New York
With Cuomo Leading NYC Mayor’s Race, His Political Baggage Grows Heavier
Being the front-runner in a race for mayor of New York City often comes with exceptional scrutiny. But few have presented their opponents with quite as many targets as former Gov. Andrew M. Cuomo.
In the weeks since Mr. Cuomo joined a crowded Democratic primary field and immediately catapulted to its front, a group of New Yorkers whose relatives were nursing home residents who died of Covid have repeatedly blamed him for their suffering.
Women’s groups have picketed his campaign events to remind voters of the sexual harassment accusations that drove him from the governor’s office.
Then, on Thursday, years-old sworn testimony surfaced in The New York Post describing Mr. Cuomo and his longtime top aide, Melissa DeRosa, as having been in an “emotionally intimate” relationship.
Mr. Cuomo’s proximity to Ms. DeRosa would seem to have little bearing on his qualifications to be mayor. But the sudden re-emergence of the long-denied rumors underscored how his tenure as governor left Mr. Cuomo with a lengthy list of enemies and political baggage ripe for attack.
For now, Mr. Cuomo has maintained a comfortable polling lead against nine Democratic challengers, including Mayor Eric Adams. Yet as New York City political history has long demonstrated, a perceived lead comes with real risks — especially months before Primary Day.
“When you’re the only game in town, you’re the only person to take down,” said Mike Morey, the campaign spokesman for then-Council Speaker Christine Quinn in 2013, who watched her early polling lead in that year’s mayor’s race collapse. “You’d probably rather be second or third place and just climbing.”
New York City lets voters rank up to five candidates in order of preference on their primary ballots. Opponents of Mr. Cuomo and Mr. Adams are trying to stop their ascent by popularizing the acronym D.R.E.A.M., or “Don’t Rank Eric or Andrew for Mayor.”
Mr. Cuomo’s result may well be different than Ms. Quinn’s. He is better known and more battle-tested than almost any of his predecessors. His allies believe that that he can prevail as long as he can redirect voters’ attention toward his record of accomplishment during roughly a decade as governor, during which New York State legalized same-sex marriage, raised the minimum wage and rebuilt LaGuardia Airport.
“New Yorkers know the city is in crisis and Governor Cuomo is the only candidate in this race with the experience and the record of results to help fix it and make it a safer and more affordable place for all,” said Rich Azzopardi, Mr. Cuomo’s spokesman. “This is why these petty attacks are falling on deaf ears.”
But as Mr. Cuomo’s opponents are eager to point out, his tenure in Albany was also marked by turmoil, controversy and heavy-handed tactics that have left him with higher unfavorable ratings in recent polls than any candidate except Mr. Adams.
“The fly in the ointment is that he’s not particularly lovable,” said Mark Green, who narrowly won the 2001 Democratic primary for mayor, only to lose in the general election to Michael R. Bloomberg.
Those trying to stop Mr. Cuomo have been far more vivid. On Sunday, nine mayoral candidates gathered in Brooklyn alongside relatives of nursing home residents who died of Covid-related complications during Mr. Cuomo’s governorship. They hammered him for his policy directing nursing homes to admit hospital patients who had tested positive for the coronavirus.
“Could any other issue bring us all together with the differences that we have?” said Curtis Sliwa, the Republican candidate for mayor. “No — it’s the death, the unneeded death, of all these folks who were trusting the governor to do the right thing.”
Mr. Cuomo has said the state’s public health policies, including those involving nursing homes, adhered to federal guidelines, and he has accused federal authorities of trying to scapegoat him politically.
That controversy was largely eclipsed by accusations, including from former state employees, that Mr. Cuomo had sexually harassed them. The claims prompted an investigation by the office of the New York attorney general, who concluded in August 2021 that Mr. Cuomo had harassed 11 women.
He resigned within days of the report’s release, though in the years since, he has spent millions of dollars in legal fees fighting to clear his name. He denies any wrongdoing.
It was in March of that year, around the time that Mr. Cuomo was facing the first of those accusations, that The Daily Mail approached the governor’s office with questions about his relationship with Ms. DeRosa. It was preparing to publish photographs that showed the pair seated close together, huddled in conversation over drinks at a Manhattan restaurant.
