Mythology Expert Reviews Depictions of Greek & Roman Myths in Popular Movies and TV Shows

It’s safe to say that we no longer believe in the gods of the ancient world — or rather, that most of us no longer believe in their lit­er­al exis­tence, but some of us have faith in their box-office poten­tial. This two-part video series from Van­i­ty Fair exam­ines a vari­ety of movies and tele­vi­sion shows that have drawn on Greek and Roman myth since the mid-twen­ti­eth-cen­tu­ry, includ­ing Jason and the Arg­onautsClash of the Titans, Troy, and Dis­ney’s Her­cules. Offer­ing com­men­tary on their faith­ful­ness to the source mate­r­i­al is Peter Mei­neck, Pro­fes­sor of Clas­sics in the Mod­ern World at New York Uni­ver­si­ty.

Not that he insists on hold­ing these enter­tain­ments to rig­or­ous stan­dards of accu­ra­cy. “I would not use the term ‘accu­ra­cy’ at any point in Xena: War­rior Princess, because it’s fan­tas­tic,” he says at one point. But then, when it comes to the sto­ries told by ancient Greeks and Romans, we’re deal­ing with rather fan­ta­sy-rich mate­r­i­al from the start.

Height­ened, aug­ment­ed, refined, and syn­cretized over many gen­er­a­tions, they’ve come down to us in forms that reflect more or less eter­nal­ly human notions about the forces that gov­ern real­i­ty and its vicis­si­tudes — ready made, in some cas­es, to incor­po­rate into the lat­est twen­ty-first-cen­tu­ry super­hero spec­ta­cle.

Pos­sessed of dis­tinc­tive phys­i­cal traits, tem­pera­ments, super­hu­man pow­ers, and even grudges, the many gods of the poly­the­is­tic antiq­ui­ty were, in their way, the com­ic-book heroes of their time. And just as we have dif­fer­ent “uni­vers­es” of char­ac­ters to choose from, dif­fer­ent eras and cul­tures had their own line­ups of deities, none quite the same as any oth­er. “At the pin­na­cle of this teem­ing numi­nous uni­verse were the Olympians, the twelve gods head­ed by Zeus and Hera,” says ancient-his­to­ry Youtu­ber Gar­rett Ryan in the Told in Stone video above. “The Greeks influ­enced Roman reli­gion vir­tu­al­ly from the begin­ning. By the time Rome emerged into the full light of his­to­ry, the Roman gods had been assim­i­lat­ed to their Greek coun­ter­parts.”

Hence our rec­og­niz­ing Greek Olympians like Posei­don, Artemis, Athena, and Diony­sus, but also their Roman equiv­a­lents Nep­tune, Diana, Min­er­va, and Bac­chus. “There seems to have been lit­tle doubt in Romans’ minds that their chief gods were the same as those of the Greeks,” Ryan says. “The Greeks, for their part, gen­er­al­ly accept­ed that the Romans wor­shipped their gods under dif­fer­ent names — while also being “eager col­lec­tors of exot­ic deities,” many of which could be found with­in their own vast empire. The result was a bewil­der­ing pro­fu­sion of gods for every occa­sion, Greek-inspired or oth­er­wise: an omen of the more-is-bet­ter ethos that the Hol­ly­wood block­buster would embrace a cou­ple of mil­len­nia lat­er.

Relat­ed con­tent:

How Ara­bic Trans­la­tors Helped Pre­serve Greek Phi­los­o­phy … and the Clas­si­cal Tra­di­tion

How Rome Began: The His­to­ry As Told by Ancient His­to­ri­ans

A Vir­tu­al Tour of Ancient Athens: Fly Over Clas­si­cal Greek Civ­i­liza­tion in All Its Glo­ry

The Beau­ty & Inge­nu­ity of the Pan­theon, Ancient Rome’s Best-Pre­served Mon­u­ment: An Intro­duc­tion

Behold Ancient Egypt­ian, Greek & Roman Sculp­tures in Their Orig­i­nal Col­or

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

The Story of Fascism: Rick Steves’ Documentary Helps Us Learn from the Painful Lessons of the 20th Century

