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 MEMORABLE
WALKS IN
NEW YORK
6th Edition
Ethan Wolff
 MEMORABLE
WALKS IN
NEW YORK
6th Edition
Ethan Wolff
Published by:

WILEY PUBLISHING, INC.

111 River St.
Hoboken, NJ 07030-5774

Copyright © 2006 Wiley Publishing, Inc., Hoboken, New Jersey. All

rights reserved. No part of this publication may be reproduced, stored
in a retrieval system or transmitted in any form or by any means, elec-
tronic, mechanical, photocopying, recording, scanning or otherwise,
except as permitted under Sections 107 or 108 of the 1976 United
States Copyright Act, without either the prior written permission of
the Publisher, or authorization through payment of the appropriate
per-copy fee to the Copyright Clearance Center, 222 Rosewood Drive,
Danvers, MA 01923, 978/750-8400, fax 978/646-8600. Requests
to the Publisher for permission should be addressed to the Legal
Department, Wiley Publishing, Inc., 10475 Crosspoint Blvd.,
Indianapolis, IN 46256, 317/572-3447, fax 317/572-4355, or online
at http://www.wiley.com/go/permissions.

Wiley and the Wiley Publishing logo are trademarks or registered trade-
marks of John Wiley & Sons, Inc. and/or its affiliates. Frommer’s is a
trademark or registered trademark of Arthur Frommer. Used under
license. All other trademarks are the property of their respective owners.
Wiley Publishing, Inc. is not associated with any product or vendor
mentioned in this book.

ISBN-13: 978-0-471-77339-9
ISBN-10: 0-471-77339-5

Editor: Chris Summers

Production Editor: Katie Robinson
Photo Editor: Richard Fox
Cartographer: Andy Dolan
Production by Wiley Indianapolis Composition Services
Front cover photo: Sidewalk with Café Restaurant, Greenwich Village

For information on our other products and services or to obtain techni-

cal support, please contact our Customer Care Department within the
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content that appears in print may not be available in electronic formats.

Manufactured in the United States of America

5 4 3 2 1
 Contents

List of Maps iv

Introducing New York 1

The Walking Tours

1 Lower Manhattan/The Financial District 7
2 Chinatown 21
3 The Jewish Lower East Side 37
4 SoHo 49
5 Greenwich Village Literary Tour 61
6 The East Village 88
7 West Chelsea 108
8 Midtown: The Concrete Jungle 122
9 Central Park 139
10 The Upper West Side 152
11 The Upper East Side 164
12 Morningside Heights & Harlem 178

Essentials 197

Index 204
LIST OF MAPS
The Tours at a Glance 3

The Walking Tours

Lower Manhattan/The Financial District 9
Chinatown 23
The Jewish Lower East Side 39
SoHo 51
Greenwich Village Literary Tour 62
The East Village 89
West Chelsea 109
Midtown: The Concrete Jungle 123
Central Park 140
The Upper West Side 153
The Upper East Side 165
Morningside Heights & Harlem 183
About the Author
Ethan Wolff is a native New Yorker (born and raised in
Virginia, but that was a geographic anomaly). When not walk-
ing around Manhattan, Ethan enjoys being cheap and irrever-
ent. His other Frommer’s guides are NYC Free & Dirt Cheap
and the Irreverent Guide to Manhattan.

Acknowledgments
Special thanks to John Vorwald for sharing the load. Thanks
also to Abby Lindenberg, Anna Sandler, Evelyn Grollman,
Jenny Bauer, and Roy Wolff for helping to walk.
An Invitation to the Reader
In researching this book, we discovered many wonderful
places—hotels, restaurants, shops, and more. We’re sure you’ll
find others. Please tell us about them, so we can share the
information with your fellow travelers in upcoming editions.
If you were disappointed with a recommendation, we’d love to
know that, too. Please write to:

Frommer’s Memorable Walks in New York, 6th Edition

Wiley Publishing, Inc.
111 River St. • Hoboken, NJ 07030-5774

An Additional Note
Please be advised that travel information is subject to change
at any time—and this is especially true of prices. We therefore
suggest that you write or call ahead for confirmation when
making your travel plans. The authors, editors, and publisher
cannot be held responsible for the experiences of readers while
traveling. Your safety is important to us, however, so we
encourage you to stay alert and be aware of your surroundings.
Keep a close eye on cameras, purses, and wallets, all favorite
targets of thieves and pickpockets.

Frommers.com
Now that you have the guidebook to a great trip, visit our web-
site at www.frommers.com for travel information on more
than 3,000 destinations. With features updated regularly, we
give you instant access to the most current trip-planning infor-
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 Introducing
New York

G rasping the big picture of

New York all at once is next to impossible. The best way to get
to know this amazingly complex city is to do as New Yorkers
do: Concentrate on small nooks and crannies rather than the
whole. Define the city through its neighborhoods and pay close
attention to every detail of architecture, image, and life.
As you explore, you’ll run across tiny, funky flower gardens
that have sprung up around sidewalk trees, a shop specializing
in light bulbs, and a cafe concentrating on peanut butter. You’ll
find plaques identifying historic buildings, hidden-away public
art installations, and ethnic food carts. Once you get a little dis-
tance from the major museums and sights, you’ll discover the
Manhattan in which the rocks in Central Park acquire names,
businessmen schvitz (Yiddish for sweat) in a Russian bath-
house, and Zabar’s grocery store tracks down an unknown
cheese in the Pyrenees to introduce to Upper West Siders.
Walking is by far the superior way to see this city. Large-
scale New York can seem chaotic, dirty, expensive, and fright-
ening. But on the small scale, in the details, New York gives up
its secrets. A focused stroll brings the city back to its con-
stituent parts, to the small communities from which it was
formed, and which today maintain their own distinct identities
within the seemingly endless metropolis.
1
2 • Memorable Walks in New York

MIXED NUTS & MICHELANGELOS

Quentin Crisp once said, “Everyone in Manhattan is a star or
a star manqué, and every flat surface in the island is a stage.”
Street performers run the gamut from a tuxedoed gent who
does Fred-and-Ginger ballroom dances with a life-size rag doll
(usually in front of the Metropolitan Museum) to the circus-
caliber acrobats and stand-up comics who attract large audi-
ences in Washington Square Park. Street musicians range from
steel-drum bands and Ecuadorian flute players to the pianist
with his candelabra-adorned baby grand perched atop a truck.
Street art abounds. Here and there, especially in the East
Village, little mosaic-tile designs pop up to adorn the sidewalk
and streetlight pedestals. An area artist created them from
cracked plates and crockery picked from people’s trash. Today
Gotham’s walls and street signs are impromptu art galleries fea-
turing posters, stencils, paintings, and even sticker clothes and
accessories for the stylized pedestrians on walk/don’t walk
signs. In New York, nothing can remain small-time for long.
By the ’80s graffiti was an established art form, and the more
highbrow street doodlers such as Keith Haring and Kenny
Schraf became international stars.

TENEMENTS & TOWN HOUSES

New York is a city of extraordinarily diverse architecture. The
Financial District’s neoclassic “temples”—embellished with
allegorical statuary, massive colonnades, vaulted domes, and
vast marble lobbies—stand side by side with the soaring sky-
scrapers that make up the world’s most famous skyline.
The history of immigrant groups is manifest in the ram-
shackle tenements of Chinatown and the Lower East Side.
SoHo’s cast-iron facades hearken back to the ideals of the indus-
trial era, when architectural design first encountered the princi-
ples of mass production and became accessible to everyone.
In Greenwich Village, you’ll see the stately Greek Revival
town houses where Henry James and Edith Wharton lived.
Uptown, magnificent private mansions built for the
Vanderbilts and the Whitneys, and gargantuan, tony apart-
ment houses overlook Central Park, itself one of the world’s
most impressive urban greenbelts.
No wonder quintessential New Yorker Woody Allen was
inspired to pay tribute to the city’s architectural diversity by
 The Tours at a Glance
M.L.K. Jr. Blvd.

HARLEM & 120th St.

MORNINGSIDE
HEIGHTS
Riverside Henry Hudson Pkwy 110th St. Wards
Park Island

96th St.
.

85th St.
CENTRAL

Q
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THE UPPER PARK THE UPPER

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F.D.R. Driv

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D

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MIDTOWN
N

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Seventh Ave.

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3
4 • Memorable Walks in New York

including an otherwise gratuitous tour of his favorite buildings

in the movie Hannah and Her Sisters.

THE NEIGHBORHOODS: BOK CHOY,

BEADS & BOHEMIANS
Though the city has been called more of a boiling pot than a
melting pot, New Yorkers are proud of the ethnic diversity of
the city’s neighborhoods. From the days of the early Dutch set-
tlers, immigrants have striven to re-create their native environ-
ments in selected neighborhoods. Hence, the restaurants of
Mulberry Street, with convivial cafes spilling onto the side-
walks, evoke the streets of Palermo, and Orthodox Jews still
operate shops that evolved from turn-of-the-20th-century
pushcarts along cobblestoned Orchard Street.
Chinatown, home to more than 160,000 Chinese, is
probably New York’s most extensive ethnic area, and it’s con-
tinually expanding, gobbling up parts of the old Lower East
Side and Little Italy. Its narrow, winding streets are lined with
noodle shops, Chinese vegetable vendors, small curio stores,
Buddhist temples, Chinese movie theaters, and several hun-
dred restaurants. New Yorkers don’t talk about going out for
Chinese food; they specify Sichuan, Hunan, Cantonese,
Mandarin, Fukien, or dim sum.
The remnants of the East Village’s Ukrainian population
can be seen in holdover restaurants serving borscht, blini, and
pierogi. Ukrainian folk arts, such as intricately painted Easter
eggs, beautifully embroidered peasant blouses, and illuminat-
ed manuscripts, are displayed in local shops and even warrant
a museum.
There are Hispanic, Czech, German, Greek, Hungarian,
Indian, Russian, Arab, and West Indian parts of town as well.
But ethnic groups are not the only factor defining New York
neighborhoods; commerce also delineates areas. On the streets
around Broadway from Macy’s to about 39th Street, you’re in
the heart of the Garment District, where artists race through
the streets carrying large portfolios of next season’s designs, try-
ing not to collide with workers pushing racks of this year’s
fashions. Also distinct are the city’s bead, book, feather, fur,
flower, toy, diamond, and, of course, theater districts.
 Introducing New York • 5

Different neighborhoods attract different residents. The

Upper East Side is where old money lives; rumpled intellectuals
prefer the Upper West Side. Young trendies and aging hippies
live in the East Village; old bohemians live in the West Village.
The West Village and Chelsea are home to sizable gay popula-
tions, and the streets they’ve beautified have proved a magnet for
yuppies. These are largely generalizations, of course, but each
area does have its own flavor. You probably won’t find designer
clothing on St. Marks Place. On the other hand, a Madison
Avenue boutique is unlikely to carry S&M leather wear.
Midtown is the city’s main shopping area, the site of ever-dimin-
ishing grand department stores. Broadway dissects the town
diagonally; though it’s most famous for the glitz and glitter of
the Great White Way, it spans Manhattan from Battery Park to
the Bronx.

IF YOU CAN MAKE IT HERE . . .

New York is, and always has been, a mecca for the ambitious.
And though only a small percentage of the ardently aspiring
become famous—or even manage to eke out a living—the
effort keeps New Yorkers keen-witted, intense, and on the cut-
ting edge.
New York is America’s business and financial center,
where major deals have gone down over power lunches since
the days when Thomas Jefferson and Alexander Hamilton
chose the site for the nation’s capital over a meal at a
Manhattan restaurant. Every major book and magazine pub-
lisher is based here. It’s an international media and fashion
center as well. New York galleries set worldwide art trends.
And a lead in a play in Galveston, Texas, is less impressive than
a bit part on Broadway. (At least New Yorkers think so.)
For that reason, it seems that almost every famous artist,
writer, musician, and actor has, at one time or another, resided
in Gotham. This town thrives on the accessibility of its public
space, and you’ll probably rub elbows with, or at least catch a
glimpse of, a celebrity or two. If not, there’s always the thrill of
downing a drink or two in bars that Dylan Thomas or Jackson
Pollock frequented, visiting the Greenwich Village haunts of
the Beat Generation, peering up at what was once Edgar Allan
Poe’s bedroom window, or dining at the Algonquin Hotel
6 • Memorable Walks in New York

where Round Table wits Dorothy Parker, Alexander Woollcott,

and George S. Kaufman traded barbs in the 1920s.
The presence of so many movers and shakers gives New
York vitality and sophistication. When you study film at the
New School or NYU or Columbia, your lecturers are Martin
Scorsese, Sydney Pollack, Barry Levinson, and Spike Lee.
Robert Wilson and James Levine are at one Met (the
Metropolitan Opera), and everyone from Raphael to
Rembrandt is at the other (the Metropolitan Museum of Art).
Few bookstores are as great as the Strand, no food shop is as
alluring as Zabar’s (except perhaps Dean & Deluca), no
department store is a match for Bloomie’s or Macy’s, and no
mall is comparable to Orchard Street. Where else can you eas-
ily satisfy a craving for Thai noodles at 3am? Or have your
choice of dozens of art-house and foreign movies on the big
screen nightly, many of which will never play in most
American towns?
Visitors often question how New Yorkers stand the con-
stant noise, the rudeness, the filth, the outrageous rents and
prices, the crime, the crazies, or even one another. But though
New Yorkers frequently talk about leaving the city, most find
countless reasons to stay. They’ve created a unique frame of ref-
erence, and it doesn’t travel well. The constant stimulation
feeds Gothamites’ creativity. To quote theatrical impresario
Joseph Papp, “Creative people get inspiration from their
immediate environment, and New York has the most immedi-
ate environment in the world.”
 • Walking Tour 1 •

Lower
Manhattan/The
Financial
District

Start: Battery Park/U.S. Customs House.

Subway: Take the 4 or 5 to Bowling Green, the 1 to South
Ferry, or the R or W to Whitehall Street.
Finish: African Burial Ground.
Time: Approximately 3 hours.
Best Time: Any weekday, when the wheels of finance are spin-
ning and lower Manhattan is a maelstrom of activity.
Worst Time: Weekends, when most buildings and all the finan-
cial markets are closed.

