New York
In the Halls of Power, Trump’s Demands Force Agonizing Choices
An Ivy League university. Distinguished law firms with Fortune 500 clients. The highest levels of government in the nation’s largest city.
As President Trump seeks to extract concessions from elite institutions and punish his perceived enemies, some of New York’s most powerful people are suddenly confronting excruciating decisions.
The hard choices they face seem almost to be pulled from the pages of a college ethics textbook: Fight back and put your institution and even your livelihood in jeopardy? Or yield and risk compromising foundational values and ideals?
Some have sued, or walked away from their jobs. Others have cut deals with the Trump administration, and faced ferocious criticism for what many see as capitulation.
Mr. Trump has sought financial agreements, fealty pledges and other concessions from all across the United States, and even from other countries. But his former hometown, New York City, is a prime target: It is a capital of industrial and cultural institutions — and of the elite liberal establishment that his presidency pits itself against.
The deal-cutting has come as a shock to some leaders.
“I have been surprised at the rush at times to assuage the White House from activity that has gone on from people who I just thought would display more courage,” said David Paterson, a former Democratic governor of New York.
But the choices can be agonizing.
“It becomes a challenge for them to speak out against something they know is wrong,” said Chris Dietrich, chair of the history department at Fordham University. “If they stick their head above the parapet, they feel they could be putting a number of other people at risk.”
He compared the current moment to the McCarthy era, when many stayed silent as Joseph McCarthy, the Red-baiting senator falsely accused citizens of being Communists.
‘Pillars of America’
Last week, sold-out Broadway crowds were leaping to their feet to cheer the actor George Clooney after his rousing performance as Edward R. Murrow, the 1950s-era broadcast journalist. Mr. Murrow famously stood up to Mr. McCarthy.
Just a couple blocks away in Midtown, Brad Karp, the chairman of the top-tier law firm Paul Weiss, was writing a memo to his employees explaining why he had reached a deal with Mr. Trump to do $40 million in pro bono work for causes the White House supports.
Mr. Trump, in an executive order, had threatened to suspend the law firm’s security clearances and bar its lawyers from federal buildings, which would have severely restricted its ability to represent clients in some cases involving the federal government.
Three other elite law firms Mr. Trump threatened — Jenner & Block, WilmerHale and Perkins Coie — have fought back by suing the administration. But Mr. Karp argued that in being targeted by Mr. Trump for its ties to the president’s political and legal enemies, the firm faced an “unprecedented threat” and an “existential crisis.” He wrote that he had learned “other firms were seeking to exploit our vulnerabilities by aggressively soliciting our clients and recruiting our attorneys.”
On Friday, another top New York law firm, Skadden, Arps, Slate, Meagher & Flom, agreed to provide $100 million in pro bono work on issues Mr. Trump supports in an effort to avoid its own punishing executive order.
Earlier this month, Rachel Cohen, a Skadden associate, submitted her notice of resignation after putting together an open letter that was signed anonymously by others from numerous firms in hopes of pressuring their own employers to speak out.
And in response to the actions at Paul Weiss, about 140 alumni of the law firm signed a letter to its chairman, calling the decision to settle “cowardly.”
“It is a permanent stain on the face of a great firm that sought to gain a profit by forfeiting its soul,” the lawyers wrote in the letter.
The firms’ willingness to make deals followed a move by Columbia University, which in the face of being threatened with losing $400 million in federal funding, announced plans to overhaul its protest policies and security practices and make other changes in line with the Trump administration’s demands.
On Friday, a week after the plans were announced, the university’s interim president, Katrina Armstrong, resigned and was replaced by Claire Shipman, a co-chair of the school’s board of trustees.
Some have welcomed the changes Columbia announced, which were already in progress before Mr. Trump’s demands as part of an effort to combat antisemitism. And Samantha Slater, a Columbia spokeswoman, defended the concessions to the White House.
“We will always uphold the university’s mission and values,” she said.
But the deal incited faculty protests and a lawsuit by faculty groups against the Trump administration saying that the planned cuts “represent an existential ‘gun to the head’ for a university,” according to the complaint.
Former Mayor Bill de Blasio, a Democrat, said institutions like Columbia and major law firms, which he called “pillars of America,” should be role models for resistance.