From Rick Steves comes a thought-pro­vok­ing doc­u­men­tary that revis­its the rise of fas­cism in Europe, remind­ing us of how charis­mat­ic fig­ures like Ben­i­to Mus­soli­ni and Adolf Hitler came to pow­er by promis­ing to cre­ate a bet­ter future for their frus­trat­ed, eco­nom­i­cal­ly depressed countries–a future that recap­tured the glo­ry of some mythol­o­gized past. Once in pow­er, these fas­cist lead­ers replaced democ­ra­cy with a cult of per­son­al­i­ty, steadi­ly erod­ed demo­c­ra­t­ic norms and truth, ratch­eted up vio­lence, and found scape­goats to victimize–something facil­i­tat­ed by the spread of con­spir­a­cy the­o­ries and pro­pa­gan­da through mod­ern media. They would lead their nations into war, and ulti­mate­ly ruin, but not before cre­at­ing a play­book for oth­er charis­mat­ic auto­crats who entice vot­ers with sim­plis­tic solu­tions to com­plex prob­lems.

Orig­i­nal­ly aired on tele­vi­sion, Steves has released the doc­u­men­tary on YouTube, hop­ing that 21st-cen­tu­ry cit­i­zens can “learn from the hard lessons of 20th-cen­tu­ry Europe.” The text accom­pa­ny­ing his doc­u­men­tary reads as fol­lows:

In this one-hour spe­cial, Rick trav­els back a cen­tu­ry to learn how fas­cism rose and then fell in Europe — tak­ing mil­lions of peo­ple with it. We’ll trace fas­cis­m’s his­to­ry from its roots in the tur­bu­lent after­math of World War I, when mass­es of angry peo­ple rose up, to the rise of charis­mat­ic lead­ers who manip­u­lat­ed that anger, the total­i­tar­i­an soci­eties they built, and the bru­tal mea­sures they used to enforce their ide­ol­o­gy. We’ll see the hor­rif­ic con­se­quences: geno­cide and total war. And we’ll be inspired by the sto­ries of those who resist­ed. Along the way, we’ll vis­it poignant sights through­out Europe relat­ing to fas­cism, and talk with Euro­peans whose fam­i­lies lived through those times. Our goal: to learn from the hard lessons of 20th-cen­tu­ry Europe, and to rec­og­nize that ide­ol­o­gy in the 21st cen­tu­ry.

The Sto­ry of Fas­cism (which will be added to our list of Free Doc­u­men­taries) is rec­om­mend­ed for stu­dents and adults alike. With World War II fad­ing from liv­ing mem­o­ry, we could use a good reminder, says Steves, of how “nation­al­ism can be chan­neled into evil, and how our free­doms and democ­ra­cies are not indestructible…in fact, they are frag­ile.”

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent:

Rick Steves’ Europe: Binge Watch 9 Sea­sons of America’s Favorite Trav­el­er Free Online

Are You a Fas­cist?: Take Theodor Adorno’s Author­i­tar­i­an Per­son­al­i­ty Test Cre­at­ed to Com­bat Fas­cism (1947)

Free Online His­to­ry Cours­es

Wal­ter Ben­jamin Explains How Fas­cism Uses Mass Media to Turn Pol­i­tics Into Spec­ta­cle (1935)

20 Lessons from the 20th Cen­tu­ry About How to Defend Democ­ra­cy from Author­i­tar­i­an­ism, Accord­ing to Yale His­to­ri­an Tim­o­thy Sny­der

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When 20,000 Americans Held a Pro-Nazi Rally in Madison Square Garden

Above, two-time Acad­e­my Award nom­i­nee Mar­shall Cur­ry presents A Night at The Gar­den, a film that revis­its a night in Feb­ru­ary 1939 when “20,000 Amer­i­cans ral­lied in New York’s Madi­son Square Gar­den to cel­e­brate the rise of Nazism — an event large­ly for­got­ten from U.S. his­to­ry.” As we described it back in 2017, the film doc­u­ments the fol­low­ing scene:

What you’re look­ing at is the 1939 “Pro-Amer­i­can Ral­ly” (aka Pro-Nazi Ral­ly) spon­sored by the Ger­man Amer­i­can Bund at Madi­son Square Gar­den on George Washington’s 207th Birth­day. Ban­ners embla­zoned with such slo­gans as “Stop Jew­ish Dom­i­na­tion of Chris­t­ian Amer­i­cans,” “Wake Up Amer­i­ca. Smash Jew­ish Com­mu­nism,” and “1,000,000 Bund Mem­bers by 1940” dec­o­rat­ed the great hall.

New York City May­or Fiorel­lo LaGuardia—an Epis­co­palian with a Jew­ish mother—considered can­cel­ing the event, but ulti­mate­ly he, along with the Amer­i­can Jew­ish Com­mit­tee and the Amer­i­can Civ­il Lib­er­ties Com­mit­tee decreed that the Bund was exer­cis­ing its right to free speech and free assem­bly.