T he narrow, winding streets

of the Financial District occupy the earliest-settled area of

7
8 • Memorable Walks in New York

Manhattan, where Dutch settlers established the colony of

Nieuw Amsterdam in the early 17th century. Before their
arrival, downtown was part of a vast forest, a lush hunting
ground for Native Americans that was inhabited by mountain
lions, bobcats, beavers, white-tailed deer, and wild turkeys.
Hunters followed the Wiechquaekeck Trail, a path through the
center that today is more often referred to as Broadway.
This section of the city still centers on commerce, much
as Nieuw Amsterdam did. Wall Street is America’s strongest
symbol of money and power; bulls and bears have replaced the
wild beasts of the forest, and conservatively attired lawyers,
stockbrokers, bankers, and businesspeople have supplanted the
Native Americans and Dutch who once traded otter skins and
beaver pelts on these very streets.
A highlight of this tour is the Financial District’s architec-
ture, in which the neighborhood’s modern edifices and grand
historical structures are dramatically juxtaposed: Colonial,
18th-century Georgian/Federal, and 19th-century neoclassical
buildings stand in the shadow of colossal modern skyscrapers.
Much changed on September 11, 2001, when Lower
Manhattan lost its greatest landmark, New York lost a familiar
chunk of its skyline, America lost a share of its innocence, and
more than 2,700 people lost their lives as a pair of planes com-
mandeered by Osama bin Laden’s Al Qaeda terrorists plowed
into the Twin Towers of the World Trade Center. Those hor-
rific events have etched themselves into all our memories.
Nothing that can be said here can do justice to the heroism of
the firefighters and other emergency workers who rushed into
the burning buildings to help, only to perish when the towers
collapsed. Paying respects at Ground Zero, amid the commu-
nal spirit that at times prevails there, may be the best way to
acknowledge the incredible sacrifices so many people made
that day. The surrounding neighborhood has been remarkably
resilient, but it is still in varying stages of recovery. There is a
subtle feel of besiegement here, with security an often-visible
presence. Expect to pass through metal detectors to access
many of the buildings.

The subways mentioned above all exit in or near Battery

Park, an expanse of green at Manhattan’s tip resting
Lower Manhattan/The Financial District
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1 U.S. Customs House 12 Kalikow Building

2 Bowling Green Park 13 St. Paul’s Chapel
3 Cunard Building 14 Woolworth Building
4 Fraunces Tavern Museum 15 City Hall Park
5 New York Stock Exchange 16 City Hall
6 Federal Hall National Memorial 17 Tweed Courthouse
7 Wall Street 18 Surrogate’s Court
8 Trinity Church (The Hall of Records)
9 Jean Dubuffet’s Group of Four Trees 19 The Municipal Building
10 Isamu Noguchi’s 1967 The Red Cube 20 African Burial Ground
11 Ground Zero

9
10 • Memorable Walks in New York

entirely upon a landfill—an old strategy of the Dutch to

expand their settlement farther into the bay. The original
tip of Manhattan ran along Battery Place, which borders
the north side of the park. State Street flanks the park’s
east side, and stretched along it, filling the space below
Bowling Green, is the Beaux Arts bulk of the old:
1. U.S. Customs House, home to the Smithsonian’s
National Museum of the American Indian (& 212/514-
3700; www.si.edu/nmai) since 1994. The giant statues
lining the front of this granite 1907 structure personify
Asia (pondering philosophically), America (bright-eyed
and bushy-tailed), Europe (decadent, whose time has
passed), and Africa (sleeping) and were carved by Daniel
Chester French of Lincoln Memorial fame. The most
interesting, if unintentional, sculptural statement—keep-
ing in mind the building’s new purpose—is the giant seat-
ed woman to the left of the entrance, representing
America. The young, upstart America is surrounded by
references to Native America: Mayan pictographs on her
throne, Quetzalcoatl (an Aztec god symbolized by a feath-
ered serpent) under her foot, a shock of corn in her lap,
and a Plains Indian scout over her shoulder.
The airy oval rotunda inside was frescoed by Reginald
Marsh to glorify the shipping industry (and, by extension,
the customs office once here). Housing Native American
treasures in a former arm of the federal government seems
a bit of a cruel irony, but the well-curated exhibits here
convey a sense of reverence. Native American art, culture,
history, and contemporary issues are presented in sophis-
ticated and thought-provoking ways. The museum is free
and highly recommended, open daily 10am to 5pm (to
8pm Thurs).

Kid-Friendly Experiences
• Visiting the National Museum of the American
Indian in the old U.S. Customs House (stop 1)
• Riding the Bronze Bull on Broadway (stop 3)
 Lower Manhattan/The Financial District • 11

As you exit the building, directly in front of you sits

the pretty little oasis of:
2. Bowling Green Park. In 1626, Dutchman Peter
Minuit stood at this spot (or somewhere close to it) and
gave glass beads and other trinkets worth about 60
guilders ($24) to a group of Indians, and claimed that he
had thereby bought Manhattan. However, the local
Indians didn’t consider that they owned this island in the
first place because Manhattan (“land of many hills” is the
most likely translation from the native tongue) was a
communal hunting ground. (The idea that the Indians
didn’t believe in property is a colonial myth; the Indians
had their own territories nearby.) It isn’t clear what the
Indians thought the trinkets meant. Either (a) they just
thought the exchange was a formal way, one to which they
were accustomed, of closing an agreement to extend the
shared hunting use of the island to this funny-looking
group of pale people with yellow beards, or (b) they were
knowingly selling land that they didn’t own in the first
place and thus performing the first of many thousands of
such deals in the Financial District. They may have also
tried to sell Minuit a bridge just up the river a ways, but
he was too busy fortifying his little town of Nieuw
Amsterdam to listen. There’s evidence that the “sellers” of
Manhattan were of the Canarsie tribe from what is today
Brooklyn.
Although Bowling Green Park today is just another
lunch spot for stockbrokers, when King George III
repealed the hated Stamp Act in 1770, New Yorkers mag-
nanimously raised a statue of him here. The statue lasted
5 years, until the day the Declaration of Independence
was read to the public in front of City Hall (now Federal
Hall) up the street and a crowd rushed down Broadway to
topple the statue, chop it up, melt it down, and transform
it into 42,000 bullets with which to shoot the British.
The park also marks the start of Broadway—which, if
you follow it far enough, leads to Albany. Walk up the left
side of Broadway, past the Cunard Building at no. 25. In
1921, this was the ticketing room for Cunard, one of the
world’s most glamorous shipping and cruise lines and the
12 • Memorable Walks in New York

proprietor of the QEII. The deteriorating churchlike ceil-

ing sheltered the local post office until 2005.
Cross to the traffic island to pat the enormous:
3. Bronze bull, reared back and ready to charge up
Broadway. This symbol of an up stock market began as a
practical joke by Italian sculptor Arturo DiModica, who
originally stuck it in front of the New York Stock
Exchange building in the middle of the night in 1989.
The unamused brokers had it promptly removed, and it
was eventually placed here.
Turn right to head south on Broadway, on the left side
of the U.S. Customs House on Whitehall Street. Take a
left onto Pearl Street; just past Broad Street stretches a his-
toric block lined with (partially rebuilt) 18th- and 19th-
century buildings. The two upper stories of 54 Pearl St.
house the:
4. Fraunces Tavern Museum (& 212/425-1778; www.
frauncestavernmuseum.org), where you can view the
room in which Washington’s historic farewell to his offi-
cers took place on December 4, 1783 (today, it’s set up to
represent a typical 18th-century tavern room), among
other American history exhibits. A moderate admission
fee is charged. Hours are Tuesday through Friday from
noon to 5pm, and Saturday from 10am to 5pm. The
restaurant in the posh, oak-paneled dining room and
adjacent pub emerged from several years of extensive ren-
ovations in the fall of 2001, which inexplicably did away
with much of the wonderful old clubby feel of the place,
leaving it rather staid and uninspired. The food’s good,
but pricey.
From Fraunces Tavern, head straight up Broad Street
past the lunch spots that cater to harried brokers. At no.
20, on the left, is the main entrance to the:
5. New York Stock Exchange (& 212/656-3000; www.
nyse.com), which is near the buttonwood tree where mer-
chants met as long ago as 1792 to try and pass off to each
other the U.S. bonds that had been sold to fund the
Revolutionary War. By 1903, they were trading stocks of
publicly held companies in this Corinthian-columned,
 Lower Manhattan/The Financial District • 13

Beaux Arts “temple” designed by George Post. Close to

2,800 companies are listed on the exchange, where 1.46
billion shares with a value of $46 billion are traded on an
average day.
Sadly, the new security measures have put a stop to
tours, which used to allow visitors to peer out at the trad-
ing floor from an observation deck where Abbie Hoffman
and Jerry Rubin once created chaos by tossing dollar bills
in the 1960s. The clunky metal fencing outside the build-
ing has the look of a cattle stockade, which may be some-
what appropriate given the recent performance of the
market.
Continue north (left) up Broad Street. At the end of
the block, you’ll see the Parthenon-inspired:
6. Federal Hall National Memorial, 26 Wall St. at
Nassau Street (& 212/825-6990; www.nps.gov/feha).
Fronted by 32-foot fluted marble Doric columns, this
imposing 1842 neoclassical temple is built on the site of
the British City Hall building, later called Federal Hall.
Peter Zenger, publisher of the outspoken Weekly Journal,
stood trial in 1735 for “seditious libel” against Royal Gov.
William Cosby. Defended brilliantly by Alexander
Hamilton, Zenger was eventually acquitted (based on the
grounds that anything that is printed that is true, even if
it isn’t very nice, can’t be construed as libel), and his
acquittal set the precedent for freedom of the press, later
guaranteed in the Bill of Rights, which was drafted and
signed inside the original structure here.
New York’s first major rebellion against British author-
ity occurred here when the Stamp Act Congress met in
1765 to protest King George III’s policy of “taxation
without representation.” J. Q. A. Ward’s 1883 statue of
George Washington on the steps commemorates the spot
of the first presidential inauguration in 1789. Congress
met here after the revolution, when New York was briefly
the nation’s capital.
The majority of historically significant events that
occurred on this spot predated the construction of the
current building, which began as a customs house and
then became a treasury. The foundation was damaged in
14 • Memorable Walks in New York

the 9/11 attacks and the Park Service has closed the muse-
um for repairs, with a gala reopening scheduled for
September 2006.
Facing Federal Hall, turn left up the road that has
become the symbol of high finance the world over:
7. Wall Street. This narrow street, which is just a few short
blocks long, started out as a service road that ran along the
fortified wall that the Dutch erected in 1653 to defend
against Indian attack. (Gov. Peter Stuyvesant’s settlers had
at first played off tribes against each other in order to trick
them into ceding more and more land, but the native
groups quickly realized that their real enemies were the
Dutch.) Today’s fortifications come in the form of securi-
ty checkpoints, which may force slight detours as you
work your way back to Broadway, across the street from:
8. Trinity Church (& 212/602-0800; www.trinitywallstreet.
org). Serving God and mammon, this Wall Street house
of worship—with neo-Gothic flying buttresses, beautiful
stained-glass windows, and vaulted ceilings—was
designed by Richard Upjohn and consecrated in 1846. At
that time, its 280-foot spire dominated the skyline. Its
main doors, embellished with biblical scenes, were
inspired in part by Ghiberti’s famed doors on Florence’s
Baptistery. The first church on this site was built in 1697
and burned down in 1776.
The church runs a brief tour daily at 2pm, with an
additional tour Sunday morning following the 11:15am
service. A small museum at the end of the left aisle dis-
plays documents (including the 1697 church charter from
King William III), photographs, replicas of the
Hamilton-Burr duel pistols, and other items. Capt. James
Lawrence, whose famous last words were, “Don’t give up
the ship,” and Alexander Hamilton are buried in the
churchyard (against the south fence, next to steamboat
inventor Robert Fulton), where the oldest grave dates
from 1681. The newest item in the churchyard is a red,
spider-like cast of the roots of one of the church’s
sycamore trees, felled by debris on 9/11. The sculpture,
Trinity Root, by Steve Tobin, makes an eerie organic intru-
sion into an otherwise marble and stone environment.
 Lower Manhattan/The Financial District • 15

Thursdays at 1pm, Trinity holds its Concerts at One

series of chamber music and orchestral concerts. Call
& 212/602-0747 for details.
Take a left out of the church and head back up
Broadway. At your feet you will see enigmatic captions,
embedded in the sidewalks of lower Broadway. The dates
and events recorded in granite correspond to the ticker-
tape parades that have passed along this stretch of
Broadway, sometimes referred to as the Canyon of
Heroes. The canyon appellation is easy to understand as
you look up at the looming buildings. Across Broadway,
the Equitable Tower, at no. 120, is a monolith that maxi-
mizes its available lot at the expense of light and air for
everyone else. After its 1915 construction, New York was
inspired to pass its first zoning laws. As you pass Cedar
Street, look (don’t walk) to your right, across Broadway,
and down Cedar Street. At the end of the street, you’ll see:
9. Jean Dubuffet’s Group of Four Trees. Installed in
1972, these amorphous mushroomlike white shapes
traced with undulating black lines are representative of
the artist’s patented style. Dubuffet considered these
installations as drawings in three dimensions “which
extend and expand into space.”
Closer at hand, in front of the tall, black Marine
Midlank Bank building on Broadway between Cedar and
Liberty streets, is:
10. Isamu Noguchi’s 1967 The Red Cube, another
famed outdoor sculpture of downtown Manhattan.
Noguchi fancied that this rhomboid “cube” balancing on
its corner and shot through with a cylinder of empty space
represented chance, like the “rolling of the dice.” This
sculpture is appropriately located in the gilt-edged gam-
bling den that is the Financial District.
As you’re looking at The Red Cube across Broadway,
turn around to walk down Liberty Plaza/Liberty Street
toward the gaping rent in the fabric of Manhattan:
11. Ground Zero, the somber hole in the ground where the
World Trade Center once stood. Opened in 1970 under
the auspices of the Port Authority, this immense complex
16 • Memorable Walks in New York

covered 12 million square feet of rentable office space,

with 50,000 permanent workers and some 70,000 others
(tourists and businesspeople) visiting each day. In the first
few months after 9/11, Ground Zero was a dramatic sight.
Twisted World Trade Center wreckage rose out of a steam-
ing hole and no matter how many times you went by, it
still came as a punch in the stomach. With the rubble long
cleared, however, the initial raw horror of the scene is
gone. Ground Zero today is indistinguishable from a run-
of-the-mill construction pit if you don’t know that it’s also
a final resting place. The ad hoc memorials that originally
surrounded the site have been replaced by a uniform series
of placards along the fence at Church Street, just south of
the newly reopened PATH train station.

