
John Tauranac, designer of the iconic New York City subway map, has a new and improved map that he is selling at retail outlets, including the Wish House in West Cornwall. Photo by Cynthia Hochswender
Mapmaker John Tauranac (a part-time resident of Cornwall, Conn.) has taken the iconic New York City subway map (which he designed) and made it, if possible, even a little better.
This new version, published in August, is published by Tauranac Maps and can be purchased locally at The Wish House in West Cornwall, Conn. (www.wishhouse.com) for $5.95.
When Tauranac, a Cornwall, Conn., resident and a fairly low key gent, was asked if it lives up to its billing as “ultimate subway map,” he modestly confessed, “I am so vain as to believe that it is.”
The very first New York subway map was produced in 1904 as an advertising postcard issued by Wanamaker’s Department Store in Manhattan, which could be accessed by a subway station stop on its lower level.
Many map iterations followed, but it was the 1979 version that introduced the concept of color coding the subway lines.
Tauranac was already achieving acclaim for his 1972 and 1973 “undercover maps” of Midtown and Lower Manhattan, tracing the underground walking passages that thread through and under the city’s buildings.
He was employed by the MTA (Metropolitan Transit Authority) and in 1974 was working on creating an official travel guide and introducing a geographically accurate subway map.
By 1978, he was the chairman of the MTA subway map committee but had been unsuccessful in gaining approval for his ideas for the color-coding system.
That same year, though, bolstered by the support of socialite and powerhouse Phyllis Cerf Wagner, Tauranac’s concept of the quasi-geographic, color-coded system was approved by the MTA president.
The 1979 MTA map has provided the bones for all subsequent maps, Tauranac said. But with each new edition, the map has incorporated changes that render it more confusing.
Tauranac’s new MTA pocket map pack is self-published and conveys even more information in a clearer, color-coded and keyed presentation. For example,there is now a separate map on the reverse side with information about late-night service.
For any riders who have ever discovered that they were traveling north on a line when they meant to go south, Tauranac has added a no u-turn symbol to indicate stations where riders cannot cross the tracks without paying to go the other way. If you don’t see the symbol, you can use that station to correct your directional error.
The new map also answers the question of where the subway station is in relation to a station stop, particularly helpful when avenues are positioned diagonally to the normal street grid. To promote clarity, Tauranac explains that exercising geographic license makes the map “quasi-geographic.”
With the aid of a key guide printed at the top of the map, riders can tell a lot about a station by the color, its intensity and the geometric shape representing the subway line.
Access for handicapped riders is noted with a visual cue — although Tauranac notes that ease-of-access information is also helpful for riders with luggage or baby strollers.
For the first time, there is an index of stations within the subway system, with bus connections noted for each station, for example.
As for where the lifelong interest in the details of New York City transit and architecture began, Tauranac credits his childhood years when his father, who was the manager of a major hotel, took him on regular city walks in the 1960s.
Tauranac’s mother had died when he was very young, so these walks with his father were especially important. His father would often pause to point out who lived where along Fifth Avenue, for example.
“It sort of stuck,” Tauranac said.
To put together a more substantial gift of New York City lore, there are additional Tauranac works that offer a deep look into the city and what lies beneath its surface, including a poster version of the new map.
Although all authors love all their books, as parents love their children, Tauranac was especially pleased with a review of one of his books, from the New York Times. About “Manhattan Block By Block: A Street Atlas,” the paper said, it “offers just about all the critical information a site-seeker might need — and then some.’”
Sometimes more is more.
To find out about John Tauranac’s books and insights into New York City, go to his website at www.johntauranac.com.
Paquito D’Rivera performs at the Mahaiwe in Great Barrington on April 5.
Natalia Bernal is the Mahaiwe Performing Arts Center’s education and community engagement manager and is, in her own words, “the one who makes sure that Mahaiwe events are accessible to all.”