Ms. DeRosa was also concerned that the outlet would publish longstanding rumors that she and Mr. Cuomo were more than just colleagues. She called Josh Vlasto, who had previously served as Mr. Cuomo’s chief of staff and who was an informal adviser, for advice on dealing with the publication, according to Mr. Vlasto’s testimony during the sexual harassment investigation.
In the transcript of that testimony, Mr. Vlasto is quoted as saying that Ms. DeRosa, who was married at the time, told him she did have an “emotional romantic relationship with the governor,” but said that the two had never been sexually involved.
“Emotionally intimate was the words she used,” Mr. Vlasto said. “I didn’t press on what that meant.”
The former governor’s younger brother, Chris Cuomo, was also brought in to brainstorm a response, according to Mr. Vlasto’s account. “He had said do you intend to be together in the long-term or do you intend to be together after you’re in office,” Mr. Vlasto said of Chris Cuomo. “She said I don’t know.”
The trio agreed that Ms. DeRosa would deny a romantic relationship to The Daily Mail; Ms. DeRosa ultimately told the publication that she and the governor “never had an intimate relationship.”
Mr. Vlasto testified that after The Daily Mail published the photographs, Ms. DeRosa told him that she had not had a romantic relationship with Mr. Cuomo, contradicting her earlier account.
Months later, in her own testimony in the sexual harassment investigation, Ms. DeRosa also denied having had a romantic relationship with Mr. Cuomo.
Investigators separately asked Mr. Cuomo whether he had had any romantic relationships with members of his staff.
“Never,” he said.
On Thursday, after The Post published its article, both Catherine M. Foti, a lawyer for Ms. DeRosa, and Mr. Azzopardi reiterated that there had been no physical relationship between Mr. Cuomo and Ms. DeRosa.
“Of course after seven years of working together for New York, the governor and Melissa were emotionally close,” Mr. Azzopardi said. “We all were after going through Covid and everything else together.”
Mr. Vlasto declined to comment.
The interview with Mr. Vlasto took place in the summer of 2021, but Mr. Vlasto’s account of Ms. DeRosa’s request was not reported before Thursday.
The transcript of his testimony posted on the attorney general’s website is redacted, and it conceals Ms. DeRosa’s name and much of Mr. Vlasto’s remarks about her and Mr. Cuomo. But an unredacted version of the transcript was posted briefly in 2022 as part of a broader tranche of investigative materials, before it was taken down and replaced.
A spokeswoman for the attorney general, Letitia James, said the unredacted version had been posted by accident, and that it had only been up for two hours.
The New York Times was able to access the unredacted transcript of Mr. Vlasto’s testimony using The Internet Archive’s Wayback Machine, which preserves web pages.
Mr. Azzopardi, though, called for an investigation into how the unredacted transcript became public. In a statement, he accused Ms. James of using “lawfare” to harm Mr. Cuomo and of helping to resurface the transcript as part of a “transparent ploy” to aid one of his rivals in the mayor’s race, Adrienne Adams, the City Council speaker.
The spokeswoman for Ms. James declined to comment on the accusation.
New York
How ‘The Wire’ Star Jamie Hector Spends a Hot Day in Brooklyn
Nearly two decades have passed since “The Wire” ended, yet Jamie Hector’s haunting turn as the drug kingpin Marlo Stanfield still resonates. Jay-Z recently referred to the character during a freestyle at the Roots Picnic.
“I respect the fact that artists find time to appreciate another artist in that way,” Mr. Hector said. “I consider the work that we do at the highest level with great art. His is literary. His is over a track, making you feel, and mine was visual.”
Mr. Hector, 50, also a director, producer and children’s book author, has devoted much of his life to the arts as one of television’s most compelling, understated figures, currently seen in Apple TV’s “Cape Fear.”
He splits his time between his family, dramatic roles, his own projects and shepherding the next generation of artists. Mr. Hector spent a recent blistering Thursday in Brooklyn with The New York Times.
New York
How a Museum Security Guard and Artist Lives on $51,000 in Parkchester
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.
New York
10-Minute Challenge: The Ceiling at Grand Central
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.
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