“When an institution fights back, it makes it easier for everyone else to fight back,” he said. “Giant law firms and a highly endowed Ivy League university — they’re going to be here long after Donald Trump. They have the resources to sustain a fight. If you give in on this one, there will be something else.”
A City’s Identity
New York has a long history of resisting presidents whose policies or actions were viewed as politically unfavorable or damaging to the city: Mr. Murrow called out Dwight D. Eisenhower’s tolerance of McCarthyism; Martin Luther King Jr. led huge protests against Lyndon B. Johnson’s support for the Vietnam War; and Gerald Ford’s refusal to bail out the city during a fiscal crisis in 1975 likely cost him re-election.
But today, some of the city’s strongest pillars are quivering.
“Now,” said Mark Levine, a Democratic candidate for city comptroller, “we’re the center of appeasement.”
The city has been a reliable Democratic stronghold for decades, so much so that some New Yorkers were shocked by Mr. Trump’s electoral gains in November’s presidential election compared with his performance in 2020.
But it’s also a city where adoration of capitalism gave rise to Wall Street billionaires and real estate scions like Mr. Trump himself. Now, some of the city’s leaders and thinkers are wondering whether the responses to Mr. Trump expose more of New York’s true identity.
“We are a city of rollovers, institutionalists who don’t want to rock the boat,” said Richard Flanagan, a political science professor at the College of Staten Island. “Deals before principles. A capitalist city before a progressive one.”
All the backing down has made the Rev. Al Sharpton question whether New York is as tough as he thought it was.
“You never know how strong you are until you’re tested,” he said, noting that civil rights protesters have learned that upholding values often comes at a steep cost. “If people really believed in what they stood for they wouldn’t capitulate. It makes me wonder if they ever believed in the first place.”
But while Mr. Trump’s detractors call him a bully, his supporters say his actions are nothing more than deal-making — that making demands and exerting leverage are the way things get done.
And Mr. Trump has gloated over his wins.
“You see what we’re doing with the colleges, and they’re all bending and saying: ‘Sir, thank you very much. We appreciate it,’” he said on Wednesday. “Nobody can believe it, including law firms that have been so horrible, law firms that, nobody would believe this, just saying: ‘Where do I sign? Where do I sign?’”
A President, a Mayor and a Dilemma
Perhaps no one has brought the ethical dilemmas engendered by Mr. Trump’s deals and demands into sharper relief than Mayor Eric Adams.
Facing corruption-related charges, Mr. Adams, a Democrat, sought to cozy up to Mr. Trump even before the election in what was widely criticized as an attempt to make his criminal case go away.
But when those efforts appeared to pay off, and a Trump appointee at the Justice Department sought to abandon the case against Mr. Adams, prosecutors and city officials found themselves confronted with a difficult decision.
Rather than cut bait on the case, the interim U.S. attorney, Danielle R. Sassoon, resigned, as did the case’s lead attorney, Hagan Scotten.
Mr. Scotten, who served three combat tours in Iraq as a U.S. Army Special Forces officer and earned two bronze stars, said in a resignation letter that only a fool or a coward would obey the order.
Ms. Sassoon, in her resignation letter, indicated that she believed Mr. Adams and the Trump administration were engaging in essentially a quid pro quo, with the mayor agreeing to help cooperate on the president’s immigration agenda in exchange for the dropped charges.
Concerns about the mayor’s indebtedness to the Trump administration led four deputy mayors to make their own difficult choice: Amid the controversy, concerned that Mr. Adams’s personal interests risked outweighing the interests of New Yorkers, they resigned.
The ramifications spread further. In Washington, five Justice Department prosecutors resigned rather than sign the motion to dismiss the case against Mr. Adams.
In the end, a veteran prosecutor, Ed Sullivan, agreed to file the request in order to save more of his colleagues from losing their jobs, according to three people briefed on the interaction. The judge overseeing the mayor’s case is still reviewing the request.
For some who have chosen to fight Mr. Trump’s demands, much hangs in the balance, and the outcome will not be clear anytime soon.
New York transit officials and Gov. Kathy Hochul have held firm during a standoff with federal officials over the fate of congestion pricing, which seeks to cut traffic and raise money for the Metropolitan Transportation Authority by charging drivers who enter Manhattan’s central business district.