ˇ Take a Break For a view of Ground Zero with a

little perspective, head west toward the World
Financial Center’s Winter Garden (& 212/945-2600;
open 24 hours), in the center of the enclosed mall com-
plex. The Winter Garden was all but destroyed by the col-
lapsing towers, but you’d never guess it to look at the tow-
ering Washingtonia robusta palm trees and gleaming mar-
ble inside the atrium. Beneath the stairs you’ll find a tem-
porary exhibit outlining the plans for the site, which will
hopefully someday include a worthy memorial in addi-
tion to the inevitable corporate skyscraper. Walk up the
stairs to the panoramic windows and you’ll have an ele-
vated view of Ground Zero.
Varied dining choices—everything from pub fare to
gourmet pizzas—are scattered throughout the World
Financial Center. The lower, west side overlooks a yacht
harbor and a pleasant cement park with outdoor tables,
weather permitting.
Continue north on Church Street to turn right down
Dey Street back to Broadway. Take a left, and on your left
is the:
12. Kalikow Building, 195 Broadway. This neoclassical
tower that dates from 1915 to 1922 is the former head-
quarters of AT&T and has more exterior columns than
any other building in the world. The 25-story structure
 Lower Manhattan/The Financial District • 17

rests on a Doric colonnade, with Ionic colonnades above.

The lobby evokes a Greek temple with a forest of massive
fluted columns. The building’s tower crown is modeled
on the Mausoleum of Halicarnassus, a great Greek mon-
ument of antiquity. The bronze panels over the entrance-
way by Paul Manship (sculptor of Rockefeller Center’s
Prometheus) symbolize wind, air, fire, and earth.
Continue north on Broadway. The next block,
between Vesey and Fulton streets, contains the small:
13. St. Paul’s Chapel (& 212/233-4164; www.saint
paulschapel.org), dating from 1764, is New York’s only
surviving pre-Revolutionary church. During the 2 years
that New York was the nation’s capital, George
Washington worshipped at this Georgian chapel belong-
ing to Trinity Church; his pew is on the right side of the
church, beneath a 1795 painting of the Great Seal, in one
of its earliest renditions. Built by Thomas McBean, with
a templelike portico and fluted Ionic columns supporting
a massive pediment, the chapel resembles London’s St.
Martin’s-in-the-Fields. In the months following the
September 11, 2001, terrorist attacks, the chapel became
a center for the workers and volunteers to wash up, get
something to eat or drink, nap on the pews or on cots,
and receive relief in the form of free chiropractic care,
massages, and, of course, spiritual counseling. Explore the
small graveyard in back, where the ancient headstones
restore human scale to a chaotic corner, and provide addi-
tional context for the eerie prairie that is Ground Zero.
Trinity’s Concerts at One series is held here each Monday,
featuring a variety of musical performances, from
Japanese koto players to brass quartets.
Continue up Broadway, crossing Vesey and Barclay
streets, and at 233 Broadway is the:
14. Woolworth Building. This soaring “cathedral of com-
merce” cost Frank W. Woolworth $13.5 million worth of
nickels and dimes in 1913. Designed by Cass Gilbert, it
was the world’s tallest edifice until 1930, when 40 Wall
Street and the Chrysler Building surpassed it. The neo-
Gothic architecture is rife with spires, gargoyles, flying
18 • Memorable Walks in New York

buttresses, vaulted ceilings, 16th-century–style stone-as-

lace traceries, castlelike turrets, and a churchlike interior.
To get an overview of the Woolworth Building’s archi-
tecture, cross Broadway. On this side of the street, you’ll
find scurrying city officials and growing greenery that
together make up:
15. City Hall Park, a 250-year-old green surrounded by
landmark buildings. A Frederick MacMonnies statue near
the southwest corner of the park depicts Nathan Hale at
age 21, having just uttered his famous words before exe-
cution: “I only regret that I have but one life to lose for
my country.” Northeast of City Hall in the park is a stat-
ue of New York Tribune founding editor Horace Greeley
(seated with newspaper in hand) by J. Q. A. Ward. This
small park has been a burial ground for paupers and the
site of public executions, parades, and protests.
It now provides the setting for:
16. City Hall, the seat of the municipal government, housing
the offices of the mayor and his staff, the city council, and
other city agencies. City Hall combines Georgian and
French Renaissance styles and was designed by Joseph F.
Mangin and John McComb Jr. Later additions include
the clock and 6,000-pound bell in the cupola tower. The
cupola itself is crowned with a stately, white-painted cop-
per statue of Justice. At its opening in 1812, City Hall
marked the northern terminus of New York. Since the
back of the building was just facing the hills, the city fin-
ished that side in cheap sandstone, as opposed to the mar-
ble and granite employed in front. (During a later reno-
vation, the city re-clad the back to make the entire exteri-
or uniform.)
City Hall contains quite an impressive collection of
American art, including works by George Caitlin,
Thomas Sully, Samuel B. Morse, and Rembrandt Peale.
The elegant Governor’s Room upstairs, where Lafayette
was received in 1824, houses Washington’s writing desk,
his inaugural flag, and artwork by well-known American
artists. The building may be visited via a guided tour (call
& 212/788-2170 for information and reservations),
which is conducted in tandem with a tour of the:
 Lower Manhattan/The Financial District • 19

17. Tweed Courthouse (52 Chambers St., at the north end

of City Hall Park). This 1872 Italianate courthouse was
built during the tenure of William Marcy “Boss” Tweed,
who, in his post on the board of supervisors, stole millions
in construction funds. Originally budgeted as a $250,000
job in 1861, the courthouse project escalated to the stag-
gering sum of $14 million. Bills were padded to an
unprecedented extent—Andrew Garvey, who was to
become known as the “Prince of Plasterers,” was paid
$45,967 for a single day’s work! The ensuing scandal
(Tweed and his cronies were discovered to have pocketed
at least $10 million) wrecked Tweed’s career; he died pen-
niless in jail after being convicted at trial in, of all places,
the Tweed Courthouse. The building was meticulously
restored in 1999 and is now the headquarters for the
Department of Education.
Across Chambers Street and to the right, at the corner
of Elk Street, lies the turn-of-the-20th-century:
18. Surrogate’s Court (The Hall of Records), 31
Chambers St. Housed in this sumptuous Beaux Arts
structure are all the legal records relating to Manhattan
real estate deeds and court cases, some dating from the
mid-1600s. Heroic statues of distinguished New Yorkers
(Peter Stuyvesant, De Witt Clinton, and others) front the
mansard roof. The doorways, surmounted by arched ped-
iments, are flanked by Philip Martiny’s sculptural groups
portraying New York in Revolutionary Times (to your
left) and New York in Its Infancy (to your right). Above
the entrance is a three-story Corinthian colonnade.
Step inside to see the vestibule’s beautiful barrel-vault-
ed mosaic ceiling, embellished with astrological symbols,
Egyptian and Greek motifs, and figures representing ret-
ribution, justice, sorrow, and labor. Continue back to the
two-story sky-lit neoclassical atrium, clad in honey-
colored marble with a colonnaded second-floor loggia and
an ornate staircase adapted from the foyer of the Grand
Opera House in Paris.
Exiting the Surrogate’s Court from the front door,
you’ll see to your left, at the end of the block, that
Chambers Street disappears under:
20 • Memorable Walks in New York

19. The Municipal Building, a grand civic edifice built

between 1909 and 1914 to augment City Hall’s govern-
ment office space. The famed architectural firm of
McKim, Mead, and White (as in Stanford White) used
Greek and Roman design elements such as a massive
Corinthian colonnade, ornately embellished vaults and
cornices, and allegorical statuary in their design for this
building. A triumphal arch, its barrel-vaulted ceiling
adorned with relief panels, forms a magnificent arcade
over Chambers Street; this arch has been called the “gate
of the city.” Sculptor Adolph Weinman created many of
the building’s bas-reliefs, medallions, and allegorical
groupings of human figures (they symbolize civic pride,
progress, guidance, prudence, and executive power).
Weinman also designed the heroic hammered-copper
statue of Civic Fame that tops the Municipal Building
582 feet above the street. This statue, which is the largest
one in Manhattan, holds a crown with five turrets that
represent New York’s five boroughs.
See lots of lovey-dovey couples walking in and out?
The city’s marriage license bureau is on the second floor,
and a wedding takes place about every 20 minutes.
Turn around on Chambers and take a right on Elk
Street. At the second corner, Duane Street, look to your
left for the:
20. African Burial Ground (& 212/264-2201; www.
africanburialground.gov). This small lot was originally
intended to be part of a federal building constructed at 290
Broadway. In 1991, during excavation, the remains of over
400 Africans were discovered. The government initially
intended to go forward with construction, but community
protest led to this section being preserved as a graveyard,
with the remains re-interred after extensive study. In
September 2005, a groundbreaking ceremony was held for
a permanent memorial designed by architect Rodney Leon.
Used by Africans from the late 1600s until 1795, this plot
is only a tiny portion of a forgotten burial ground that
stretches five city blocks. In some ways it serves as a micro-
cosm for the neighborhood, where history layers on top of
history, and the present never wholly sheds the context of
the past.
 • Walking Tour 2 •

Chinatown

Start: The intersection of Broadway and Canal Street.

Subway: Take the 6, N, Q, R, W, J, M, or Z to Canal Street.
Finish: The intersection of East Broadway and Rutgers Street.
Time: 2 to 3 hours, not including restaurant stops.
Best Time: Anytime the weather is good for walking.

T he main draw in China-

town is the food; the neighborhood’s 400-odd restaurants have
satisfied New Yorkers’ cravings for Cantonese, Hunan, and
Szechuan fare, as well as Thai and Vietnamese cuisines, for
many years. Outside the doors of the restaurants, the swirling,
exotic street life of one of the largest Chinese communities in
the Western Hemisphere awaits. In the shops along Mott,
Canal, and East Broadway, you’ll find unusual foodstuffs,
Chinese herbal medicines, and collectibles that you’d think only
a trip to Hong Kong or Shanghai could net. In Chinatown’s
narrow streets and aging tenements, you can discover the lega-
cies of the different waves of immigrants—first the English,
then the Germans, Irish, Italians, Jews, and finally, the Chinese.
Although East Indies trading ships brought small groups
of Chinese to New York from about 1840 on, Chinatown did
not really begin to develop until the 1880s. Thousands of

21
22 • Memorable Walks in New York

Chinese sailed to California in the mid–19th century, hoping

to amass fortunes by working in the mines and building rail-
roads, and return to China rich men. By the 1870s, they
became the victims of a tide of racism, violence, and legal per-
secution throughout the West. In 1882, Congress passed the
Chinese Exclusion Act, which denied the Chinese the right to
citizenship, barred them from most occupations, and suspend-
ed immigration. Additionally, the act forbade any laborers
already in the country from bringing their wives here. Some
Chinese returned home, but tens of thousands remained.
From 1880 to 1890, the Chinese population on Mott, Pell,
and Doyers streets increased tenfold to 12,000.
By the 1890s, Chinatown had become a large and isolated
ghetto, and it remained so for many years. Since World War II,
however, the neighborhood has been building bridges to the
American mainstream. A large influx of foreign capital from
Taiwan and Hong Kong has helped make Chinatown one of
New York’s strongest local economies, and many Chinese
Americans have joined the middle class. But unlike other
famous immigrant neighborhoods such as Little Italy or the
Lower East Side, Chinatown isn’t ready to be relegated to the
history books—immigrants from all parts of Asia continue to
stream in, adding new energy and color to the neighborhood.

Start off walking east along Canal Street. You’ll probably

have to thread your way through a multiethnic swath of
pedestrians and street vendors hawking toys, firecrackers,
and dumplings—Canal Street during business hours is one
of New York’s most frenzied, crowded thoroughfares.
From Broadway to the Bowery, Canal Street is lined with
bustling variety stores, fish markets, greengrocers, banks,
and Chinese-owned jewelry shops. Many of the storefronts
have been subdivided into minimalls whose stalls purvey
everything from ginseng to martial arts paraphernalia.
However, when night falls and the shops are shuttered,
Canal Street seems like a ghost town in the hills of China.
You’ll see plenty of Chinese-language signs on Canal
Street as soon as you walk east of Broadway. The landmark
that signals your arrival in Chinatown proper is the former:
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23
24 • Memorable Walks in New York

1. Golden Pacific National Bank. Located on the north-

west corner of Canal and Centre streets, this building was
raised in 1983 as the bank’s new home. At first a major
point of pride in the neighborhood, the bank failed only
2 years later, and its patrons, largely individual Chinese,
lost their uninsured deposits. The colorful building, with a
jade-trimmed red pagoda roof and elaborately decorated
facade with Oriental phoenix and dragon motifs, has been
resurrected as . . . surprise . . . a Starbucks. Walk around
on Centre Street to see the building in its entirety.
Although this one is defunct, Canal Street is still lined
with banks; indeed, Chinatown’s 161,000 residents are
served by several dozen of them, more than most cities of
similar size. Many Chinatown residents routinely put
away 30% to 50% of their wages.
Continue east along Canal Street and look for:
2. Vegetable sellers plying their trade on a traffic island at
Baxter Street. Here you can peruse and purchase Chinese
produce: bok choy (delicate Chinese cabbage), small white
and red-violet eggplants, taro root, fresh ginger, Chinese
squash, big white winter melons, tender bamboo shoots,
yard-long green beans, pale golden lily buds, lotus leaves,
cucumber-sized okra and sweet snow peas. (There are more
stalls just up around the corner on Mulberry St.)
Cross from the traffic island to the southern side of
Canal Street where you’ll smell a briny aroma emanating

