? Whether it’s forno, or Newark? What I do know is that I want to go back to Newark’s Ironbound and find a Portuguese restaurant without “Spain” in the name.

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There’s Beauty in the Beasts, Gargoyles, and Peacocks of Upper Manhattan

21 Tuesday May 2013

Posted by WS50 in Art

≈ 1 Comment

Tags

Art, Jane Alexander, Julie Seyler, The Cathedral of St. John the Divine, The Write Side of 50

Jane Alexander

All photos by Julie Seyler.

BY JULIE SEYLER

If anyone has a chance to get up to the The Cathedral of St. John the Divine at 112th Street and Amsterdam Avenue by July 29, there is an exhibit up called, Jane Alexander: Surveys (from the Cape of Good Hope). It’s visually mesmerizing and provocative. If you decide to go, check the Web site because accessibility to the the show is limited.

Upon entry to the cathedral, head straight to the back right chapel named after St. James. There is a slideshow presented of black and white photos of the South African landscape, and the city of Cape Town. It contributes to appreciating the fantastical anthropomorphic animal humans Ms. Alexander constructs out of fiberglass. But it is not simply the figures that intrigue, it is how and where they are placed in space. Each scene is staged in a different chapel.

Infantry, 2008-2010

Infantry, 2008-2010.

The fact that a show evoking both the primal anger of wild animals, and the connection between all “different” types of people, fits seamlessly into the majestic and spiritual chapels of a 19th century cathedral is a testament to the artist’s vision that the world – segmented, divided, and scary as it might be – is, nonetheless, woven together as a whole.

African Adventure, 1999-2002.

African Adventure, 1999-2002.

I kept running back and forth and back and forth between the various chapels trying to absorb the work, and commit it to memory. It was fabulous!

But even before I entered the cathedral doors, I had encountered unexpected pleasures. Like 527 West 110th Street – a building festooned with human gargoyles, each separately depicting some unpleasant characteristic of the psyche. They were carved out of stone, and hung as appendages on the building’s facade:

Mistrust.

Mistrust.

Greedy.

Greedy.

Then I came upon the cathedral complex, which consists of the Synod House:

Doors into Synod House

Doors into Synod House.

And a green knoll known as the Pulpit Green, where a pure, white, peacock struts his stuff for the camera gawkers:

a gorgeous white peacock struts awayAnd then I was in the middle of Europe facing a cathedral built in the mode of Notre Dame in the middle ages.  It is vast and domineering.  It is somewhat difficult to capture the fullness of The Cathedral of St. John the Divine, a “chartered house of prayer for all people” erected in 1892.

Trying to take in St John the Divine.

Trying to take in St John the Divine.

Rose Window.

Rose Window.

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The Saturday Blog: A Toast

18 Saturday May 2013

Posted by Lois DeSocio in Words

≈ 4 Comments

Tags

Bob Smith, Frank Terranella, Jeannette Gobel, Julie Seyler, Lois DeSocio, Margo D. Beller, The Write Side of 50, Words

bottles and a glass.  photo by Julie Seyler

The stuff of celebration. Photo by Julie Seyler.

Tomorrow, The Write Side of 50 turns six months old. Since November 19, we have posted, without fail, six days a week, every week. We could not have done this without the consistency of our contributors. So we raise a glass to Bob and Frank (they’ve been with us from the get-go), Margo, and Jeannette. And a clink to our readers, for your continued comments, support, inspiration, and for giving us a reason to bring out the good glasses. Salud!

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How Freud (and Montgomery Clift) Unlocked My Psyche

16 Thursday May 2013

Posted by WS50 in Concepts

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Tags

Concepts, Julie Seyler, Montgomery Clift, Sigmund Freud, The Write Side of 50

Sigmund Freud and Montgomery Clift.

Sigmund Freud and Montgomery Clift. By Julie Seyler.