As soon as Sean Duffy, the secretary of the U.S. Department of Transportation, sent a letter ordering the M.T.A. to shut down the program, the authority sued and has so far ignored the administration’s deadlines. And Ms. Hochul has invoked the action movie “Rambo” to suggest that Mr. Trump would pay for drawing “first blood.”
Donovan Richards, the borough president of Queens, where Mr. Trump was born, said officials couldn’t stop resisting a president who went against the values of many New Yorkers.
“We have to fight,” he said. “There is enough room for everybody to win here.”
Jonah E. Bromwich contributed reporting.
How can people possibly afford to live in one of the most expensive cities on the planet? It’s a question New Yorkers hear a lot, often delivered with a mix of awe, pity and confusion.
We surveyed hundreds of New Yorkers about how they spend, splurge and save. We found that many people — rich, poor or somewhere in between — live life as a series of small calculations that add up to one big question: What makes living in New York worth it?
Ryan Compton knows a thing or two about gigs. To make it in New York, he has worked as a retail associate inside the Museum of Modern Art’s gift store, a cashier for a downtown taqueria and a paint mixer for Takashi Murakami. He has experienced the paradox of a city both known for its artists and for pricing artists out.
Financial constraints forced Mr. Compton, who is from South Jersey, to move away from New York twice over the course of two decades. He has lived in Baltimore, Chicago and Philadelphia, but remains convinced the resources and people inside New York are unparalleled.
“You never know who you’re going to run into,” he said. “Everyone’s curious about each other.”
Since moving back in 2022, he has whittled down his source of income to a single gig as a security guard at the Metropolitan Museum of Art, where he made $51,000 before taxes last year. It’s his second time at the museum. He first worked there part-time in 2011 before leaving in 2015 to earn his master’s degree in sculpture from the School of the Art Institute of Chicago.
“I know I couldn’t afford graduate school and the cost of living in New York at the same time,” he said.
A third try at New York life has forced Mr. Compton, now 46, to confront the sustainability behind a career as both an interdisciplinary artist and a security guard — even inside one of the most famous museums in the world.
Love at First Sight (With New York)
As an undergraduate student at the Maryland Institute College of Art, Mr. Compton looked forward to spending weekends at his friend’s apartment gallery in the East Village in Manhattan.
A combination of showing face and knowing the right person led to his side project at the time — fashioning 3-d printed stuffed animals with skull faces — which were featured in an issue of Vogue Japan. He even sold a few inside a handmade craft store in Tokyo’s Ginza district for about $1,000.
“I was interested in the contrast between fuzzy-shaped animals and skulls,” he said, later adding, “You know, stuff when you’re a 20-something-year-old being kind of edgy.”
The early moment of success propelled Mr. Compton to chase after opportunities to showcase his work. While supporting himself financially through retail and service jobs, he helped write the artist Roman Ondak’s interactive performance piece at MoMA, “Measuring the Universe;” and worked as a collaborator for “No Souls for Sale,” an experimental project temporarily at Dia Chelsea and later, the Tate Modern in London. Both went unpaid.
“The chance to work in modern art before I was 30 is unheard of,” Mr. Compton said. “It only happens in New York.”
A Slower Pace
Tens of thousands of people flock to the Metropolitan on weekends, and it’s Mr. Compton’s job — one he has found increasingly difficult — to make sure the art is untouched. He believes social media has altered the way visitors engage with the museum. Think more selfies and poses leaned against Hellenistic marble.
The one hour work commute from Parkchester in the East Bronx gives him time to prepare for a long day ahead. He splits a two-bedroom with a co-worker for $1,000 a month and pays $50 in utilities. Heat and water are included in his rent, and his roommate covers the cost of Wi-Fi. He pays $90 each month for his phone bill.
The slower pace of the residential neighborhood matches the stage of life he’s in now. In the last few years, Mr. Compton has slowed down as he has come to terms with the expenses behind his art.
He no longer has free access to fabrication laboratories pegged to his university, and he has opted for the more cost-friendly hobbies of zine-making and book binding. He is, however, eyeing a $1,000 3-d printer. For now, he has settled on $20 a month Photoshop subscription.