A crowd of 20,000 filled the famous sports venue in mid-town Man­hat­tan to capac­i­ty. 1,500 police offi­cers were present to ren­der the Gar­den “a fortress impreg­nable to anti-Nazis.” An esti­mat­ed 100,000 counter-demon­stra­tors were gath­er­ing out­side.…

The most dis­turb­ing moment in the short film comes at the 3:50 mark, when anoth­er secu­ri­ty force—the Bund’s Ord­nungs­di­enst or “Order Ser­vice” pile on Isidore Green­baum, a 26-year-old Jew­ish work­er who rushed the podi­um where bun­des­führer Fritz Julius Kuhn was fan­ning the flames of hatred. Valentine’s men even­tu­al­ly pulled them off, just bare­ly man­ag­ing to save the “anti-Nazi” from the vicious beat­ing he was under­go­ing.

Made entire­ly from archival footage filmed that night, A Night at The Gar­den “trans­ports audi­ences to this chill­ing gath­er­ing and shines a light on the pow­er of dem­a­goguery and anti-Semi­tism in the Unit­ed States.” You can learn more about the film and the 1939 ral­ly at Mar­shall Cur­ry’s web site.

Any sim­i­lar­i­ty to actu­al per­sons, liv­ing or dead, or oth­er xeno­pho­bic ral­lies being held this week­end in Madi­son Square Gar­den is pure­ly coin­ci­den­tal, of course.

Relat­ed Con­tent 

Yale Pro­fes­sor Jason Stan­ley Iden­ti­fies 10 Tac­tics of Fas­cism: The “Cult of the Leader,” Law & Order, Vic­tim­hood and More

Toni Mor­ri­son Lists the 10 Steps That Lead Coun­tries to Fas­cism (1995)

Fas­cism!: The US Army Pub­lish­es a Pam­phlet in 1945 Explain­ing How to Spot Fas­cism at Home and Abroad

Rick Steves Tells the Sto­ry of Fascism’s Rise & Fall in Ger­many

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The Evolution of Cinema: Watch Nearly 140 Years of Film History Unfold in 80 Minutes

The video above from YouTu­ber Alex Day includes clips from about 500 movies, and you’ve almost cer­tain­ly seen more than a few of them. Bat­tle­ship PotemkinDum­boRear Win­dowDr. NoThe God­fa­therE. T. the Extra-Ter­res­tri­alTop GunBrave­heartGlad­i­a­torIncep­tion: we’re not talk­ing about obscu­ri­ties here. Whether or not you count them among your per­son­al favorites, these motion pic­tures have all become near-uni­ver­sal­ly known for good (and/or Oscar-relat­ed) rea­sons, some of which may come back to mind as you watch the his­to­ry of cin­e­ma visu­al­ly retold through a fea­ture-length string of their espe­cial­ly rec­og­niz­able scenes.

Though genre pic­tures dom­i­nate, “I have not select­ed those films that marked the devel­op­ment of a genre or film stream,” Day writes. “I have select­ed the most pop­u­lar and bet­ter known ones by peo­ple. That’s why I’ve includ­ed so many Amer­i­can movies and less of oth­er coun­tries, because a lot of the most famous movies through­out his­to­ry are from the U.S.” (Hence, for exam­ple, the absence of Hideo Nakata’s influ­en­tial piece of “J‑horror” Ringu and the pres­ence of Ringu, its Hol­ly­wood remake from a few years lat­er.) No mat­ter where in the world you hap­pen to be, a ref­er­ence to RockyBack to the Future, or Home Alone — or any work of Steven Spiel­berg, a major pres­ence in the video — can go a sur­pris­ing­ly long way.

No mat­ter how pop­u­lar these movies are, it would be the rare view­er indeed who could claim famil­iar­i­ty with each and every one of them. Almost inevitably, the expe­ri­ence of watch­ing this video turns into a game of seen-it-or-not, which sheds light on the most inten­sive peri­ods of your life in film­go­ing. For my part, I must have watched almost every movie includ­ed from around the turn of the mil­len­ni­um, when I was just com­ing of age as a cinephile (and when even main­stream cin­e­ma, coin­ci­den­tal­ly or oth­er­wise, was in an espe­cial­ly inven­tive peri­od). It recent­ly gave me pause to hear that Amer­i­can Psy­cho is now being remade — but then, hav­ing come out near­ly a quar­ter-cen­tu­ry ago, it’s pre­sum­ably set­tled into its place in cin­e­ma his­to­ry.