BY JULIE SEYLER

Does anyone remember coming home from school and turning on Channel 9 at 4:00 to watch the Million Dollar Movie? When I was in my Clark Gable movie phase, I was able to catch a myriad of his pre and post “Gone with the Wind films” like, “Test Pilot” with Myrna Loy, and “China Seas” with Jean Harlow, while lying on my flower bedspread eating forbidden potato chips. But this was not the only station where we could indulge ourselves in Hollywood fantasy. Before Turner Classic Movies, there was also NBC Saturday Night at the Movies inviting us to an evening of at home entertainment. Anyway, this is a long-winded segue into to a movie I discovered when I was about 12 or so.

I remember it was a Saturday evening, and I was home babysitting my younger sisters. After the Swanson’s Turkey TV dinner (the ubiquitous fare on nights when my parents dined out), I settled in to watch the movie of the week. It was “Freud,” which I just learned was directed by John Huston. It starred a bearded Montgomery Clift as Dr. Sigmund Freud. The plot revolves around a woman patient riddled with issues – she is repressed, depressed, and hysterical but there are no physical symptoms that can explain her illness. Freud takes her on as a patient and after two hour’s worth of hypnosis, and lying on Freud’s famous couch, she is cured. Freud’s theories of the unconscious have helped unlock her buried memories and released her from emotional bondage so she can blossom again in the world. Hollywood schmaltz, no doubt, but it turned me on to the power of dreams; the notion that childhood events can shape one’s psyche. And rehashing it all can be a wondrous experience. A few years later, this was confirmed when I saw, “The Three Faces of Eve” with Joanne Woodward’s academy award winning portrayal of a woman with three separate and distinct personalities that had sprouted in response to a traumatic childhood event. Two hours later, she is completely cured by Lee J. Cobb.

These movies simplistically collapsed psychological theory into a 120 minute drama, but the message they contained – that the hidden psyche is a complex and perplexing phenomenon – resonated for me as a teenager. I cannot say that all these years later I have changed my opinion much.

Did the movies lead me to embrace the phenomenon of the psyche? I mean, Montgomery Clift as Freud is a pretty sexy role model. Or was I destined to discover the curious case of the unconscious mind, regardless. It does not matter. I remain a firm believer that the unconscious is way more powerful than what we think we “know.” In fact, I think if scientists could figure out a way to harness the unconscious, the energy problems of the world would be solved.

freud 2

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The Brilliance Behind Roe v. Wade

13 Monday May 2013

Posted by WS50 in News, Opinion

≈ 2 Comments

Tags

Abortion, Harry Blackmun, Julie Seyler, News, opinion, Roe v Wade, Ruth Bader Ginsburg, Supreme Court, Texas, The Write Side of 50, United States Supreme Court

"The Inside Story".  Oil on canvas.  Julie Seyler

“The Inside Story.” Oil on canvas. Julie Seyler

BY JULIE SEYLER

In 1973 the United States Supreme Court issued its decision in Roe v. Wade. Forty years later, while speaking at a symposium at Columbia Law School, Justice Ruth Bader Ginsburg opined that she was not sure that the time had been right for the country’s federal judiciary to legalize abortion. I was surprised that a liberal of the current court would question the rightness or timing of that decision.

The social discussion of the 1960s and 1970s was imbued with an understanding of the horror wrought on women, who, for social or economic reasons, could not afford to raise a child. Perhaps she was 18, and had just gotten admitted to college. Would it be fair to her to abort her opportunities because there was not sufficient information available about birth control? Or what if she was 40, and already had four children, and her husband made barely enough money to feed and clothe a family of six? What could they do if they became a family of seven? The law punished women by forcing them into dirty rooms in back alleys where men with wire hangers or venomous liquids would help terminate the cells that were starting to gel. There was guilt and shame and illness, and it was society’s morals, not society’s interest in public health, that governed what was legal. I remember debating the reasons for and against abortion with my friends, teachers and family.