The largest constraint tempering Mr. Compton’s spending is his $100,000 student loan debt from graduate school. The window for his deferment period closed, and even with some money he inherited after his mother passed, he says he needs a miracle to finish paying off his loans. “I’m not sure what to do anymore,” he said.
Splurging on Plants and Experimental Harsh Noise Records
Mr. Compton may not have any children, but he is a proud “plant dad.”
His apartment houses $1,000 worth of plants sourced through Facebook groups, pop-ups and by following Brooklyn Horticulture online. He typically pays $30-$50 for medium to large sized plants, but he is constantly on the lookout for deals.
When he isn’t at home with his plants, Mr. Compton treks into Manhattan to do his weekly grocery shopping at Trader Joe’s. He prefers the prices there to local spots in the Bronx and estimates he spends $70 each week.
A cash guzzler of Mr. Compton’s food budget is the $20 a day — an additional $80 a week — he spends at the Metropolitan’s staff cafeteria for breakfast and lunch. When working 12 hour shifts, “I’m not gonna go home and make something to bring the next day,” he said.
On his days off, he seeks out affordable food deals. He frequents Vanessa’s Dumplings in Chinatown for their $8 dumpling special.
When in the mood to treat himself, Mr. Compton rides the train a few more stops out to Ridgewood, Queens and Bushwick, Brooklyn, to visit his favorite record stores like Fringe Records and Nexus Records. An experimental harsh noise aficionado, he spends no less than $100 each visit.
His biggest and most recent splurge was a 10-day trip to Tokyo, Kyoto and Osaka in Japan in February. He was able to cut his $900 round trip ticket to $700 with credit card points. Add in the cost of hotels, meals and souvenirs, he spent close to $5,000 total.
“I wanted to go because my artwork had been to Japan, but I haven’t been to Japan,” he said.
Looking Ahead
Mr. Compton wants to strike a balance between saving and enjoying the life he dreamed of in New York. To help pay off his loans, he considered applying to be an art handler for the Metropolitan, a job with a slight pay bump. But without his present benefit of overtime pay, he’s afraid he would be making less than he does currently.
Over the years, Mr. Compton has found community among other security guards at the Metropolitan, who, like him, are artists. He has also built inroads with notable names at the museum, one being Sheena Wagstaff, the former chairman of modern and contemporary art, who he said took the time to know Mr. Compton not only as a co-worker, but also as an individual, too.
Because of his connections, he feels like he has nowhere else to go. He considered a quieter lifestyle upstate in Westchester or the Catskills, but believes he will make less money outside of the city. And, of course, he would have to leave the place he’s called home for the majority of his adult years.
“I did four other cities, and they weren’t as good or great as I like New York,” he said. “I always end up here.”
We are talking to New Yorkers about how they spend, splurge and save.
You made it time. If you want to look a little longer, just scroll back up and press “Continue.”
Look up.
Before you commute home to suburbs like Tarrytown and Larchmont, or race toward the next stop on your tourist map, take a minute.
Look up to see the stars.
One hundred and twenty-five feet above you are 2,500 stars and six signs of the zodiac along the ecliptic, a line that represents the path of the sun across the sky:
The signs are joined by a few others: Orion, Pegasus, Triangulum and, in the center of it all, Musca Borealis (the Northern fly, or sometimes called Apis, the bee). The Milky Way streaks across the ceiling in the opposite direction. The whole thing is ringed by intricate plaster moldings along the clerestory windows. Fifty-nine of the stars twinkle.
Who says there isn’t magic in Midtown?
The original early 1900s plan for the ceiling was to build a massive skylight so commuters could look up at the actual stars:
But time and money were short, so the architects asked the artist Paul Helleu to design a version of the sky on the ceiling instead. Helleu took inspiration from star atlases from the 1600s. His main resource was the Uranometria from 1603, a lushly illustrated volume that was the first detailed cataloging of individual stars, their positions and brightness. See how similar the figures are. This is Aries:
Here’s Taurus, the bull:
A heart balloon — one of several — had floated up the day we took this photograph, nestling between Orion’s club and Taurus’s horn (maybe an earthly sign that this heavenly hunt might finally resolve).