The Mahaiwe’s community engagement program is rooted in the belief that the performing arts should be for everyone. “We are committed to establishing and growing partnerships with neighboring community and arts organizations to develop pathways for overcoming social and practical barriers,” Bernal explained. “Immigrants, people of color, communities with low income, those who have traditionally been underserved in the performing arts, should feel welcomed at the Mahaiwe.”
Partnerships with organizations like Volunteers in Medicine Berkshires (VIM), the W.E.B. Du Bois Legacy Committee, and Community Access to the Arts (CATA) have helped bridge that gap. But for the Latinx community, there’s an even more targeted effort: the Spanish-language Community Advisory Network (SCAN).
“Six years ago, we started an advisory group of Spanish speakers in the community,” Bernal said. “They tell us what the community wants to see, how they’d like their culture represented. Today, SCAN has 12 members. We meet four times a year and are in constant communication. It’s because of them that we’ve hosted free Spanish-language film screenings and live performances.”
For Bernal, this work is personal. “When I first moved to the U.S. in 2003, it was because I got a Latin American scholarship to study at Berklee College of Music. That first year, I went home to Uruguay for Christmas and saw Paquito D’Rivera perform at a jazz festival. I was determined to meet him, and I did. Later that year, Paquito came to Berklee and invited me on stage.”
Now, two decades and 16 Grammys later, Paquito D’Rivera is coming to the Mahaiwe on April 5, and there’s a chance history might repeat itself. “He saw a post we made about his concert and commented, ‘Ay, chica, que maravilla, are you gonna sing a song with us?’ I almost died,” Bernal laughed. “I don’t know if it will happen, but it would be a dream.”
About the possibility of a guest appearance by Bernal, D’Rivera said, “Natalia is a very dear, valuable colleague, and jazz is about improvisation, so the surprise factor is always part of the fun here.”
D’Rivera’s concert is just one example of how the Mahaiwe is making world-class performances accessible. “My whole day has been about offering ‘pay what you can’ tickets for this show,” Bernal says. “We also issued a 50% discount to our partners. We work with ESL teachers, public libraries, literacy agencies, anyone who can help us get the word out.”
That kind of grassroots effort has been transformative. “Last year, we screened ‘Florencia en el Amazonas,’ the first opera written in Spanish ever performed at the Met,” Bernal said. “I sat in the Mahaiwe in tears. As someone who loves opera, it was the first time I heard one written in my own language. It was so powerful.”
Natalia Bernal, Mahaiwe’s education and community engagement managerPhoto by Martin Cohen
For Bernal, it all comes back to representation, on stage and in the audience. “My son is eight. I bring him to everything I can. Spanish shouldn’t just be something that happens at the dinner table. It should be in the world, in all these shapes and forms.”
And that’s what SCAN is helping build: a future where Latinx voices aren’t just included, they are central. “Our SCAN advisors are volunteers, cultural ambassadors,” Bernal said. “They help us distribute surveys, talk to the audience, and strengthen the community. Nobody should feel alone. Everybody should feel like they belong here.”
Education and outreach are central to D’Rivera’s work as well. He said, “It is an important part of our mission to plant and nurture the seed of quality music in our communities.” He continued to say, “Using our visibility and influence in favor of justice is always a very effective vehicle in denouncing violations of human rights around the world.”
This shared mission of education and social justice extends beyond the Mahaiwe. “We are one of the few arts organizations in a monthly meeting with BASIC (Berkshire Alliance for Immigrant Services). We have direct ties to the Berkshire Immigrant Center, VIM, and others so that we are well-informed and ready to serve,” said Bernal.
That commitment to community, culture, and access is why Bernal’s dream panel—Women in the Music Business—would feature Paquito’s wife and longtime manager, Brenda Feliciano. “She’s a tower of power. She’s been managing his career for at least 45 years. If I could organize an event one day, she would be the cherry on the cake.”
Until then, Bernal will keep doing what she does best: making sure the Mahaiwe is a place where everyone, regardless of language, income, or background, feels at home. And maybe, just maybe, she’ll find herself back on stage with Paquito D’Rivera, just like that first time, all those years ago.