Kid-Friendly Experiences
• Learning the violent history of the “Bloody Angle”
(stop 9)
• Shopping for Chinatown souvenirs at the shops on
Mott Street (stop 10)
• Sampling the goodies at Aji Ichiban candy store (see
the “Take a Break” box on p. 31)
• Browsing Chinese groceries at Kam Man Food, Inc.
(stop 17)
• Exploring Columbus Park (stop 19)
 Chinatown • 25

from a fish market (nos. 218 and 214) whose ice-covered

offerings spill out onto the sidewalk. The aproned fish
sellers keep up a steady patter, extolling the virtues of their
shark, squid, snapper, oysters, and live eels, frogs, and
snakes. Here and throughout your tour of Chinatown,
you’ll also pass carts vending Peking duck, chicken feet,
roast pork, and lo mein, as well as store windows display-
ing barbecued chickens, ducks, and squab with heads and
beaks fully intact.
Soak up the street scene as you continue up Canal for
several more crowded blocks to the southwest corner of
Canal Street and the Bowery. Here, at 58 Bowery, you’ll
find a branch of:
3. The HSBC Bank. Built in 1924, and later overhauled
and tailored to its Chinese depositors, this dome-roofed
bank is one of New York’s most distinctive. (It’s hard to
appreciate from directly underneath; cross Canal for a
better view.) Its interior is decorated with tondos (round
paintings) extolling Wisdom, Thrift, Success, and Safety.
Across the Bowery to the east is the approach to the:
4. Manhattan Bridge. This suspension bridge, built in
1905, may not be as inspirational to poets and artists as
the great Brooklyn Bridge, but the recently restored mon-
umental Beaux Arts colonnade and arch that stand at its
entrance are quite grand and arresting.
Looming to the right of the bridge, on the east side of
the Bowery, is:
5. Confucius Plaza. The first major publicly funded hous-
ing project built for Chinese use, Confucius Plaza extends
from Division Street up to the Bowery, where it rises into
a curved 43-story tower.
The activist spirit of the 1960s touched Chinatown in
a significant way: Many young people from the neighbor-
hood were involved in a Chinese-American pride move-
ment and created organizations devoted to building com-
munity centers, providing social services, and securing
Chinatown a voice in city government. Winning the fight
to build this plaza and forcing contractors to hire Chinese
workers showed that Chinatown was now a political
heavy hitter.
26 • Memorable Walks in New York

Walk south on the Bowery to building no. 18, which

sits on the southwest corner of the Bowery and Pell Street
and is called the:
6. Edward Mooney House (occupied by Summit
Mortgage Bankers). This largely Georgian brick row
house, painted red with eggshell trim, dates from George
Washington’s New York days. It was built in 1785 on
property abandoned by a Tory during the Revolution and
is the oldest Georgian brick row house in the city.
The Bowery ends at Chatham Square, into which nine
other streets converge. On a traffic peninsula to your left,
extending from the southwest end of Confucius Plaza,
you’ll see the:
7. Statue of Confucius. Raised in 1976, this bronze stat-
ue and its green marble base were gifts of the Chinese
Consolidated Benevolent Association (CCBA), which has
served as Chinatown’s unofficial government for more
than 100 years. The organization has always represented
conservative Chinese who support traditional notions of
family loyalty and respect for one’s elders and leaders; the
statue was built over the strenuous objections of activist
groups who felt that the neighborhood should display a
more progressive cultural symbol. However, the sage’s
2,400-year-old words, inscribed in the monument’s base
in both Chinese and English, are strikingly descriptive of
the strength of Chinatown’s tightknit social fabric:
Confucius recommends that we look beyond our imme-
diate family and see all elders as our parents and all chil-
dren as our own.
From the statue of Confucius, follow Catherine Street
past the pagoda-roofed bank and turn left onto East
Broadway. This thoroughfare is the heart of commercial,
workday Chinatown. Very few of its businesses are geared
to tourists; instead, they are dedicated to serving the
community’s needs. These businesses include Chinese
video stores, beauty salons, sidewalk shacks purveying
grilled meats and dumplings, and bakeries whose wedding
cakes are topped with Asian bride-and-groom figurines.
 Chinatown • 27

ˇ Take a Break For lunch, treat yourself to dim

sum (see box below). Every day from 9am to about
4pm, two huge restaurants—the Golden Unicorn at 18
E. Broadway, near Catherine Street (& 212/941-0911)
and the Nice Restaurant at 35 E. Broadway (& 212/
406-9510)—draw large, hungry crowds. The Golden
Unicorn’s walkie-talkie–wielding hostess directs incoming
diners to the restaurant’s second- and third-floor dining
rooms; in the Nice Restaurant, the lobby has several tanks
full of carp and sea bass. In both restaurants, you’ll usual-
ly be seated with other parties around a huge banquet
table. A distinctly celebratory spirit pervades; the Chinese
families dining here often seem to have three or four gen-
erations represented. If you’re less familiar with dim sum,
don’t be shy: You can afford to take some risks because
everything costs just $2 to $4. (Prices at Nice are a tad
lower than those at the Golden Unicorn.) Though servers
seldom speak much English, fellow Chinese diners or
inveterate dim summers at your table might be able to
offer some helpful tips. The Golden Unicorn makes
things easier with captions in English on the carts.
Backtrack to Chatham Square. At the Bowery, on the
square, a narrow, crooked street bears off to the northwest
(in the general direction of Canal St.). This street is:
8. Doyers Street, which along with Pell Street and the
lower end of Mott Street formed the original Chinatown.
Doyers Street was the backdrop for much of the neigh-
borhood’s unhappy early history.
Chinatown’s “bachelor society,” which existed from
1882 to 1943 (when some provisions of the Exclusion Act
were repealed), was a place of grimly limited opportunity
and deep poverty. There were 27 men to every woman in
the neighborhood. These men were prohibited from com-
peting with whites for work, hemmed into Chinatown by
the language barrier, and living under the risk of beatings
if they strayed from the 3-block ghetto. Under these harsh
conditions, working in the laundry industry was one of
the best ways to eke out a living.
28 • Memorable Walks in New York

Dim Sum
Dim sum is Cantonese for “dot your heart,” and a dim
sum meal consists of one small gastronomic delight after
another. Simply choose what looks appealing from the
steaming carts that servers wheel around to your table.
Dim sum usually involves more than 100 appetizer-
sized items such as steamed leek dumplings, deep-fried
minced shrimp rolls wrapped in bacon, sweet doughy
buns filled with tangy morsels of barbecued pork, deep-
fried shrimp, beef ribs with black pepper sauce, and
honey roast pork rolled in steamed noodles. Dessert dim
sum may include orange pudding, egg custard rolls cov-
ered with shredded coconut, and sweet lotus-seed
sesame balls.

Crime compounded the neighborhood’s misery. The

Chinese moved into the northern end of an area that for
40 years had been a sprawling morass of saloons, gam-
bling dens, and squalid tenements extending from
Chatham Square all the way to the waterfront.
Prostitution flourished (out of desperation, many Chinese
men lived with, or even married, white prostitutes), and
opium dens sprang up. The Chinese Consolidated
Benevolent Association (CCBA) acted as de facto govern-
ment, but the real power resided in the tongs, “protection
societies” (much like the Mafia) involved in racketeering
and gambling. There are still tong-controlled gaming
dens in Chinatown, still whispers of intimidation, and an
occasional outbreak of gang-related violence.
The post office, located a few paces up Doyers Street
on your right, occupies the site of the old Chatham Club,
one of the uproarious music halls that surrounded
Chatham Square a century ago. The clubs boasted singing
waiters, accompanied by a tinny piano, who would enter-
tain the clientele with sentimental ballads. Izzy Baline and
Asa Yoelson sang at the Chatham and other clubs on
Doyers; later, in tonier surroundings, they became better
known as Irving Berlin and Al Jolson.
 Chinatown • 29

By the 1920s, the sharp bend in Doyers Street had

acquired its reputation as the infamous:
9. “Bloody Angle.” The first two tongs to rise in
Chinatown, the On Leong and the Hip Sing, engaged in
a fierce turf struggle in Chinatown that dragged on for
almost 40 years. Both organizations had large standing
armies of henchmen, and the worst of the continual
bloodshed occurred here. The crooked street lent itself to
ambush, and assassins could usually make a fast escape by
ducking through the old Chinese Theatre, which stood at
the elbow of the street that Doyers Vietnamese Restaurant
now occupies. At the turn of the 20th century, Bloody
Angle was the site of more murders than anywhere else in
the United States.
At the end of Doyers Street is Pell Street, another
short, narrow thoroughfare lined with restaurants. Pell
Street has also changed little over the years. At no. 16,
next to Happy Sixteen Diner, is the unobtrusive entryway
to the headquarters of the organization that has dominat-
ed Pell and Doyers streets for 100 years, the Hip Sing
tong; the gold lettering above the door symbolizes growth
and prosperity.
Leaving the dark side of the neighborhood’s history
behind, turn left on Pell Street down to its intersection
with:
10. Mott Street, the heart of old Chinatown. Mott Street is
the epicenter of the boisterous Chinese New Year celebra-
tions that begin with the first full moon after January 21.
Red and gold streamers festoon every shop window, and
the street fills with parades complete with gyrating drag-
on dancers and the nonstop thunder of firecrackers.
The shops that line Mott Street are a diverse bunch,
and their collective stock gives you the chance to bring a
piece of Chinatown back home. Just around the corner to
your left is one such store:
11. Good Fortune Gifts, Inc. at 32 Mott St. For over a cen-
tury, Quong Yuen Shing & Company (the shop’s previous
inhabitant) supplied locals with general merchandise, like
medicinal herbs, sandalwood fans, tea, mah-jongg sets,
30 • Memorable Walks in New York

ceramic bowls and vases, and seeds for Chinese vegetables,

among other sundries. Opened in 2004, Good Fortune
Gifts shares its predecessor’s frame and traces of its histo-
ry remain, like ornate wooden shelves and cabinetry, and
an elaborately carved arch decorating the counter. New
merchandise fills the shelves: Glass cases that once dis-
played silk handkerchiefs and brocades are now lined with
an odd mix of Barbie-style action figures, from Jackie
Chan to Wonder Woman and FDNY firemen. There are
also trinkets, like painted ceramic eggs, small crystalline
balls enshrining decorative scenes, and ceramic animal
figures.
Continue along Mott Street and cross to the:
12. Sinotique at 19a Mott St. Inside this refined, decidedly
upscale shop you’ll find beautiful, high-quality Chinese
antiques, crafts, and collectibles. On a recent visit, the
offerings included rosewood and teak cabinets with deli-
cate hand-carved ornamentation; pottery ranging from
unglazed pieces created in the 2nd millennium B.C. to
works from the Ching dynasty (1644–1912); exquisite
carved bamboo birdcages from southern China (ask them
to explain the traditional bird-keeping hobby common
among old Chinese men); Chinese country furniture;
Tibetan, Chinese, and Mongolian rugs; hand-wrought
mounted bronze gongs; and jewelry.
Backtrack up Mott to cross tiny Mosco Street, and
you’ll be in front of the:
13. Church of the Transfiguration at 25–29 Mott St.
This Georgian stone church was built in 1801; the spire
was added in the 1860s. Originally consecrated as the
English Lutheran First Church of Zion, the church has
been a veritable chameleon, always reflecting the chang-
ing image of the neighborhood. It was first created as a
house of worship for English Lutherans. It then morphed
into a church for the newly arrived Irish Catholics, and
later, in the 1880s, became a house of worship for Italian
Catholics. Nowadays its services are in Cantonese,
Mandarin, and English, and the church is the focal point
of New York’s Chinese Roman Catholic community.
 Chinatown • 31

Transfiguration remains true to its long heritage as a mis-

sion house, continuing to offer English classes and other
services that help its members find their way into the
American mainstream.

ˇ Take a Break Just beyond Pell Street is the New

Lung Fong Bakery at 41 Mott St. (& 212/233-
7447), offering an array of sweet treats such as red-bean
cakes, black-bean doughnuts, lotus seed–moon cake cus-
tard tarts, chestnut buns, cream buns, melon cakes, and
mixed-nut pies. Sitting in Lung Fong’s unadorned cafe
section, you can relax with a cup of tea or very good cof-
fee and yum cha—that’s Chinese for hanging out, talking,
and drinking in a cafe.
Next door is the new Aji Ichiban, 37 Mott St. (& 212/
233-7650; www.ajiichiban-usa.com), a self-proclaimed
“munchies paradise” that looks innocuously like any bulk
candy store you’d see in the mall—until you start perus-
ing the English translations of what’s in each bin: candy-
coated chocolates that look like decorative pebbles, shriv-
eled fruits of the sorts you didn’t even know could be
dried, and dozens of licorices mixed in among bins for
snack-sized morsels of such things as dried squid. We dare
you to close your eyes and make a selection.
Continue north on Mott. On the right at 42 Mott St.
is the:
14. Ming Fay Book Store. An eclectic store stocked with
everything from art/school supplies and toys to Chinese
calendars, newspapers, comics, pinup magazines, and
books, Ming Fay also carries a selection of English-lan-
guage books on Chinese subjects. Here is a sampling of
titles: Chinese Astrology, The Bruce Lee Story, The Book of
Tea, The Dictionary of Traditional Chinese Medicine, and
The Living Buddha.
A little farther up Mott at no. 62 is the headquarters
of the:
15. Chinese Consolidated Benevolent Association
(CCBA). Until recently, this association functioned as the
working government of Chinatown, helping new immi-
grants find jobs and housing, funneling capital into
32 • Memorable Walks in New York