Converting the flat drawings of a spherical sky re-projected onto a semi-cylindrical vaulted ceiling would have been no easy task. The design work was done by a famous scenic designer and muralist, James Monroe Hewlett, and was overseen by the Columbia astronomy professor Harold Jacoby, who in 1910 assured a panicked public that Halley’s comet would not hit Earth.
Dozens of painters got to work. The terminal opened at midnight on Feb. 2, 1913. The New York Central Railroad boasted “that many school children will go to the Grand Central Terminal to study this representation of the heavens.”
Two weeks later, a commuter from New Rochelle (and a hobby astronomer) looked up at the ceiling and realized that west was east and east was west and the sky was not, actually, in a proper arrangement. Only Orion was shown in the “correct” orientation. He wrote a “wrathful” letter to the station. As The New York Times reported in 1913, officials at Grand Central “did not deny the charge that things were a bit mixed, but held that it was a pretty good ceiling for all that.”
How this happened is still a matter of debate, given Professor Jacoby’s astronomical blessing.
Michael Allison, a former NASA planetary scientist at the Goddard Institute for Space Studies (and a former adjunct in the Columbia astronomy and astrophysics department), met me last month at the great clock under the ceiling to explain his theory.
“I’ve stared at the ceiling I don’t know how many hours,” he said. “I keep hoping I can discover one more thing.”
The liberties taken, Mr. Allison said, like re-sizing the constellations to fit the space and flipping Orion (in relation to the rest), were carefully done. Ultimately, a good marriage of art and science. He thinks Jacoby was a victim of big project bureaucracy, that it was all a mixup.
Jacoby probably expected the design he approved to be projected overhead, where the result would match the plans if you held them above you. The painters put them on the floor instead. Hence, the flip.
But this “heavenly view” — the stars as if they could be seen from above, looking down — may not be a bad view at all.
“There are just so many bad things happening in the world now that I think the sky offers a perspective that can lift us above that,” Mr. Allison said.
For Deirdre Newman, the great-granddaughter of the muralist Hewlett, who painted the ceiling, the imperfection “is what art is.”
Ms. Newman, it turns out, is also a painter of murals and ceilings. But these days, if she has to flip an image, she just hits a button on the projector.
“Anytime I make a mistake painting, I’m like, this proves that it’s art,” she said. “It is not perfection, and it shouldn’t be — it would be a sad thing if it was.”
The stories that we’ve given to the stars over millenniums, some of the most retold tales in history, are hardly orderly — stories of fate, violence, betrayal, revenge, sex and punishment. Cancer helps Hera in pinching a rival’s foot. Orion, son of Poseidon, is placed in the stars by Zeus, locked in an eternal hunt. The two fish of Pisces (Aphrodite and Eros) are linked together to escape the monster-of-all-monsters, Typhon.
Or the stories are totally different if you were Babylonian or Egyptian, Greek or Roman. Today, the stars mean something else again to a devoted user of the horoscope app Co-Star, seeking reassurance after a breakup. And to a commuter standing in Grand Central, looking up while waiting for the train, the stars might just be a momentary diversion, a decorative way to pass the time. Or more.
Take what you want. Take what you need.
***
By the 1940s, the ceiling had fallen into disrepair, so they painted a whole new one on four-foot-by-eight-foot asbestos sheets over the old one. This is the version that exists today. Eventually that second ceiling, too, grew dark with grime and had to be cleaned from 1996 to 1998. The difference was stark. As you were zooming in, you may have noticed a little dark square by Cancer. They deliberately left one bit of the uncleaned ceiling here:
The best time to take all of it in — the ceiling, and the majesty of the station — might just be coming this weekend. The setting sun will line up with Manhattan’s street grid and should (pending clouds) bathe the terminal in a beautiful golden glow Saturday at 8:19 p.m. and Sunday at 8:20 p.m. I plan to be on the east balcony looking west on Sunday for that moment.
See you there.
How we took the photograph
To generate a high-resolution panorama of the ceiling, The Times captured 232 close-up images. We then used software to stitch these photos into an equirectangular projection, to approximate the curve of the ceiling. We also developed custom computer vision software to ensure consistent color blending across varying lighting conditions. To optimize for display efficiency and clarity during navigation, the image was then re-projected into the shape of a cube. We think it’s still a pretty good picture for all that.