For more info and tickets to Paquito D’Rivera, visit mahaiwe.org
There is magic in a home filled with the things we love, and Mary Randolph Carter, affectionately known as “Carter,” has spent a lifetime embracing that magic. Her latest book, “Live with the Things You Love … and You’ll Live Happily Ever After,” is about storytelling, joy, and honoring life’s poetry through the objects we keep.
“This is my tenth book,” Carter said. “At the root of each is my love of collecting, the thrill of the hunt, and living surrounded by things that conjure up family, friends, and memories.”
The creative director at Ralph Lauren for almost four decades, Carter began writing this book during the pandemic, a time of rediscovering comfort. “I found more time to appreciate those special things that give our homes warmth and connection.” Working with Ralph Lauren, she learned that the best spaces tell a personal story. “His desk was filled with toy cars, miniature shoes, superheroes, English dandies, cowboys on horseback. The walls? A gallery of his children’s paintings, iconic photos of Frank Sinatra and Gary Cooper. Everything told a story.”
Carter acknowledges how homes can become overwhelmed with stuff but sees a difference between clutter and collection. “To live happily, create environments that inspire and comfort rather than encumber you! Look around and ask, ‘What is truly meaningful? What makes you smile? What recalls the people and places you cherish?’” Then, she added, “weed out the rest with discipline and courage!”
Provided
Each home in Carter’s book reflects its inhabitant’s spirit. “The first time I walked into Bethann Hardison’s apartment, I knew right away how authentic it was to who she is.” Hardison’s walls are lined with artwork from friends Keith Haring, Jean-Michel Basquiat, and Haitian paintings, testaments to a life well lived. “Though her mantra is, ‘the lighter the load, the freer the journey,’ she also admits some things ‘delight your environment’ and can’t be parted with. Amen to that!”
Having survived two childhood fires, Carter deeply understands what truly matters. “It’s not the things, but the people and memories they evoke.” She loves her collections, but they don’t possess her. “They make me happy, but they do not define me.”
She delights in how people showcase treasures. Paula Grief, for instance, lives in a ten-foot-wide house and had to part with many books. “She tucks the ones she can’t live without through the rungs of her staircase. I love that ingenuity!”
When asked about her most cherished possession, Carter tells a story of loss and serendipity. A childhood portrait of her in a blue velvet dress was lost in a fire. “Years later, the artist’s daughter found another version. Now, it hangs in our apartment, surrounded by flea market art and one of my favorite saints, Our Lady of Guadalupe.”
Adding to the cozy feeling of this book, Carter’s son, Carter Berg, took the photographs, and her sister, Cary, contributed the illustrations. “Cary once stayed in our apartment and painted a dozen objects from our cluttered kitchen. I hung them immediately. When I started this book, I knew she had to capture my favorite objects.”
Four of the featured homes are local to the Northwest Corner, including Carter’s in Millerton, Joan Osofsky’s in Lakeville, Robin Bell’s in Salisbury, and Paula Grief’s in Hudson. They all gathered at the White Hart/Oblong Speaker Series on March 27.
After perusing the richly colored pages of this book, you may feel tempted to shop. “You don’t need money to create a meaningful home,” Carter insisted. “Some of my favorite paintings cost no more than $10 or $25. Value is personal. It’s not about provenance but the story an object tells you or the one you make up.”
Carter’s advice? “Fall in love with the wackiest thing. Surround yourself with what matters, and you’ll live happily ever after.”
The first play in four years returned to the Webutuck Auditorium Friday, March 28. The production of Clue was put on entirely by students from the Webutuck Middle School and starred an ensemble cast of, from left to right, Jacob Dean as Mr. Green, Caroline Eschbach as Mrs. White, Brooke Bozydaj as Yvette, Liam Diaz as Wadsworth, Nolan Howard as Colonel Mustard, Mariah Bradley as Miss Scarlett and Lois Musgrave as Mrs. Peacock who is pictured on the floor of the stage.