Relat­ed con­tent:

100 Years of Cin­e­ma: New Doc­u­men­tary Series Explores the His­to­ry of Cin­e­ma by Ana­lyz­ing One Film Per Year, Start­ing in 1915

The Most Beau­ti­ful Shots in Cin­e­ma His­to­ry: Scenes from 100+ Films

Take a 16-Week Crash Course on the His­to­ry of Movies: From the First Mov­ing Pic­tures to the Rise of Mul­ti­plex­es & Net­flix

The His­to­ry of the Movie Cam­era in Four Min­utes: From the Lumiere Broth­ers to Google Glass

Hol­ly­wood: Epic Doc­u­men­tary Chron­i­cles the Ear­ly His­to­ry of Cin­e­ma

Cin­e­ma His­to­ry by Titles & Num­bers

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Spin the 17th-Century Death Roulette Wheel & Find Out What Would Have Killed You in 1665

A com­mon his­tor­i­cal mis­con­cep­tion holds that, up until a few cen­turies ago, every­one died when they were about 40. In fact, even in antiq­ui­ty, one could well make it to what would be con­sid­ered an advanced age today — assum­ing one sur­vived the great mor­tal per­il of child­hood, and then all the dan­gers that could befall one in all the stages of life there­after. In the mid-sev­en­teenth cen­tu­ry, with the Dark Ages past and the Indus­tri­al Rev­o­lu­tion just ahead, these threats to life includ­ed con­sump­tion, drop­sy, “grip­ing in the guts,” sci­at­i­ca, “stop­ping of the stom­ach,” and of course, plague.

This infor­ma­tion comes from the Lon­don “mor­tal­i­ty bill” seen below, which “rep­re­sents the death tal­ly of all city parish­es for the week of Aug. 15–22, 1665, when the plague had infect­ed 96 of the 130 parish­es report­ing.”

So writes Rebec­ca Onion at Slate, who cites Shakespeare’s Rest­less World author Neil Mac­Gre­gor as say­ing that “the bills cost about a pen­ny, and were pub­lished in large print runs.” But “if med­i­cine was still some­what uncer­tain about the caus­es of death, those in charge of tot­ing up deaths for the bills of mor­tal­i­ty were even more so,” result­ing in vague cat­e­go­riza­tions like “bedrid­den,” “fright­ened,” “lethar­gy,” and “sur­feit.”

You may receive one of those fates when you spin the wheel of 17th-Cen­tu­ry Death Roulette, a web appli­ca­tion that cycles rapid­ly through mor­tal­i­ty bills and the types of death list­ed there­in. “In the week of July 11th, 1665 you died from Palsie.” “In the week of Feb­ru­ary 14th, 1665 you died from Kild acci­den­tal­ly with a Car­bine, at St. Michael Wood Street.” “In the week of Decem­ber 12th, 1665 you died from Winde.” Your results may not reflect the actu­ar­i­al prob­a­bil­i­ty of what might have killed a giv­en Lon­don­er in that year, but all this death does, per­haps iron­i­cal­ly, give a vivid impres­sion of life at the time. Per­son­al­ly, I’m curi­ous how dan­ger­ous those stairs at St Thomas the Apos­tle real­ly were, but giv­en that the whole church burned down in the Great Fire of the very next year, I sup­pose we’ll nev­er know. Play the 17th-Cen­tu­ry Death Roulette here.

via Metafil­ter

Relat­ed con­tent:

The His­to­ry of the Plague: Every Major Epi­dem­ic in an Ani­mat­ed Map

A 1665 Adver­tise­ment Promis­es a “Famous and Effec­tu­al” Cure for the Great Plague

The Strange Cos­tumes of the Plague Doc­tors Who Treat­ed 17th Cen­tu­ry Vic­tims of the Bubon­ic Plague

Isaac New­ton Con­ceived of His Most Ground­break­ing Ideas Dur­ing the Great Plague of 1665

74 Ways Char­ac­ters Die in Shakespeare’s Plays Shown in a Handy Info­graph­ic: From Snakebites to Lack of Sleep

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Built to Last: How Ancient Roman Bridges Can Still Withstand the Weight of Modern Cars & Trucks

A for­eign trav­el­er road-trip­ping across Europe might well feel a wave of trep­i­da­tion before dri­ving a ful­ly loaded mod­ern auto­mo­bile over a more than 2,000-year-old bridge. But it might also be bal­anced out by the under­stand­ing that such a struc­ture has, by def­i­n­i­tion, stood the test of time — and, for those with a grasp of the his­to­ry of engi­neer­ing, that its ancient design­ers would have ensured its capac­i­ty to bear a load far heav­ier than any that would have crossed it in real­i­ty. With no sci­en­tif­ic means of mod­el­ing stress­es, as clas­si­cal-his­to­ry Youtu­ber Gar­rett Ryan explains in the new Told in Stone video above, they just had to build it tough.