This is an installment in our series of experiments on art and attention. If you liked this one, you may like these past exercises: a finished, unfinished portrait; a sudden rain over a bridge; a unicorn tapestry; some buckets from Home Depot; and a Whistler painting.
Sign up to be notified when new installments are published here. And let us know how this exercise made you feel in the comments.
Welcome to Day 2 of the Metropolitan Diary challenge, part of our celebration of the column’s 50th anniversary. On Day 1, we gave you tips for identifying your New York City story. Today, we’ll help you write it. (Missed Day 1? It’s not too late to start.)
What makes for a good Diary? It’s simply a good story that happens to be set in, and capture, the essential New York-ness of the city. While this isn’t a full writing course, we do have guidance on the kinds of elements that the submissions we publish include. They typically have: a beginning, middle and end; sharp details; catchy dialogue; a bit of surprise; some humor, warmth or emotion. But there is no formula, so flouting these loose rules can be worthwhile.
Don’t worry if you don’t think of yourself as a “writer.” Focus on being a “storyteller.” Pretend you are telling your story to the person who’d most appreciate it, using whatever conversational language or pacing that would hold their attention. Do it out loud if you want, maybe give that person a call and tell them your story (or tell it to them again). Then write it down.
That’s the big picture. For more tips, read on.
Here is an example of a published Diary that we (and readers) really liked, and a few thoughts on why that may help crystallize yours.
Unacceptable
Dear Diary:
I went to a new bagel store in Brooklyn Heights1 with my son.
When it was my turn to order, I asked for a cinnamon raisin bagel with whitefish salad and a slice of red onion.2
The man behind the counter looked up at me.
“I’m sorry,” he said. “I can’t do that.”3
— Richie Powers
One of this item’s best qualities is that it is short and snappy. Only 53 words! Although we will use stories of up to 300 words, many don’t need to be that long and the column doesn’t work if we don’t have a mix of long, medium and short, so we are always looking for stuff like this. Here’s another one!
At Attention
Dear Diary:
It was December 1967. I had just finished basic training at Fort Dix in New Jersey and was traveling to Boston in uniform. For reasons I no longer recall, I stopped in New York City on the way.1
Walking on the Upper East Side2 in a snowstorm, I spied another man in a uniform. He was older, and his cap bore the familiar gold band that identified him as an officer.
I rendered a snappy salute. It was not returned. 3The uniform was unfamiliar, so I guessed he was a foreign officer. Military courtesy still required me to salute.
A little farther down the street, I encountered another officer and offered another salute that went unacknowledged.4 His uniform was strange to me as well.
The third time it happened, the man I saluted ignored me while holding the door for a couple 5on their way into a large apartment building.
I realized I had been saluting doormen.6
— Stephen Salisbury
To get your storytelling muscles going, think through or jot down the answers to some of these questions.
Let’s start with setting the scene.
- When and where in the city did this happen? Is this place well-known?
- Was there anything particular about that point in your life that’s relevant?
- What did you see, hear, smell? Was there something notable about the weather?
Now, let’s move to the middle, the meat of the story.
- Did you have an exchange with someone?
- What details are important to how events unfolded, especially in setting up the ending?
And now, the end.
- What’s the resolution? Is there a punchline?
- Does the story end with a sense of shared humanity or some other warm feeling that lingers? You don’t need to name it. A good description will often allow readers to feel it too.
- Why has this experience stayed with you?
- Lines like “and that’s why I love New York” are almost always unnecessary.
That’s it. Keep your story simple and use the kind of plain language you use in conversation. You are sketching a moment in time. The details are important. Let them move the story along. Have fun and good luck.
Once you’re done, read through what you’ve got. What details are less important and can be left out? (Remember, there is a strict 300-word limit.)
Write your Metropolitan Diary however you like, on paper, on your phone or wherever! When you’re happy with what you’ve written, put your diary entry into the box below, fill out your information and submit it. You might just hear from me about including it in a future column.
This is the official submission form, so make sure to double-check your work before hitting submit.
That’s it! Submit your Metropolitan Diary.
By transmitting your submission, you grant The New York Times Company a perpetual, royalty-free license to use the submission in any medium. They may be edited, and may be republished and adapted in all media. You may reprint your story elsewhere after it appears in The Times.
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