Then in 1973, the decision came out. I recently reread the opinion of the court in its entirety. I stand in awe of this brilliant tripartite balancing of a woman’s right to privacy against the right of the state to regulate the health and safety of its citizens.

The case came before the Supreme Court because an unmarried, pregnant woman had sued the state of Texas on the ground that the law, which made it a crime to terminate a pregnancy unless the mother would die, was unconstitutional.

Just for a minor peek at how the Court addressed the topic, I quote from the opening paragraphs of Justice Blackmun’s opinion:

“We forthwith acknowledge our awareness of the sensitive and emotional nature of the abortion controversy, of the vigorous opposing views, even among physicians, and of the deep and seemingly absolute convictions that the subject inspires. One’s philosophy, one’s experiences, one’s exposure to the raw edges of human existence, one’s religious training, one’s attitudes toward life and family and their values, and the moral standards one establishes and seeks to observe, are all likely to influence and to color one’s thinking and conclusions about abortion.”

With this awareness in mind, the Court commenced its discussion on the constitutionality of the Texas statute. It provided an historical overview of abortion from ancient Greece (where “it was resorted to without scruple”), to the common law (which held that abortion was not an indictable offense prior to the “quickening” or first movement of the fetus), to the punitive statutes of the modern era that banned abortion “unless done to save or preserve the life of the mother.”

Thus the Court, in determining that a woman had an unfettered right to make her decision concerning pregnancy during the first three months after conception, did not arrive at its decision in a vacuum. It looked to history, science, medicine, philosophy, religion, and precedential case law to confirm that the Constitution guaranteed a right to privacy. However, it also acknowledged that this right of privacy was not unbridled. After that first trimester, the State could intervene and regulate the procedure to preserve and protect the health of the mother. Further at the point of “viability,” the compelling interest of potential life meant the State “may go so far as to proscribe abortion during that period, except when it is necessary to preserve the life or health of the mother.”

Why would anyone want to reverse this decision? It legitimized the right of women to have control over their body for a total of 90 days after the joining of a sperm, and an egg. Thereafter, the law of the land held that the state has a right to regulate, legislate and protect its persons. This decision, founded squarely on prior law, took into account the entire package: the person who carried the united egg and sperm, the emerging fetus, and state government.

As Justice Blackmun opined, this is, and will always be, a sensitive and emotional topic. The Court’s decision that balances an individual’s right to make the most private decision of her life against the state’s right to protect the health and welfare of its citizens embraced the Constitution, a law “made for people of fundamentally differing views…” Lochner v. New York, 198 U.S. 45, 76 (1905). 

The debate will continue. I hope future courts reaffirm and reaffirm and reaffirm the findings of the Supreme Court in 1973.

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The Saturday Blog: A Camel

11 Saturday May 2013

Posted by WS50 in Art

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Tags

Art, Julie Seyler, Lois DeSocio, The Saturday Blog, The Write Side of 50

A camel waiting for tourists  Giza, Egypt. November, 2010.

A camel waiting for tourists in Giza, Egypt. November, 2010. Photo by Julie Seyler.

It’s Saturday – take a load off.

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Aging Eyebrows: Worth Getting in a Twist Over?

10 Friday May 2013

Posted by WS50 in Art

≈ 3 Comments

Tags

Art, Eyebrows, Julie Seyler, Lois DeSocio, Pigeons, The Write Side of 50

Eyebrows

Eyebrows. Photo by Julie Seyler.

BY JULIE SEYLER and LOIS DESOCIO

Have you ever noticed your eyebrows, and how they seem to change direction, texture, and shape with each passing year? Nothing more needs to be said about that one …

… except this: Measure those twisty, turny, maybe-in-need-of-a-little-weeding eyebrows against the unwelcome strand, or two, that can sprout up overnight in a place where it’s not supposed to be, and raise it up for eyebrows for at least remaining hairy, as they should be.