Key to that tough­ness were arch­es, “made of heavy blocks laid over a false­work frame until the key­stone was slot­ted into place.” From the late first cen­tu­ry, stonework was sup­ple­ment­ed or replaced by brick and Roman con­crete, a sub­stance much-fea­tured here on Open Cul­ture.

We’ve also cov­ered the Roman bridges you can still cross today: Spain’s Puente de Alcán­tara (from the Ara­bic al-qanţarah, mean­ing “arch”), for exam­ple, which, though crossed by a quar­ter-mil­lion vehi­cles every year, “shows no signs of fail­ing”; or France’s Pont des Marchands, which “has sup­port­ed a neigh­bor­hood of mul­ti-sto­ry shops and hous­es since the Mid­dle Ages.”

But the arch­es of the near­ly 1,000 whol­ly or par­tial­ly sur­viv­ing Roman bridges haven’t done all the work by geom­e­try alone. “The load-bear­ing capac­i­ty of a bridge depend­ed both on the solid­i­ty of its abut­ments and the strength — ‘shear­ing point’ — of its vous­soirs,” or the stones of its arch­es between the key­stone at the top and the springers at the bot­tom. “Since Roman builders carved vous­soirs from the strongest read­i­ly avail­able stone, their bridges tend­ed to be impres­sive­ly sol­id.” You would­n’t want to run a freight train across the Puente de Alcán­tara, but 40-ton trucks are no prob­lem — to say noth­ing of a car filled with lug­gage, a few kids, and even a dog or two.

Relat­ed con­tent:

The Roman Roads and Bridges You Can Still Trav­el Today

The Mys­tery Final­ly Solved: Why Has Roman Con­crete Been So Durable?

The Beau­ty & Inge­nu­ity of the Pan­theon, Ancient Rome’s Best-Pre­served Mon­u­ment: An Intro­duc­tion

Why Hasn’t the Pantheon’s Dome Col­lapsed?: How the Romans Engi­neered the Dome to Last 19 Cen­turies and Count­ing

The Roads of Ancient Rome Visu­al­ized in the Style of Mod­ern Sub­way Maps

Roman Archi­tec­ture: A Free Online Course from Yale

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Take The Near Impossible Literacy Test Louisiana Used to Suppress the Black Vote (1964)

In William Faulkner’s 1938 nov­el The Unvan­quished, the implaca­ble Colonel Sar­toris takes dras­tic action to stop the elec­tion of a black Repub­li­can can­di­date to office after the Civ­il War, destroy­ing the bal­lots of black vot­ers and shoot­ing two North­ern car­pet­bag­gers. While such dra­mat­ic means of vot­er sup­pres­sion occurred often enough in the Recon­struc­tion South, tac­tics of elec­toral exclu­sion refined over time, such that by the mid-twen­ti­eth cen­tu­ry the Jim Crow South relied large­ly on near­ly impos­si­ble-to-pass lit­er­a­cy tests to impede free and fair elec­tions.

These tests, writes Rebec­ca Onion at Slate, were “sup­pos­ed­ly applic­a­ble to both white and black prospec­tive vot­ers who couldn’t prove a cer­tain lev­el of edu­ca­tion” (typ­i­cal­ly up to the fifth grade). Yet they were “in actu­al­i­ty dis­pro­por­tion­ate­ly admin­is­tered to black vot­ers.”

Addi­tion­al­ly, many of the tests were rigged so that reg­is­trars could give poten­tial vot­ers an easy or a dif­fi­cult ver­sion, and could score them dif­fer­ent­ly as well. For exam­ple, the Vet­er­ans of the Civ­il Rights Move­ment describes a test admin­is­tered in Alaba­ma that is so entire­ly sub­jec­tive that it mea­sures the registrar’s shrewd­ness and cun­ning more than any­thing else.