neighborhood businesses, offering English classes to chil-

dren and adults, providing services to the elderly, and
even operating criminal courts. Although its influence has
waned somewhat, it is still a major social and political
force in Chinatown and is the voice of New York’s pro-
Taiwan community. Also located in the building is the
Chinese School, which since 1915 has been working to
keep Chinese traditions and language alive, long a pri-
mary concern of the CCBA.
Two doors down is the:
16. Eastern States Buddhist Temple of America.
Quiet and suffused with incense and the smell of cooking
oil (they use it ritualistically), this storefront shrine has
been here for years and serves as something of a social cen-
ter; usually a number of elderly ladies are sitting in the
chairs and benches that line the wall. Enter, light a joss
stick, and offer a prayer to Kuan-yin, the Chinese goddess
of mercy. Or perhaps you’d rather supplicate the Four-
Faced Buddha for good luck in business (money will
come from all directions, hence the four faces). You can
also buy a fortune here, in English, for a dollar.
Across the street and up at the corner of Mott and
Canal streets (83–85 Mott), behind a stately facade fea-
turing balconies and a pagoda roof, is the headquarters of
the Chinese Merchants Association, better known as the
On Leong tong. Chinatown’s oldest tong is still one of its
most prominent neighborhood organizations.
Make a left onto Canal Street, where a steady stream of
shoppers will no doubt be passing in and out of:
17. Kam Man Food, Inc. at 200 Canal St. This quintessen-
tial Chinese supermarket is a fascinating browse. To your
right as you enter is a selection of elaborately packaged
teas and elixirs laced with ginseng and other mainstays of
Chinese pharmacopoeia. These products include tzepao
sanpien extract (which promises greater potency to men),
heart tonics, smoking cessation and slimming teas, deer-
tail extract, edible bird’s nests, tiger liniment, and royal
jelly. Many of these products claim to cure a wide variety
of ailments. Bu tian su, for example, is supposedly good
for memory loss, insomnia, an aching back, or lumbago,
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Company; QAug74; EU510430. EU510431. Talking to the wind. w &
m Harley Glen Davis. 1p. © Little Ann Music, a division of Record
Service Company; 9Aug74; EU510431. EU510432. Touch of
temptation. w & m Harley Glen Davis. 1p. © Little Ann Music, a
division of Record Service Company; QAug74; EuU510432.
EU510433. Before love turns to hate. w&m Harley Glen Davis. 1p. ©
Little Ann Music, a division of Record Service Company; 9Aug74;
EU510433. EU510434. Mixed emotions. w& m Harley Glen Davis. 1p.
© Little Ann Music, a division of Record Service Company; QAug74;
EU510434. EU510435. Hunger in me. w& m Harley Glen Davis &
Jesse Franklin Van Sickle. 1p. © Little Ann Music, a division of
Record Service Company; 9Aug74; EU510435. EU510436. Fools hall
of fame. w& m Harley Glen Davis. lp. © Little Ann Music, a division
of Record Service Company; QAug74; EU510436. EU510437. The
Morning of my life. m& arr. Jacob Ehrlich. 3 p. © Jacob Ehrlich;
QAug74; EU510437. EU510438. What is your man to you? w Frankie
Avery, m& arr. Ronald I. Scott. j p© Ronald I. Scott; 9Aug74;
EU51043 EU510439. This rose I give you. w& m William P. Robinson.
1p. © William P. Robinson; 9Aug74; EU510439. EU510440. I heard
music. w & m William P. Robinson. 1p. © William P. Robinson;
9Aug74; EU510440. EU510441. Autumn rhapsody. w& m William F.
Robinson. 1p. © William P. Robinson; Qaug74; pusiobdr.
EuU510442. Springtime in my heart. w& m William P. Robinson. 2p.
© William P. Robinson; Q9Aug74; EU510442. EU510443. There's a
light in the window of my Father's house. w & m William P.
Robinson. 1p. © William P. Robinson; 9Aug74; EU510443. These
entries alone may not reflect the complete Copyright Office record
pertaining to a particular work. Contact the U.S. Copyright Office for
information about any additional records that may exist.
 1974 EU510444 , He knows. w & m William P. Robinson. 1
p. © William P. Robinson; 9Aug74; EU510444 . EU510445. If you
want me. w& m Wynde J. Winston, arr. Gilbert J. Silva. 2p. © Wynde
J. Winston; 9Aug74; EU510445. EU510446. Leave me in the
morning. w&m Wynde J. Winston, arr. Gilbert J. Silva. 2p. © Wynde
J. Winston; QAug74; EU510446. EU510447 . Loving you. w& m
Wynde J. Winston, arr. Gilbert J. Silva. 2 Re © Wynde J. Winston;
9Aug74; EU510447. EU5 10448. David Glover songbook volume 4.
w& m David Glover. 8 p. in folder. © David Glover; 9Aug74;
EU510448. EU 10449, Shadows. w, m& arr. Stephen Mark Ura. é p.
© Stephen Mark Ura; 9Aug74; EU 10449, EU510450. You are love.
w & m LaVern Saint Jacques, pseud. of Henrietta MacNeil. 2p. ©
Henrietta MacNeil (LaVern Saint Jacques); 9Aug74; EU510450. EBU5
10451. Ain't that the way it ought be? w & m Frederick Christen,
pseud. of Frederick Dennis Skupenski. 3 p. © Frederick Dennis
Skupenski; 9Aug74; EU5 10451. EU5 10452. It's so hard lovin! you.
w&m Frederick Christen, pseud. of Frederick Dennis Skupenski. 3 p.
Add. ti: It's so hard loving you. © Frederick Dennis Skupenski;
9Aug74; EU510452. EU5 10453. Anna. w & m Frederick Christen,
seud. of Frederick Dennis Skupenski. p. © Frederick Dennis
Skupenski; gAug74; EU5 10453. EU5 10454. Just because of you. w
& m George McGregor, Marcia L. Payton & Oliver Cheatham. 1p. ©
McGregor Music; QAug74 ; TUS 10h5u. EU5 10455. It's just like
magic. w & m Michael Eatmon, Oliver Cheatham & George McGregor.
1 Pe © McGregor Music; QAug74; EU510455. EU5 10456. Hard
times. w & m George McGregor, Marcia L., Payton & Oliver
Cheatham. 1p. Add. ti.: Hard times are coming, hard times are here.
© McGregor Music; QAug74; EU510456. EU5 10457. Aardvark. w,
m& arr. Bonnie Abrams. lp. Add. ti.: Doot doots. © Bonnie Abrams;
9Aug74; EU510457. EU5 10458. Cookin'. w, m& arr. Rodney Louis
Jones. 2p. © Pittsburgh Music Industries, Inc.; 9Aug74; EU510458.
EU5 10459. Down in the alley. w, m& arr. Rodney Louis Jones. 1p. ©
Pittsburgh Music Industries, Inc.; 9Aug74; EU5 10459. EU5 10460.
Christmas magic. w, m& arr. Alice L. Olson. 2p. Prev. reg. 12Jun72,_
EUS36416. NM: added music & words. © Alice L. Olson; 9Aug74;
EU510460. CURRENT REGISTRATIONS EU5 10461. The Young lady
from Cork. w&m Nicholas Richard Clarke. ip Pp. © Nicholas Richard
Clarke; 9Aug74; EU510461. EU5 10462, Ten p. m. w& m James
Amber, pseud. of James Halifko. 2p. © James Halifko; 9Aug74;
BU510462, EU5 10463. 100 miles an hour. w, m & arr. Randall L.
Weatherington. 1 p. © Randall L. Weatherington; 9Aug74; EU5
10463. EU 10464, It's a freak. w,.m& arr. Randall L. Weatherington.
1p. © Randall L, Weatherington; 9Aug74; EU510464, EU5 10465.
It's not going to be. w, m& arr. Randall L. Weatherington. 1 p. ©
Randall L. Weatherington; 9Aug74; EU5 10465. EU5 10466.
Saturday evening. w, m& arr. Randall L. Weatherington. 1 p. ©
Randall L. Weatherington; 9Aug74; EU5 10466. EU 10467. And the
iridescent lamp swung to the right. w, m& arr. Randall L.
Weatherington. 1p. © Randall L. Weatherington; 9Aug74;
EU510467. EU5 10468. Sweet lights, pity lights. w, m& arr. Randall L.
Weatherington. 1 p. © Randall L. Weatherington; 9Aug74; EU5
10468, EU5 10469. Witch of love. w & m Randall L. Weatherington.
1p. © Randall L. Weatherington; 9Aug74; EU510469. EU5 10470.
Just being. w, m& arr. Randall L. Weatherington. 1p. © Randall L.
Weatherington; 9Aug74; EU510470. EU5 10471. Where I'll be free.
w, m& arr. Steve Curtis. lp. © Steve Curtis; 9Aug74; EU510471. EU5
10472. My summer dream. w & m Christopher Anthony Baker, arr.
Jim Chapman. 5 p. © Christopher Anthony "Dutch" Baker; 9Aug74;
EU510472. EU510473. Yes, so willingly (He died for me) w & m Mark
A. Mullins. 2p. © Mark A. Mullins; 9Aug74; EU510473. EU510474 .
Mama (where did you go)? w&m Frederic Vergona Gleber. 1p. ©
Frederic Vergona Gleber; 9Aug74; EU510474. EU510475. Vamanos.
m Anthony Baronio. 2p. Add. ti.: Let's go. © Anthony Baronio;
9Aug74; EU510475. EU510476. Happiness solution. w & m Ron
Seaborn. 2p. © Ron Seaborn; 9Aug74; 3U510476. EU510477.
Women. w &m Ron Seaborn. 2p. © Ron Seaborn; 9Aug74;
BU510477. EU510478. The Pretty sales lady. w & m Harold G.
Kolthoff. 1p. © Harold G. Kolthoff; 9Aug74; EU510478. 4075
BU510479, Changing world. ww Ronald H. Leclair, m Gene Brooks. 1
p. © Ronald H. Leclair; 9Aug74; EU510479. EU510480. And a little
child will lead us. w Gloria L. Nissenson, m Marcia S. DeFren. 2p. ©
Marcia S. DeFren & Gloria L. Nissenson; 9Aug74; EU510480.
EU510481. The Clumenji. m Anita J. Forman. 3p. © Anita J. Forman;
9Aug74; EU510481. EU510482. Spirit of America. w & m Edward
Munter. 2p. © Edward Munter; QAug74; EU510482. EU510483.
Wham! Bam! Thank you, ma'm! w Theodore H. Howes, Sr., m Paul
Gonzalez. 1p. © Ted Howes & Paul Gonzalez; 9Aug74; EU510483.
EU51 0484, Charlie. w & m Ellwood A. Wheatley, Jr. 2p. © Ellwood
A. Wheatley, Jr.3 9Aug74; EU510484. EU510485. High-dy hi. w & m
Charlotte Schroeter. 1p. © Charlotte Schroeter; 9Aug74; EU510485.
EU510486. Rock me in your cradle. w & m Bob Johnston. 1p. © Vera
Cruz, a division of Glen Leven Music; 9Aug74; EU510486. EU510487.
Winter to spring. w &m Thomas M. Pace. 1p. © Thomas M. Pace;
9Aug74; EU510487. ri = EU510488 . Trying. w Blanche Wambold, w
& m Clifford J. Olson. 1p. © Blanche Wambold & Clifford J. Olson;
9Aug74; EU510488. EU510489. The Changing seasons. w Blanche
Wambold, w & m Clifford J. Olson. 1p. © Blanche Wambold &
Clifford J. Olson; 9Aug74; BU510489. EU510490. If that woman
were you. w Artrude Lange, m Bobby Evans, pseud. of Robert L.
Ridenour. 3p. © Arty Lange & Bobby Evans; 9Aug74; EU510490.
BU510491. Get me high waltz. w &m James C. Clemetson. 2p. ©
James C. Clemetson; 9Aug74; EU510491. EU510492. Duet. w &m
James Clifford Clemetson. 2p. Add. ti.: Do it. © James C. Clemetson;
9Aug74; EU510492, EU510493. Hard worker. w & m James C.
Clemetson. 1p. © James C. Clemetson; 9Aug74; EU510493.
EU510494 . Long time lady. w & m James Clifford Clemetson. 1p. ©
James C. Clemetson; 9Aug74; EU510494., EU510495. Flowers in a
book. w &m James Clifford Clemetson. 2p. © JamesC. Clemetson;
9Aug74; EU510495. EU510496. The Flame. w &m Karen L. VanDyke.
7 p. © Karen L. vanDyke; 9Aug74; EU510496. These entries alone
may not reflect the complete Copyright Office record pertaining toa
particular work. Contact the U.S. Copyright Office for information
about any additional records that may exist.
 4076 EU510497. On journey for love. m Joseph Molnar. 6p.
© Joseph Molnar; QAug74; EU510497. EU510498 . Joy, sang the
birds. w & m Gene K. Birr. 2p. ©Gene K. Birr; Qgaug74; EU510498.
EU510499. Headed home. w & m Gene K. Birr. 2p. ©Gene K. Birr;
9Aug74; EU510499. EU510500. You are. w &m Gene K. Birr. 2 p. ©
