New York
N.Y.C. Congestion Pricing Begins on Sunday
Starting Sunday, most drivers will have to pay $9 to enter the busiest part of Manhattan. That much is clear.
But almost everything else about New York City’s congestion-pricing plan, the first of its kind in the United States, continues to be fiercely debated.
Transportation, business and civic leaders, as well as long-suffering subway and bus riders, consider the tolling plan a long-overdue step toward unclogging the city’s gridlocked streets, raising billions of dollars for an aging transit system and encouraging a more sustainable future with fewer cars.
“Congestion pricing will finally tackle the gridlock that is slowing down emergency vehicles, polluting air and wasting people’s time in traffic,” said John J. McCarthy, the chief of policy and external relations for the Metropolitan Transportation Authority, which will oversee the program.
But suburban commuters, residents of the city’s so-called transit deserts and public officials of both parties say congestion pricing will do little to reduce traffic while punishing drivers from outside Manhattan with few other travel options. These critics have called the tolling plan a money-grab by the M.T.A., a state agency with a history of financial problems.
“This is just simply a misguided policy,” said Ed Day, the Rockland County executive. He has sued to halt the program, which, he said, “raises serious questions about fairness, priorities and accountability.”
The New York program is being closely followed by officials and advocates in other U.S. cities who are grappling with their own traffic problems in a country where the car is king. Several cities, including Washington and San Francisco, explored the concept before the coronavirus pandemic interrupted those efforts.
Congestion pricing is being introduced at a time when New York City’s streets are more clogged than ever. From Fifth Avenue to the Brooklyn-Queens Expressway, traffic has rebounded sharply after largely disappearing during the depths of the pandemic.
The city’s traffic is now so thick that New York was named the world’s most congested city in a 2023 traffic scorecard compiled by the transportation data analytics firm INRIX, beating out London, Paris and Mexico City.
Drivers lost 101 hours on average sitting in traffic in New York that year, more than double the national average of 42 hours, according to the scorecard. All that idle time translated to $1,762 per driver in lost wages, productivity and other costs, and a $9.1 billion overall loss for the city.
Samuel I. Schwartz, a former city traffic commissioner who supports congestion pricing, said that any improvement in traffic would be welcome. Within the congestion zone, the average travel speed has dropped to under 7 miles an hour for the first time since records were kept in the 1970s, he said. The slowest traffic crawls along at just 4.7 miles per hour in Midtown.
“Traffic is worse than it’s ever been,” he said.
William Vickrey, a Columbia University professor and winner of the Nobel in economic sciences, came up with the idea for congestion pricing in the 1950s. But it has languished in New York even as traffic-choked cities around the world, including London, Stockholm and Singapore, embraced it.
The idea gained momentum in New York briefly in 2007 when Michael R. Bloomberg, the mayor at the time, unveiled a congestion-pricing plan, only to see it falter in the State Legislature. A decade later, Gov. Andrew M. Cuomo revisited it amid a crisis in subway service. The tolling plan was finally approved as part of the 2019 state budget.
Shortly before the plan was to start in June, Governor Kathy Hochul, a Democrat, delayed it, saying the tolls could hurt the city’s economy. Some critics said the plan, which polls showed was broadly unpopular, would hurt Democratic candidates in the November election.
Ms. Hochul, under pressure from transit advocates, revived congestion pricing in November. To make the tolls more palatable, she slashed them 40 percent across the board.
Most passenger cars will now have to pay $9 to enter Manhattan south of 60th Street at peak hours, rather than the original $15. Small trucks will have to pay $14.40; large trucks, $21.60. Discounted rates will be offered overnight when there is less traffic.
M.T.A. leaders expect the new tolls to help generate $15 billion through bond financing that will pay for a long list of transit repairs and improvements, including modernizing subway signals and stations and expanding the electric bus fleet.
The plan has been politically contentious with many Republicans, and some Democrats, calling it another tax on drivers. President-elect Donald J. Trump has vowed to kill it when he takes office this month, saying it would drive visitors and businesses from Manhattan.
At least 10 lawsuits have been filed seeking to keep congestion pricing from taking effect. The plaintiffs span an array of opponents, including Vito J. Fossella, the Staten Island borough president, Michael Mulgrew, the president of the United Federation of Teachers, and the Trucking Association of New York, a trade group representing delivery companies.
The latest legal challenge to the program came Friday when New Jersey officials sought a last-minute injunction based on what they said was congestion pricing’s potential environmental impact on their state. The judge, who last week ordered federal transportation officials to review and explain some aspects of the program, denied the motion.
It will most likely be unclear for some time whether the tolls significantly reduce traffic and by how much. Lowering them will probably deter fewer drivers.
State officials said the original plan was expected to reduce the number of vehicles in the congestion zone by roughly 17 percent. They have not specified how the scaled-back program will compare except to say they expect it to cut traffic by at least 10 percent.
Mr. Day, of Rockland County, and other opponents have criticized the toll prices, saying that drivers will pay the same rates no matter how much time they spend in the congestion zone, or how much they drive around inside it and contribute to congestion.
Last week, Ms. Hochul ruled out a surge pricing option that would have allowed for a 25 percent surcharge on heavy traffic days.
The tolling plan also does not directly charge drivers and owners of for-hire vehicles, which have exploded on city streets since Uber’s arrival in 2011. Instead, a small per-trip fee — $1.50 for Ubers and Lyfts; 75 cents for taxis — will be added to each fare and paid by passengers.
Many supporters believe the tolling program will create an important long-term revenue stream for transit improvements.
“Congestion pricing is a very good way of raising money for the M.T.A.,” said Rachael Fauss, a senior policy adviser for Reinvent Albany, a government watchdog group. “It’s a revenue source that isn’t tied to ridership. This is exactly the type of financing you want because it’s a stable, proven revenue source.”
Opponents counter that the M.T.A. should find better ways to spend the money it already has. The critics fault the authority for costly operations and spending on projects that routinely go over budget.
M.T.A. officials have said they have improved efficiency in recent years, including on some of their biggest projects, like an expansion of the Long Island Rail Road in 2022 that was completed $100 million under budget.
Now, with hours to go before the tolling program becomes reality, both sides of the congestion pricing divide are getting ready. Some supporters planned to gather early Sunday at a tolling site along 60th Street to mark the official start of the program.
Mr. Schwartz will not be there. After decades of calling for congestion pricing, he was not expecting it to finally happen while he was away on vacation in Aruba for the holidays.
On Friday afternoon, Mr. Schwartz emailed: “I’ve got my bottle of champagne on ice!”
Wesley Parnell 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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