The test here from Louisiana con­sists of ques­tions so ambigu­ous that no one, what­ev­er their lev­el of edu­ca­tion, can divine a “right” or “wrong” answer to most of them. And yet, as the instruc­tions state, “one wrong answer denotes fail­ure of the test,” an impos­si­ble stan­dard for even a legit­i­mate exam. Even worse, vot­ers had only ten min­utes to com­plete the three-page, 30-ques­tion doc­u­ment. The Louisiana test dates from 1964, the year before the pas­sage of the Vot­ing Rights Act, which effec­tive­ly put an end to these bla­tant­ly dis­crim­i­na­to­ry prac­tices.

Learn more about the his­to­ry of Jim Crow vot­er sup­pres­sion at Rebec­ca Onion’s orig­i­nal post here and an update here. And here you can watch video of Har­vard stu­dents try­ing to take the test.

Note: Note: An ear­li­er ver­sion of this post appeared on our site in 2014.

Relat­ed Con­tent:

Watch Har­vard Stu­dents Fail the Lit­er­a­cy Test Louisiana Used to Sup­press the Black Vote in 1964

Philoso­pher Richard Rorty Chill­ing­ly Pre­dicts the Results of the 2016 Elec­tion … Back in 1998

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

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The Fake Buildings of New York: What Happens Inside Their Mysterious Walls

You can’t go on a walk with a seri­ous enthu­si­ast of New York his­to­ry with­out hear­ing the sto­ries behind at least a few notable, beau­ti­ful, or down­right strange build­ings. Yet most long­time New York­ers, famed for tun­ing out their sur­round­ings to bet­ter strive for their goals of the day, tend not even to acknowl­edge the struc­tures liable to catch the atten­tion of out-of-town­ers. Take 58 Jorale­mon Street in Brook­lyn Heights: “From the out­side, it looks like your typ­i­cal town­house,” says urban explor­er Cash Jor­dan in his video above — but then you notice its blacked-out win­dows, bunker-like met­al cladding, and appar­ent­ly un-open­able door.

Though it was indeed a town­house when first built in 1847, 58 Jorale­mon Street was hol­lowed out and con­vert­ed into one sub­way-sys­tem vent back in 1907. But the build­ings right on either side remain res­i­dences, one of which, as Jor­dan finds, sold not long ago for $6 mil­lion.

In a com­plete­ly dif­fer­ent, more iso­lat­ed con­text stands the Streck­er Memo­r­i­al Lab­o­ra­to­ry on Roo­sevelt Island. Built in 1892 as a lab­o­ra­to­ry for City Hos­pi­tal, it opened as “the first insti­tu­tion in the nation for patho­log­i­cal and bac­te­ri­o­log­i­cal research,” an activ­i­ty it makes sense to keep apart from a dense urban envi­ron­ment. Aban­doned in the nine­teen-fifties, it lat­er became anoth­er sub­way facil­i­ty, specif­i­cal­ly a pow­er con­ver­sion sub­sta­tion.

Jor­dan also vis­its a fake build­ing well out on Pier 34, and one that also pro­vides a func­tion essen­tial to New York tran­sit: ven­ti­lat­ing the smoke and exhaust out of the Hol­land Tun­nel. Owned and oper­at­ed by pub­lic agen­cies, these struc­tures per­form well-doc­u­ment­ed and entire­ly non-secret func­tions. The same can’t be said of the last and most strik­ing fake build­ing Jor­dan intro­duces, a win­dow­less Bru­tal­ist tow­er con­struct­ed in 1969 at 33 Thomas Street in Low­er Man­hat­tan. Owned by AT&T, it seems once to have been a tele­phone switch­ing sta­tion, but has late­ly been rumored to be a “huge dooms­day bunker.” That’s one the­o­ry, any­way, and the build­ing’s sin­is­ter appear­ance could inspire count­less oth­ers. Not that many locals are imag­in­ing them, obey­ing as they do one of the cen­tral com­mand­ments of Man­hat­tan: don’t look up.

Relat­ed con­tent:

The Sto­ry of the Flat­iron Build­ing, “New York’s Strangest Tow­er”

New York’s Lost Sky­scraper: The Rise and Fall of the Singer Tow­er

An Intro­duc­tion to the Chrysler Build­ing, New York’s Art Deco Mas­ter­piece, by John Malkovich (1994)

The Old­est House in New York City: Meet the Wyck­off House (1652)

Archi­tect Breaks Down Five of the Most Icon­ic New York City Apart­ments

A 3D Ani­ma­tion Shows the Evo­lu­tion of New York City (1524 — 2023)

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

 

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