Gene K. Birr; 9Aug74; EU510500. EU510501. Movin! it on. w Angel
B. Tompkins, m Kevin Flynn. 1p. © Angel B. Tompkins & Kevin
Flynn; 9Aug74; EU510501. EU510502. Lady Blue. w Angel B.
Tompkins, m Kevin Flynn. 2p. © Angel B. Tompkins & Kevin Flynn;
9Aug74; EU51050e. EU510503. Will I see you again? w Angel B.
Tompkins, m Kevin Flynn. 2 p. © Angel B. Tompkins & Kevin Flynn;
Qaug74; U510503. EU510504. We'll share today. w Angel B.
Tompkins, m Kevin Flynn. 1 p. © Angel B. Tompkins & Kevin Flynn;
QAug74; EU510504. EU510505. Mary in the garden. w Angel B.
Tompkins, m Kevin Flynn. 1 p. © Angel B. Tompkins & Kevin Flynn;
QAug74; EU510505. EU510506. You're looking. w Angel B.
Tompkins, m Kevin Flynn. 1p. © Angel B. Tompkins & Kevin Flynn;
9Aug74; EU510506. EU510507. Let me know I'm alive. w Angel B.
Tompkins & Jim Eslin, m Kevin Flynn. 2p. © Angel B. Tompkins, Jim
Eslin & Kevin Flynn; 9Aug74; EU510507. EU510508. Mister Rainbow.
w & m Roger 0. Camf. 1p. © Roger O. Camf; 9Aug743; EU510508.
EU510509. Heroin. w & m Thomas W. Esgate. 1p. © Tom Esgate;
9Aug74; EU510509. RU510510. Tell me. w & m Thomas W. Esgate.
2p. © Tom Esgate; 9Aug74; EU510510. EU510511. Mama ain't me.
w & m Pierre Gracian Ardans. 1p. © Pierre Gracian Ardans; 9Aug74;
EU510511. EU510512. Older. -w & m Pierre Gracian Ardans. 1p ©
Pierre Gracian Ardans; 9Aug74; EU510512. EU510513. It all depends
on you. wé&m Ernest Calabria & Barbara Massey. 2p. © Ernest
Calabria & Barbara Massey; 9Aug743 BU510513. EU510514.
Independence man. w & m Ernest Calabria & Barbara Massey. 2p. ©
Ernest Calabria & Barbara Massey; QAug74; EU510514. MUSIC
EU510515. Selected works, opus 4, 5 and 6. w & m Selma Anton.
7p. © Selma Anton; 9Aug74; EU510515. EU510516. Summer's road.
w John Alessio, w &m Jim Maher. 1p. © Jim Maher & John Alessio;
9Aug74; EU510516. E£U510517. Thank You, Lord, for saving me. w
& m Windell L. Roberson. 2p. © Windell L. Roberson; 9Aug74;
EU510517. EU510518. How do women know? w Leonard Bleecher, m
Jerome Jay Dryer: 2) ple © Jerome Jay Dryer; 9Aug743 EU510518.
BU510519. Daddy always sang the good time songs (Mama only
sang the blues) w & m Wayne A. Storm & Gary Oakes. 2p. Add, ti.:
Daddy always sang a good time song. © Wayne Storm; QAug74;
EU510519. EU510520. The Day I found you. w & m Charles J.
Parent. 3 p. © Charles J. Parent; QAug74; EU510520. 5U510521.
Carry me back to old Royal Street. w & m Sloopy, pseud. of Dorothy
Sloop Heflick. 2p. © Dorothy Sloop Heflick; QAug74; EU510521.
EU510522. The Road. w Alice L. Young, m Bethea G. Helgert. 3 p. ©
Alice L. Young & Bethea G. Helgert; 9Aug74; EU510522. EU510523.
The Meadow. w Alice L. Young, m Bethea G. Helgert. 5 p. © Alice L.
Young & Bethea G. Helgert; 9Aug74; EU510523 . EU510524. How
was I to know? w & m Sharon S. Hansen. 2p. © Sharon S. Hansen;
QAug743; EU510524. EU510525. As You blessed the children. Lane
P. Sheuter lye 4p. Shetterly; 9Aug74; E wk m © Lane P. U510525.
EU510526. Soft love. m William R. Van Ornam. 1p. © William R. Van
Ornam; 9Aug74; EU510526. EU510527 . Lovely you. w& m William
R. Van Ornam. 1p. © William R. Van Ornam; 9Aug74; EU510527.
EU510528. It's best we part. w, m& arr. James H. Hostetter. 2p. ©
James H. Hostetter; 9Aug74; EU510528. EU510529. Farewell. Guitar
& voice. w, m& arr. John J. Critoria, Jr. 3D. © J. J. Critoria, Jr.;
9aAug74; EU510529. EU510530. Trippin' little. Drum ensemble. m
Jack A. Quilico. 3 p. © Jack A. Quilico; 9Aug74; EU510530.
EU510531. Your love. w& m Thomas Russel Foster, Jr. 3 p. ©
Thomas Russel Foster, Jr.3; 9Aug74; EU510531. July—Dec.
EU510532. Plain, ordinary, ev'ryday, guy. w Lamar Sanders, pseud.
of Lawrence Sanders, w & m Thomas Russel Foster, Jr. 2p. ©
Thomas R. Foster, Jr. & Lawrence Sanders; gaug7 4; EU510532.
EU510533. Smilin' thru my tears. w&km Sidney W. Clifford. lp. Add.
ti.: Smiling thru my tears. © Sidney W. Clifford; 9Aug74; EU510533.
EU510534. Easy livin'. w&m The Kansas Kid, pseud. of Stephen
Miller. 1p. © Stephen Miller; 9Aug74; EU510534. EU510535. The
Number one song. w & m Forrest R. Mathis. 2p. © Little Giant Music
Publishing Company; 9Aug743; EU510535. EU510536. For God so
loved the world. Op. 1 Em. w: John 3: 16-18, m & arr. Margaret
Anne Z. Maldonado. 2p. NM: music & arr. © Margaret Anne Z.
Maldonado; 9Aug74; EU510536. EU510537. Only God knows. w
Rose Newcomb, m Gene Brooks. 1p. © Rose Newcomb; QAug74;
EU510537. EU510538. Ye's,)"He Vs neal) we Umi&warr. Carl Delano
Ratcliffe. 2p. @© Ye Gads Publishing Company; 9Aug74; BU510538.
EU510539. There's always Jesus. w, m& arr. Carl Delano Ratcliffe.
1p. © Ye Gads Publishing Company; 9Aug74; EU510539. EU510540.
Long distance. w & m Dory Michael Marsh. 1p. © Dory Michael
Marsh; 9Aug74; EU510540. EU510541. Sometime. w& m Roland K.
Tsuchiya & Michael J. Watson. 2p. © Roland K. Tsuchiya; 9Aug74;
EU510541. EU510542. ; I toast my love with hearts and flowers. w&
m Ted Charles, pseud. of Charles T. Bogden. 3 Bs © Charles T.
Bogden; 9Aug743; EU51054e2. EU510543. Help me find the way. w
& m Margaret McMahon. 2p. © Margaret McMahon; 9Aug74;
EU510543. EU510544. Sad day. w Barbara J. Dalton, m George A.
Dalton, Jr. 2p. © George A. Dalton, Jr. & Barbara J. Dalton;
Qgaug74; EU510544. EU510545. She took the green. w Ruth M.
Warren, w & m Michael Woody. 2p. © Michael Woody & Ruth M.
Warren; QAug74; EU510516 . EU510546. Cajun country music. w
Ruth M. Warren, w & m Michael Woody. 2p. © Michael Woody &
Ruth M. Warren; QAug74; EU510546. EU510547. ' Going back to
Denver. w & m Glen Franklin. 1p. © Glen Franklin; QAug74;
EU510547. EU510548, Love me or leave me. w & m Glen Franklin.
1p. © Glen Franklin; QAug74; EU510548. These entries alone may
not reflect the complete Copyright Office record pertaining to a
particular work. Contact the U.S. Copyright Office for information
about any additional records that may exist.
 1974 EU510549. Party. m Essie Hardrick & Herman
Jackson. 1p. © Essie Hardrick & Herman Jackson; 9Aug74;
EU510549. EU510550. No more tomorrows. w Laqueta Jennings, m
Steve Waltner. 2p © Early Bird Music; 9Aug74; EU510550.
EU510551. Want to be with you. w &m Steve Waltner. 2p. © Early
Bird Music; 9Auge74; BU510551. EU510552. Henry. w, m & arr.
Thomas Cecil Daniel, Jr. 2p. © Tom Daniel, Jr.; QAug74; EU510552.
EU510553. A Songpainter's brushes. w, m & arr. Thomas Cecil
Daniel, Jr. 2p. © Tom Daniel, Jr.; 9Aug74; EU510553. BU5 10554.
Songs for Paula. w & m Stephen Park Amos. 6p. © Stephen P.
Amos; 9Aug74; BU510554 . BU510555. Mi huerita Huaquiquira. w &
m Miguel Maestas. 1p. © Miguel Maestas; 9Aug74; EU510555.
BU510556. (Here I come) to you again. w&m Miguel Maestas. 1p. ©
Miguel Maestas; Oue74; EU510556. EU510557 . I wake up crying.
wL. E. Lacy, m Marion Hodges. 1p. OL. E. Lacy; QAug74; EU510557.
EU510558. Searching for heaven. w &m Rick Amendola. 2p. Appl.
au.: w & m Backwinds, Inc. © Backwinds, Inc.; 9Aug74; EU510558.
EU510559. Love comes knocking gently. w & Rick Amendola. 2p.
Appl. au.: w Backwinds, Inc. © Backwinds, Inc.; QAugT4;
EU510559. EU510560. So damn tired. w & m Keith Hood. 2p. Appl.
au.: w & m Backwinds, Inc. © Backwinds, Inc.; 9Aug74; EU510560.
EU510561. Let me tell you something. w, m & arr. David S. Lee. 5 p.
© David S. Lee; 9Aug743 EU510561. EU510562. Plus and minus. w
& m Carol Roes. lp. © Carol Roes; 9Aug74; EU510562. EU5 10563.
Let me walk in the shadows with Jesus. w, m & piano acc.: Joseph
Franeis Otto. 4p. © Joseph Francis Otto (J. Frank Otto); Q9Aug74;
EU510563. EU510564. Where did you come from? m & arr. Barry
Coleman. 1p. © Barry Coleman; 9Aug74; EU510564. EU510565 .
I've got ev'rything now that I've got you. w&m John R. Gallant. 2p.
© John R. Gallant; 9Aug74; EU510565. EU510566. The Wind and
the rain. m Christopher Knight. 2p. © Christopher Knight; QAug74;
EU510566. EU5 10567 . I can't help it. w &m John Lawrence Kirton
& Cosimo Parco. 1p. © John L. Kirton & Cosimo Parco; 9Aug74;
EU510567. m & m These entries alone may not reflect the complete
Copyright Offi CURRENT REGISTRATIONS EU510568. Can't stay. w
&m John Lawrence Kirton & Cosimo Parco. 1p. © John L. Kirton &
Cosimo Parco; 9Aug74; EU5 10568. EU510569. The Good old days.
w &m John Lawrence Kirton & Cosimo Parco. 1 p. © John L. Kirton
& Cosimo Parco; 9Aug74; EU510569. EU510570. Don't be shy. w &
m John Lawrence Kirton & Cosimo Parco. 2p. © John L. Kirton &
Cosimo Parco; 9Aug74; EU510570. EU510571. Seasons change. w &
m Diane Gonneau. 3 p. © Diane Gonneau; 9Aug74; EU510571.
EU510572. Beautiful Nelsonville cross. w& melody: Walter L.
Schwartz, arr. Iuella Shew & Virginia Watters. 1p. © Walter L.
Schwartz; QAug74; EU510572. EU5 10575. I need someone. w & m
Sara L. Stringfield. 4 p. © Sara L. Stringfield; 9Aug74; EU510573.
EU5 10574. Sally Brown. w & m Percy C. Browne. lp. © P, C.
Browne; 9Aug743 EU510574. EU5 10575. Wishing well. w& m Arthur
B. Rackey & Gary Taylor. 2p. © Arthur B. Rackey & Gary Taylor;
9Aug74; EU5 10575. EU5 10576. Run, run, run. w& m Arthur
Bernard Rackey & Gary Lee Taylor. 2 p. © Arthur Bernard Rackey &
Gary Lee Taylor; 9Aug74; EU510576. EU5 10577. Why is it wrong? w
& m Eddie Zip, pseud. of Edward R. Hoerner, Sr. 1p. Add. ti.: We
were together. © Edward R. Hoerner, Sr. p. k. a. Eddie Zip; QAug74;
EU510577. EW 10578. Country fried chicken. m Horace Alexander
Young, 3rd. 4 p. © Horace Alexander Young, 3rd; 9Aug74;
EU510578. EU 10579. Why do me wrong? w & m Budd Farr, 2p. ©
Thomas J. Gress; 9Aug74; EU5 10579. EU5 10580. Bloody Sunday.
.w & m Budd Farr. 5 p. © Thomas J. Gress; 9Aug74; EU5 10580.
EU5 10581. You are a holiday for me. w&m Robert N. Wahler. 1p. ©
Robert N. Wahler; 9Aug74; EU510581. EU5 10582. You are a friend
of mine. w&m Robert N. Wahler. 1p. © Robert N. Wahler; 9Aug74;
EU510582. EU5 10583. Just for today. w& m Craig R. Bond. lp. ©
Craig R. Bond; 9Aug74; EU5 10583. EU5 10584. Naturalizer music,
number 1105-729. m John Goodone. 1p. © John Goodone; 9Aug74;
EU510584. EU5 1058. Something kind of wonderful. w&m Lincoln
Blackwell. 1p. © Lincoln Blackwell; 9Aug74; EU510585. 4077 EU5
10586. Lorrie. w Irene Langlois, m Raymond Langlois. 4 p. © Ra Ne
Music Publishers, co-owned by Ray & Irene Langlois; 9Aug74;
EU510586. EU5 10587. Come home with me. w Irene Langlois, m
Raymond Langlois. 3 p. © Ra Ne Music Publishers, co-owned by Ray
& Irene Langlots; 9Aug74; EU510587. EU5 10588. That kind of
woman is the woman for me. w & m Michael Vreeland. 3 p. ©
Michael Vreeland; 9Aug74; EU510588. EU5 10589. Look a4 man in
the eyes. w&m Michael Vreeland. 3 p. © Michael Vreeland; 9Aug74;
EU510589. EU5 10590. It's not so long no more. w&m Marvin
Goodwin. 2p. © Marvin Goodwin; 9Aug74; EU510590. EU5 10591.
Scavenger. m Steve A. Runion. 3 p. © Steve A. Runion; 9Aug743;
EU510591. EU5 10592. Too much, too soon. w & m Barbara Biggs.