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Ramps, Leeks, Chives and Ham Hocks Take Manhattan in Spring

07 Tuesday May 2013

Posted by WS50 in Food

≈ 4 Comments

Tags

Farmers' Market, Food, Julie Seyler, Leeks, Ramps, The Write Side of 50, Union Square Greenmarket

Asparagus has arrived.  All photos by Julie Seyler.

Asparagus has arrived. All photos by Julie Seyler.

BY JULIE SEYLER

I grew up in New Jersey, also known as The Garden State. Outsiders may love to tell jokes about the Turnpike, but insiders know that come August, we grow the sweetest corn and lushest tomatoes. But, other than that one month, and those two vegetables, I don’t remember eating locally-grown produce. In fact I never thought about vegetables. Iceberg lettuce and frozen peas, perhaps some fresh string beans once in a while, was the normal standard. Broccoli was eschewed.

Fast forward past Alice Waters and The Moosewood Cookbook, and the multitude of studies confirming that virtually everything green is healthy and low in fat. And never have vegetables been more celebrated, especially if they come straight from the farm.

shallotsIn Manhattan, where growing patches are rare, the city sponsors Farmers’ Markets. At Union Square, which sits between 14th and 17th Streets, the Saturday market brings a stampede of locals, who scoop up whatever happens to be in season.

Union Square Market. 5.4.13

Union Square Greenmarket, April 4, 2013.

Any farm or business that grows its own produce, or raises its own animals, or makes its own bread and cheese, is eligible to participate.

ORGANIC

And since spring has arrived, so have tables laden with ramps, scallions, leeks and asparagus, onion chives and garlic chives, and pots and pots of every herb under the sun.  There aren’t enough meals available to eat it all.

P1160128

Even if you’re not buying, it’s fun looking at all the other stuff – the beds of petunias and the buckets of blossoms; the lamb sausage and ham hocks:

flowers at the market

Yes we have ham hocks.

And if you’re in the mood for a game of chess after shopping, the board is ready:
chess

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The Saturday Blog: Fish

04 Saturday May 2013

Posted by Lois DeSocio in Art

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Tags

Art, Julie Seyler, Lois DeSocio, The Saturday Blog, The Write Side of 50

Fishtank in Chinatown

Fishtank in Chinatown

The fish-eye view of this cool Chinatown fish tank made us think of summer, when we will be swimming like them.

Another fishtank.

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Me and My Shadows

03 Friday May 2013

Posted by WS50 in Art

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Tags

Art, Julie Seyler, The Write Side of 50

me and my shadow

BY JULIE SEYLER

I love black and white photography – the rich lushness of gelatin silver prints. One simply cannot capture the depth and compassion that illuminates so many images captured on film developed in a dark room using chemicals. My heart tends to lead me to the photojournalists of the ’40s and ’50s: Helen Levitt and her street photography of little boys playing in fire hydrants on a hot summer night before there was air conditioning; Robert Capa documenting men fighting in war, and the utter naked brazenness of Weegee and his blood-threaded images of homicide victims. Be it nobility or sensationalism, the photographs were more than pages in a magazine – they ultimately pushed forward an underused medium in art. They were powerful and iconic.

A few weeks ago, while wandering through The Museum of Modern Art, I discovered a photojournalist I had not heard of before. Bill Brandt, was British,and the show ranged from photos of coal miners in England to the bombed out streets of London during World War II to abstract nudes. For me, he nailed the picture from subject matter to composition, and “Shadow and Light”, as the show was called. I believe all images were gelatin silver prints.

Technology has evolved to such a degree that black-and-white film is nearly extinct.The modern digital camera is embedded with a setting that allows you to turn off color, and, aha, one can shoot in black and white. So there are times when I see shadows happening, and on goes, “COLOR OFF.” The art form may have been reduced to a button, and the quality may pale, but the fascination of the image holds. Here is my homage to a shadow and the sensual:

Preeminent birth

Preeminent Birth.

curve

Curve.

leg up

Leg-Up.

time to walk away
Time to Walk Away.

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