1p. © Barbara Biggs; 9Aug74; EU5 10592. EU5 10593. Beach of
sand. w & m Robert F. Schairer, 3 p. © Robert F. Schairer; 9Aug74;
EU510593. EU5 10594. Living the life of a woman, w& m John P.
Gerlak. 3 p. © John P. Gerlak; 9Aug74; BU510594. EU5 10595.
Dulcinea. w& m Chris Gomez. 3 p. © Chris Gomez; 9Aug74;
EU510595. EU5 10596. Clear lady. w &m Dorothy E. Fuller. 1 p. ©
Dorothy E. Fuller; 9Aug74; EU5 10596. EU5 10597. Been awhile. w,
m& arr. Joel Boyd Triplett. 1p. © Joel Boyd Triplett; QAugT4;
EU510597. EU510598. Find Jesus, Mama. w & m Dawn Gable. 2p. ©
Dawn Gable; 9Aug74; EU510598. EU510599. Come on and love me.
w & m Dawn Gable. 2p. © Dawn Gable; 9Aug74; EU510599.
EU510600. Sorrow. w& m Dawn Gable. 2p. © Dawn Gable; 9Aug74;
EU510600. EU510601. People got-ta live. w& m Dawn Gable. 2p. ©
Dawn Gable; 9Aug74; EU510601. EU510602. Divinity 2. w& m
Charles William Frank. 7 p © Charles William Frank; Qaug74;
EU510602. EU510 603 What can I do for Jesus? w, m& arr. Janice C.
Dishman. 2p. © Janice C. Dishman; 9Aug743 EU510603. EU510604.
I ain't afraid. w&m Rachel Faro, pseud. of Carol Miller. 1p. © Mila
Music, Inc.; 9Aug74; EU510604. EU510605. Ridin' high. w& m
Rachel Faro, pseud. of Carol Miller. 1p. © Mila Music, Inc.; 9Aug743
EU510605. ce record pertaining to a particular work. Contact the
U.S. Copyright Office for information about any additional records
that may exist.
 4078 EU510606. The Singer. w & m Rachel Faro, pseud. of
Carol Miller. 1p. © Mila Music, Inc.; 9Aug74; EU510606. EU510607.
Our lady of love. w Northern J. Calloway, m David Frank. 5p. ©
Northern Lights Music, Ltd.; 9Aug74; EU510607 . EU510608. We'll
be back once again. w, m& arr. Robert Mulcahy. 2 B: © Robert
Mulcahy; 9Aug743 EU51060' EU510609. Solo un momento. w& m
John W. Herrera. 1p. © Jedasa Publishing Company; 9Aug743
EU510609. EU510610. Se llega el momento. w& m John W. Herrera.
1p. © Jedasa Publishing Company; 9Aug74; EU510610. EU510611.
Love comes from Him. w Frances 0. Dowell, m Roger W. Dowell. 2p.
© Roger W. Dowell & Frances 0. Dowell; QAug74; EU510611.
EU510612. He is near. w Frances 0. Dowell, m Roger W. Dowell. 3 p.
© Roger We Dowell & Frances 0. Dowell; QAug7 4 3 EU510612.
EU510613. For you and for me. w Frances 0. Dowell, m Roger W.
Dowell. 4 p © Roger W. Dowell & Frances 0. Dowell; QAug74;
EU510613. EU510614. ‘Til my ship rolls in. w & m Kenneth Burgan.
2p. © Kenneth Burgan; gAug74; EU510614. EU510615. In the
streets. w& m Kenneth Burgan. 2p. © Kenneth Burgan3; QaAug74;
EU510615. EU510616. Dog in her place. w & m Kenneth W. Burgan.
2p. © Kenneth W. Burgan; QAug74; EU510616. EU510617. I'm not
dangerous. w & m Kenneth W. Burgan. 2p. © Kenneth W. Burgan;
QAug74; EU510617. EU510618. This time. w & m Kenneth Burgan.
2p. © Kenneth Burgan; 9Aug74; 5U510618. EU510619. Silver screen
star. w& m Kenneth Burgan. 2p. © Kenneth Burgan; QAug74;
EU510619. EU510620. Forty years old. w& m Kenneth Burgan. 2p.
© Kenneth Burgan; QAug74; EU510620. EU510621. Willow tree. w
& m Kenneth Burgan. 2p. © Kenneth Burgan; 9Aug74; EU510621.
EU510622. Watergate '74. w Tonica C. Beasley, w & m Fredrick M.
Beasley, m Skeets Morris. 2p. © Fredrick M. Beasley & Tonica C.
Beasley; 9Aug74; EU510622. EU510623. Hawaii, that bit of heaven.
w&m Oliver W. Suderman. 2p. © Oliver W. Suderman & Anita R.
Suderman; 9Aug74; EU510623. MUSIC EU510624. Kailua town. w
&m Oliver W. Suderman. 1p. © Oliver W. Suderman & Anita R.
Suderman; 9Aug74; EU510624, EU510625. Don't say "hi," say
"aloha!" w&m Oliver W. Suderman. 1p. © Oliver W. Suderman &
Anita R. Suderman; 9Aug74; EU5 10625. EU510626. Something
wonderful. w & m Oliver W. Suderman. 1p. © Oliver W. Suderman &
Anita R. Suderman; 9Aug74; EU510626. EU510627. Child of the sun.
Krueger ups 9Aug74; EU510627. w & m Richard E. © Richard E.
Krueger; EU5 10628. What I need, Lord. Krueger. oe pe 9Aug74;
EU510628. EU510629. The Song of the wheel. w & m Richard Ee
Krueger. 3p... ‘© Richard Ey Krueger; 9Aug74; EU510629.
EU510630. The Song of I am. w & m Richard E. Krueger. 6p. ©
Richard E. Krueger; 9Aug74; EUS510630. w & m Richard E. ©
Richard E. Krueger; EU510631. Wave upon His ocean. w & m
Richard E. Krueger. 2 p. © Richard E. Krueger; 9Aug74; EU510631.
EU510632. Morning's here. Krueger.,). 3. ps QAug74; EU510632.
EU510633. Do you know His name? w & m Richard E. Krueger. 2p.
© Richard E. Krueger; 9Aug74; EU510633. EU510634. Do you know
what I'm sayin' to you? w & m Richard E. Krueger. 1 p. © Richard E.
Krueger; 9Aug74; EU510634. EU5 10635. The Song of the Lord. w &
m Richard E., Krueger... 2p... 10 Richard ch. Krueger;
9Aug74;.EU510635. EU5 10636. The Song of the Master. w & m
Richard E., Krueger. 1p. © Richard E. Krueger; 9Aug74; EU510636.
EU5 10637. I'm loving you. w & m Myrle L. Silverstein. l p. Prev. reg.
1957); EU492053. NM: new lyrics & arr. © Myrle L. Silverstein &
Isaac J. Coles; QAug74; EU510637. w & m Richard E. © Richard E.
Krueger; EU5 10638. Dancin! hardy. Gilbert oMiD'. QAug74;
EU510638. w & m Posey Lee © Posey Lee Gilbert; EU5 10639.
Leavin' here. w & m Posey Lee Gilbert. 3 p. © Posey Lee Gilbert;
QAug743 EU510639. EU510640. Dragon stew. w & m Posey Lee
Gilbert. 3 p. © Posey Lee Gilbert; QAug74; EU510640. EU510641.
Inner journey. By Posey Lee Gilbert. 2p. © Posey Lee Gilbert;
Q9Aug74; EU510641. July—Dec. EU510642. The Mayodan. w &m
Henry C. Spencer. 2p. © Henry C. Spencer; 9Aug74; EU510642.
EU510643. Love your neighbrother. C. Spencer. 3 p. 9Aug74;
EU510643. EU510644, A Journey with Mother Goose. Pt. l. w & m
Erika Hales. 12 p. © Erika Hales; 9Aug74; EU510644. EU5 10645.
Give me some of your time. w&m Alma Smith (Mary Alma Foster) 3
p. © Mary Alma Foster; 9Aug74; EU510645. EU5 10646. I'm steady
ready. w & m Cornelius Dargan, Jr. 1p. © Cornelius Dargan, Jr.;
Q9Aug74; EU510646. EU510647. Hitch up. w & m Cornelius Dargan,
Jr. 1p. © Cornelius Dargan, Jr.; 9Aug74; EU510647. EU510648, What
do I do now? 5 p. © Gail Jones; EU510649. Let me try again (dear
Jesus); country & western aera w & m Harold Dean Osman. 1p. ©
Harold Dean (sman; 9Aug74; BUS 10649. EU510650. (You've got
me) singin' a happy song. w &m James B. Roach. 1 p. © Jibaro
Music Company, Inc.; 9Aug74; EU5 10650. EU510651. Divorce court
blues, Eduard Nolte, Jr. 1p. QAug74; EU510651. EU510652. Little
angel, my only joy. Edith Skene. 1 p. QAug74; EU510652.
EU510653. Duke of dreams. Bidewell. 1 p. QAug743; EU510653.
EU510654. Mrs. D. w & m Joe Byron Bidewell. 3 p. © Joe Byron
Bidewell; 9Aug74; EU510654. EU5 10655. Arizona train. Bidewell. 2
p. QAug74; EU510655. EU5 10656. w & m Henry © Henry C.
Spencer; w & m Gail Jones. 9Aug74; EU510648. w & m Walter ™ ©
Ned Nolte; w&é&m © Edith Skene; w & m Joe Byron © Joe Byron
Bidewell; w & m Joe Byron © Joe Byron Bidewell; Old fashioned
lovin' man. w & m Joe Byron Bidewell. 2p. © Joe Byron Bidewell;
QAug74; EU510656. EBU510657. Bad lay. w & m Joe Byron Bidewell.
lp. © Joe Byron Bidewell; 9Aug74; EU5 10657. EUS510658. Leave
you be. Bidewell. 1p. QAug74; EU510658. w & m Joe Byron © Joe
Byron Bidewell; EU5 10659. Easy way. w & m Joe Byron Bidewell. lp.
© Joe Byron Bidewell; 9Aug74; BU5 10659. EU5 10660. Helen. w &
m Joe Byron Bidewell. 2p. © Joe Byron Bidewell; 9Aug74; EU5
10660. These entries alone may not reflect the compiete Copyright
Office record pertaining to a particular work. Contact the U.S.
Copyright Office for information about any additional records that
may exist.
 1974 EU510661. I was thinkin' 'bout you. w &m Joe Byron
Bidewell. 1p. © Joe Byron Bidewell; 9Aug74; EU510661. EU510662.
My lady of the picture. C. Addington. 1 p. ton; Q9Aug74; EU510662.
w & m June © June C. AddingEU510663. Please mention my name.
C. Addington. 1 p. ton; 9Aug74; EU510663. EU510664. Just as I love
you. Addington. 1p. 9Aug74; EU510664. w & m June © June C.
Addingw & m June C. © June C. Addington; EU510665. Little happy
song. w & m June C. Addington. 1p. © June C. Addington; 9Aug74;
EU510665. EU5 10666. Accented in the Beloved. w&m June C.
Addington. 1p. © June C. Addington; 9Aug74; BU510666.
EU510667. Jesus of the cross. Addington. 1p. QAug74; EUS510667.
w & m June C. © June C. Addington; EU510668. Wouldn't it be
wonderful in Whittier? Lyric & m Rodger Barry Spero. 2 p. © Rodger
Barry Spero; 9Aug74; EU510668. EU510669. A Sunny day. w & m
Edwin B. er lp. © Edwin B. Rodgers; 9Aug74 EU5 10669. EU510670.
I'll sing you a song. B. Rodgers. 2p. QAug74; EU510670. w & m
Edwin © Edwin B. Rodgers; EU510671. Valley of dreams. w & m
Rene J. Richard, arr. Mannile Careissell. 1p. © Rene Richard;
9Aug74; EU510671. EU510672. U.S. Army team march. J. Richard. 8
p. QAug74; EU510672. EU5 10673. Circuit blues. m Joseph Bonacci.
lp. © Joseph Bonacci; 9Aug74; EU510673. EU510674. Rainy days. w
& m Joseph Bonacci. 3 p. © Joseph Bonacci; 9Aug74; EU510674.
EU510675. Salted scars. Bonacci. 4 p QAug74; EU510675.
EU510676. Pop! goes the country. w&mwW. S. Graham. 1p. © Show
Biz Must 9Aug74; EU510676. EU510677. Then you've seen God. Ann
Owens. 2 p. QAug74; EU510677. w & m Rene © Rene Richard; w
Tony Pitta, m Joseph © Joseph Bonacci; w & m Betty © Betty Ann
Owens; EU5 10678. Big, bad wolf. w & m Betty Ann Owens. 2 p. ©
Betty Ann Owens; 9Aug74; EBU510678. EU510679. Pretty words. w
& m Betty Ann Owens. 2p. © Betty Ann Owens; 9Aug74; EU510679.
CURRENT REGISTRATIONS EU510680. Children of Jubal. w & m
Betty Ann Owens. 2p. © Betty Ann Owens; 9Aug74; EU510680.
EU510681. I love you. w & m Betty Ann Owens. 2p. © Betty Ann
Owens; 9Aug74; EU510681. EU510682. October lullaby. w & m Mary
Louise Jack. 3 p. © Mary Louise Jack; QAug74; EU510682.
EU510683. Tattered dream. w Kathy Stone, m Byron Long. 2p. ©
Kathy Stone & Byron Long; 9Aug74; EU510683. EU510684. Love's
traces. w & m Vernon Williams. 1p. © Vernon Williams; 9Aug74;
EU510684. EU510685. Goose bumps; rock 'n! roll. m Alphonze
Mouzon. 2 p. © Alphonze Mouzon; 9Aug74; EU510685. EU510686.
City of Angels. w & m William F. Rhoads. 1p. © William F. Rhoads;
9Aug74; EU510686. EU5 10687. My Lord. w & m Kenneth W.
Sanders. 2p. © Kenneth W. Sanders; 9Aug74; EU5 10687 .
EU510688. Romans 8. w & m Kenneth W. Sanders. 3 p- © Kenneth
W. Sanders; 9Aug74; EU510688. EU510689. Oh, when He met me.
w & m Kenneth W. Sanders. 3 p. © Kenneth W. Sanders; QAug74;
EU510689. EU510690. Manny Freiser journal "B." w&m Manny
Freiser. 10p. © Manny Freiser d.b.a. Sweet Home Music; 9Aug74;
EU510690. EU510691. Brotherhood of man. w Richard L. LaCroix, Jr.,
m Scott Owens. 4 p. © Richard LaCroix & Scott Owens; Q9Aug74;
EU510691. EU5 10692. Some day. w Cynthia Gayle Pingleton, m Lew
Tobin. 1p. © Gayle Pingleton; 9Aug74; EU510692. EU510693.
Computer date. w & m Beverley E. Lundberg. 2p. ©B. E. Lundberg;
9Aug74; EU510693. EU510694. Wendy. w & m Beverley E. anes 2p.
©B. E. Lundberg; 9Aug74; EU510694. EU5 10695. The Summer is
over. w & m Beverley E. Lundberg. 2 p. © B. E. Lundberg; QAug74;
EU510695. EU510696. Snowflakes. Lundberg. 1 p. QAug74; BUS
10696. w & m Beverley E. © B. E. Lundberg; EU5 10697. Movies in
her eyes. w & m Iris Lonker & Frank Siekmann. 3 p. © Iris Lonker &
Frank Siekmann; 9Aug74; EU5 10697. 4079 EU510698. Once upon a
time. w & m Iris Lonker, m Frank Siekmann. 3 p. © Iris Lonker &
Frank Siekmann; 9Aug74; EU510698. EU510699. Hello, goodbye
song. w &m Iris Lonker, m Frank Siekmann. 2p. © Iris Lonker &
Frank Siekmann; 9Aug74; EU510699. EU510700. I want to. w & m
Donald L. Hanback. 3 Pp» © Donald L. Hanback; 9Aug74;
EU510700. EU510701. I never thought you'd leave me. w & m
Donald L. Hanback. 3 p. © Donald L. Hanback; 9Aug74; EU510701.
EU510702. My puppy love. Hanback. 4 p. 9Aug74; EU510702.
EU510703. Have you seen yesterday? w&m Gary M. Lloyd, arr.
James Mitchell. lp. © Gary M. Lloyd; 9Aug74; EU510703. EU510704.
He plays the flute. Steven Dolan. 5 p. QAug74; EU510704. w & m
Donald L. © Donald L. Hanback; W, m & arr. © Steven Dolan;
EU510705. Let's find out suite. w & m George Dobrin & Lucille
Strachan. 1 v. © George Dobrin & Lucille Strachan; QAug743;
EU510705. EU5 10706. She once said. w & m Mark Fitzpatrick. 2p.
© Mark Fitzpatrick; 6Aug74; EU510706. EU510707. Reach out;
gospel rock. w & m Sharon Anne Gallus. 1p. © Sharon Anne Gallus;
6Aug74; EU510707. EU510708. Ever'body loves me. Dugan. 5 p.
EU510708. EU510709. Roaming cowboy. w & m Chris Anacker. 2p.
© Chris Anacker; 6Aug74; EU510709. EU510710. The Patriots of
Rockaway. Ivan W. Baker. 2 p. QAug74; EU510710. EU510711.
Monday morning rains; ballad. w&m Debra K. Baeten. 2p. © Debra
K. Baeten; 9Aug74; EU510711. EU510712. The Joy of Joyce. w & m
Robert Michael Saeed lp. © Rob Guttenberg; 9Aug7 EU510712.
EU5107 13. Supernatural Sam. w, m& arr. Bruce A, Passarelli. 3 p. ©
Bruce A. Passarelli; 9Aug74; EU510713. EU510714. Love trodden. w
& m Norma Jean Mathes. 2p. © Norma Jean Mathes; 9Aug74;
EU510714. EU510715. His precious blood. Janice N. Sofge. 1p.
Sofge; 9Aug74; EU510715. EU510716. Mary's rag. m Nancy Falk
Schifrin & Glen Jenks. 3 p. © Nancy Falk Schifrin & Glen Jenks;
9Aug74; EU510716. w & m Mary © Mary Dugan; 6Aug74; w&m ©
Ivan W. Baker; W, m & arr. © Janice N. These entries alone may not
reflect the complete Copyright Office record pertaining to a particular
work. Contact the U.S. Copyright Office for information about any
additional records that may exist.
 4080 EU510717. Pasture blues. w & m Robert Drake. lp. ©
Robert Drake; 9Aug74; EU510717. EU510718. When I take a look
around me. w&m Robert Drake. 2 p. © Robert Drake; 9Aug74;
EU510718. EU510719. Thinking of you. w, m& arr. Gail Ashley. 1p. ©
Gail Ashley; 9Aug74; EU510719. EU510720. You're my lovin' man. w,
m & arr. Gail Ashley. 1p. © Gail Ashley; QAug74; EU510720.
E£U510721. Doak's town. From Gunsmoke: $30 a month. m Jerrold
Immel. 1p. © Haymarket Music Corporation; 29Ju174; EU5107e21.
EU510722. Fairly irragular. Piano. m Jerrold Immel. 4 p. ©
Haymarket Music Corporation; 29Jul74; EU510722. EU510723. I
don't know. w Richard Harris, m Terry James. 2p. © Limbridge Music
Corporation; 29Jul74; EU510723. EU510724. Time in my bondfire. w
Richard Harris, m Terry James. 3 p. © Limoridge Music Corporation;
29Jul74; EU5 10724. EU510725. I saw into the grave grave. w
Richard Harris, m Terry James. 35 p. © Limbridge Music
Corporation; 29Jul174; EU510725. EU510726. On the one-dead-day
face of my father. w Richard Harris, m Terry James. 2p. © Limbridge
Music Corporation; 29Jul74; EU510726. EU510727. Sunday's Well.
2p. © Limbridge Music Corporation; 29Jul74; EU510727. EU510728.
The Spirit of you. w & m Richard Harris. 2p. © Limbridge Music
Corporation; 29Jul174; EU510728. EU510729. My blood reflects
nothing of me. w Richard Harris, m Terry James. 1 p. © Limbridge
Music Corporation; 29Jul74; EU5 10729. EU510730. I ran away. w
Richard Harris, m Terry James. 1p. © Limbridge Music Corporation;
29Jul174; EU510730. EU510731. My sister had a dog. w Richard
Harris, m Terry James. 1p. © Limbridge Music Corporation; 29Jul74;
EU510731. EU510732. I, in the membership of my days. w Richard
Harris, m Terry James. 3 p. © Limbridge Music Corporation;
29Ju174; EU510732. EU510733. Borrowed time. w & m Cliff Davies.
lp. © Leroy Music Corporation; 29Ju174; EU510733. EU510734.
Chiswick High Road blues. w&m Cliff Davies. 1p. © Leroy Music
Corporation; 29Jul74; EU510734. w & m Richard Harris. MUSIC
EU510735. Stormy every weekday blues. w&m Cliff Davies. 1p. ©
Leroy Music Corporation; 29Jul74; EU510735. EU5 10736. Winter of
your life. Lyric by Cliff Davies, m Geoff Whitehorn. 1 p. © Leroy
Music Corporation; 29Jul74; EU5 10736. EU510737. I am the sea. w
Richard Harris, m Terry James. 4 p. © Limbridge Music Corporation;
29Jul74; EU510737. EU510738. Our green house. w Richard Harris,
m Terry James. 3 p. © Limbridge Music Corporation; 29Jul74;
EU510738. EU5 10739. Limerick 245, w Richard Harris, m Terry
James. 1p. © Limbridge Music Corporation; 29Jul74; EU510739.
EU510740. A Rose for Kitty. Piano. m Jerrold Immel. 3 p. ©
Haymarket Music Corporation; 29Jul74; EU510740. EU510741.
Opening tintype. From Gunsmoke: $30 a month. m Jerrold Immel. 1
p. © Haymarket Music Corporation; 29Jul74; EU510741. EU510742.
Love. w & m Hugh Nicholson. @ p. © Catrin Music, Ltd.; 2Aug74;
EU510742. EU510743. Big, bold love. w & m Hugh Nicholson. 2p. ©
Catrin Music, Ltd.; 2Aug74; EU510743. EU5 10744. Pretty Belinda. w
& m William Campbell, Jr. 2p. © Camel Music, Ltd.; 2Aug74;
EU510744. EU510745. Sweet illusion. w & m William Campbell. 4 p.
© Camel Music, Ltd.; 2Aue74; EU510745. EU510746. Carolina days.
w & m William Campbell. 2 p. © Camel Music, Ltd.; 2Aug74;
EU510746. EU510747. Sweet lady love. w & m William Campbell. 2
p. © Camel Music, Ltd.; 2Aug74; EU510747. EU510748. If I could
believe you, darlin'. w & m William Campbell. 2 Rg © Camel - Music,
Ltd.; 2Aug74; EU5107 EU510749. (Reach out an') help your fellow
man. w& m William Campbell. 5 p. © Camel Music, Ltd.; 2Aug74;
EU510749. EU510750. Alone in my room. w & m William Campbell. 3
p. © Camel Music, Ltd.; 2Aug74; EU510750. EU510751. All gonna
have a good time. w&m William Campbell. 3 p. © Camel Music, Ltd.;
2Aug74; EU510751. EU510752. Max Bygraves. w & m Ian MacMillan.
2p. © Blue Songs, Ltd.; 2Aug74; EU5 10752. EU510753. Atlantic
Ocean. w &m Ian MacMillan. 2 p. © Blue Songs, Ltd.; 2Aug74;
EU510753. July—Dec. EU510754. Let's talk it over. w &m Ian
MacMillan. 2p. © Blue Songs, Ltd.; 2Aug74; EU510754. EU510755.
The Way it is. w & m Joe Breen. 2p. © Carnbro Music, Ltd.; 2Aug74;
EU510755. EU510756. Come back, Jo. w & m Dean Ford & Mike
Japp. 1p. © Carnbro Music, Ltd.; 2Aug74; EU510756. EU5 10757.
You give me love. w & m Timmy Donald. 2p. © Mooth Music, Ltd.;
2Aug74; EU510757. EU510758. Sweet memories. w & m Hugh
Nicholson. 2p. © Catrin Music, Ltd.; 2Aug74; EU510758. EU510759.
Mister Moon. w & m Hugh Nicholson. 2p. © Catrin Music, Ltd.;
2Aug74; EU510759. EU510760. Sad Sunday. w & m Hugh Nicholson.
2 p. © Catrin Music, Ltd.; 2Aug74; EU5 10760. EU510761. The
Rocker. w & m Philip Lynott, Brian Downey & Eric Bell. 3 p. © Pippin,
the Friendly Ranger Music; 2Aug74; EU510761. EU510762. Gonna
creep up on you. w & m Philip Lynott & Eric Bell. 2p. © Pippin, the
Friendly Ranger Music; DAugrh EU510762. EU510763. Slow blues. w
& m Philip Lynott & Brian Downey. 2p. © Pippin, the Friendly Ranger
Music; Daugyh ; EU5 10763. EU510764. A Song for while I'm away.
w&m Philip Lynott. 2 p. © Pippin, the Er tene ly, Ranger Music;
2Aug74; EU510764. EU510765. Mama Nature said. w & m Philip
Lynott. 2p. © Pippin, the Friendly Ranger Music; 2Aug74; EU510765.
EU510766. The Hero and the madman. w&m Philip Lynott. 4 p. ©
Pippin, the Friendly Ranger Music; 2Aug74; EU510766. EU510767.
Little girl in bloom. w & m Philip Lynott. 2p. © Pippin, the Friendly
Ranger Music; 2Aug74; EU510767. EU510768. Vagabond of the
western world. w & m Philip Lynott. 2p. © see the Friendly Ranger
Music; 2Aug74;3 EU510768. EU510769. Wanderin' man. w & m
William Campbell. 2 p. ‘© Camel Music, Ltd.; 2Aug74; EU510769.
EU510770. Hallelujah, freedom. w & m William Campbell. 2 p. ©
Camel Music, Ltd.; 2Aug74; EU510770. EU510771. The Very first
time. w & m Johnny Nash. 2 p. © Cayman Music, Inc.3 2Aug74;
EU510771. These entries alone may not reflect the complete
Copyright Office record pertaining to a particular work. Contact the
U.S. Copyright Office for information about any additional records
that may exist.
 1974 EU510772. Standing in the rain. w & m Tony
Braunagel. 2p. © Cayman Music, Inc.; 2Aug74; EU510772.
EU510773. Dog in the night. m James Stroud, William L. Robbins &
Carson Whitsett. lp. © Malaco Music Company; 2Aug74; EU5 10773.
EU510774. The Look in your eyes. w&m Emmanuel Rentzos. 2p. ©
Cayman Music, Inc.; 2Aug74; EU510774. EU510775. Mississippi
cotton fields; dialogue. w&msS. James Lewis. 1p. © Malaco Music
Company; 2Aug74; EU510775. EU510776. There's no end. w & m
Clarence Reid & Willie Clarke. 2 p. © Sherlyn Publishing Company,
Inc.; 2Aug74; EU510776. EU510777. A Tribute to Wes. m Willie Hale.
lp. © Sherlyn Publishing Company, Inc.; 2Aug74; EU510777.
EU510778. On my mind again. w &m Bill E. Taylor & Stan Kesler. 2p.
© Jerry Lee Lewis Music & Meltine Music; 2Aug74; EU510778.
EU510779. Something deep in my soul. w&m William Campbell. 2 p.
© Camel Music, Ltd.; 2Aug74; EU510779. EU510780. Lonesome. w
& m Hugh Nicholson. 2p. © Catrin Music, Ltd.; 2Aug74; EU510780.
EU510781. Take my hand. w & m Rosco Almon. 4p. © Mf Music &
Buckeye Politicians, Ltd.; 2Aug74; EU510781. EU510782. Sister
Rose. w & m John Almon & Larry A. Almon. 3 p. © Mf Music &
Buckeye Politicians, Ltd.; 2Aug74; EU5107 82. EU510783. Chutes de
pierres. m Aaron Walker, Robin Hemingway, Vinnie Johnson, Hartley
Severns, Johnny Summers & Paul Pena. 4 p. © Jitney Jane Songs;
2Aug74; EU510783. EU5107 84. Goin' back to church. w & m Aaron
Walker, Robin Hemingway, Paul Pena, Phil Morrison, Vinnie Johnson
& Hartley Severns. 1p. © Jitney Jane Songs; 2Aug74; EU510784.
EU5107 85. Blues for Mama. m Willie Hale. 1 p. © Sherlyn
Publishing Company, Inc.; 2Aug74; EU510785. EU5 10786. Jealous
man; blues. w & m Willie Hale. 2p. © Sherlyn Publishing Company,
Inc.; 2Aug74; EU510786. EU5107 87. Secretary. w & m Clarence
Reid & Willie Clarke. 2p. © Sherlyn PubTaine Company, Inc.;
2Aug74; EU5 10787. EU510788. Milk shake and potato chips. Jimmy
Norman & Al Pyfrom. 2 p. © Cissi Music, Inc.; 2Aug74; BU510788.
EU510789. Who's that chick? w & m Jenni Dean. 1p. © Cayman
Music, Inc.; 2Aug74; EU510789. wé&m CURRENT REGISTRATIONS
EU510790. It hurts to be alone. w & m Bob Marley. 1p. © Cayman
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