The seedy, squalid glory of Times Square in the ’80s

Lost in NYC — Back in the day, Times Square was a hotbed for hedonism. Artist Jane Dickson remembers living through New York’s messy golden age – a place where DIY culture thrived.

During the 1970s, New York City became synonymous with the image of urban blight, as the city was systematically abandoned under the federal government’s policy of ‘benign neglect’.

With a sense of lawlessness permeating the air, artists seized the moment. Making use of the opportunity, they set up homes, studios and venues – places where both their work and lifestyle could flourish.

Times Square, in particular, duly obliged. By the ’70s, ‘The Deuce’ had become a thriving red light district, transforming “The Great White Way” from a sparkling tiara into a sequinned thong.

Jane Dickson. © Peter Bellamy

It was here that artist Jane Dickson found herself back in 1978, when she began working as an animator for Spectacolor (the first computer lightboard in New York), whose office was located at One Times Square.

In her job, Dickson made ads for everything from Coca Cola to Studio 54. It got free tickets to the club – the place where she’d eventually have her first date with now-husband Charlie Ahearn.

One day in 1981, Ahearn came to visit her at work and said, “Wouldn’t it be cool to move here?”. Dickson mentioned a building nearby advertising lofts for rent, so they walked over on her lunch break, picked the sixth floor, and moved in.  

© John Marchael

As a young woman living, working, and raising a family in Times Square, Dickson has enjoyed a vantage point few could ever know. Now, in a new book titled Jane Dickson in Times Square, she shares her unique, unrivalled perspective of the area.

“When I started working in Times Square, I realised I should document my life experience,” she explains. “I bought a little camera and carried it with me because I wasn’t about to sketch on the street. I would take mental notes for sketches, like some kid who was pickpocketing the theatre crowd.” 

Like many a New Yorker, Dickson became an ardent observer of people, and used her art as a tool to navigate her surroundings. She kept a separate studio on 42nd Street, across from the Peepland Eye, which had dead-eyed dealers mumbling, “Coke, speed, valium,” to each and every passerby.

“It was very scary to be a young woman in New York anywhere at night, but in Times Square, people figured if you were a young woman alone, you were there to turn tricks. I’d be walking down the street and some drunk would go, ‘Pull your pants down, bitch!’” she remembers.

“I was pretty small and slight as well as young, and I was trying to be as tough as I could. Taking a camera with me turned the tables and allowed me to feel like I was capturing the scene. I was like a moth to the flame. I was attracted but frightened, so I thought, ‘Let me study it, document it, and paint it so that I can get a handle on it.’”

Peepland Angel, 2017. © Jane Dickson

Times Square Show, © 1980. Andrea Callard

Peep VII, 1992. © Jane Dickson

Jane Dickson. © Charlie Ahearn

Jane Dickson in Times Square is available now from Anthology Editions

Follow Miss Rosen on Twitter.

Enjoyed this article? Like Huck on Facebook or follow us on Twitter.


You might like

Vibrant book covers against bleak, rocky hills and buildings; 'Babylon' and 'Albion' text in bold lettering.
Culture

Dalia Al-Dujaili: “When you’re placeless, nature can fill the void”

Babylon, Albion — As her new book publishes, the British-Iraqi author speaks about connecting with the land as a second-generation migrant, plants as symbols of resistance, and being proud of her parents.

Written by: Zahra Onsori

A collage depicting a giant flup for mankind, with an image of the Earth surrounded by planets and people in sci-fi costumes.
Culture

Why Katy Perry’s space flight was one giant flop for mankind

Galactic girlbossing — In a widely-panned, 11-minute trip to the edge of the earth’s atmosphere, the ‘Women’s World’ singer joined an all-female space crew in an expensive vanity advert for Jeff Bezos’ Blue Origin. Newsletter columnist Emma Garland explains its apocalypse indicating signs.

Written by: Emma Garland

Three orange book covers with the title "Foreign Fruit" against a dark background.
Culture

Katie Goh: “I want people to engage with the politics of oranges”

Foreign Fruit — In her new book, the Edinburgh-based writer traces her personal history through the citrus fruit’s global spread, from a village in China to Californian groves. Angela Hui caught up with her to find out more.

Written by: Angela Hui

A punk rock band performing on stage, with a female lead singer belting into a microphone. Behind them, a colourful mural with graffiti-style text.
Music

Meet the hair-raised radicals of Berlin’s noise punk scene

Powertool — In his new zine, George Nebieridze captures moments of loud rage and quiet intimacy of the German capital’s bands, while exploring the intersections between music, community and anti-establishment politics.

Written by: Miss Rosen

Surfers against sewage protest box floating in water with people swimming around it.
© Alex Brown / Surfers Against Sewage
Sport

The rebellious roots of Cornwall’s surfing scene

100 years of waveriding — Despite past attempts to ban the sport from beaches, surfers have remained as integral, conservationist presences in England’s southwestern tip. A new exhibition in Falmouth traces its long history in the area.

Written by: Ella Glossop

Huck 79

We are all Mia Khalifa

How humour, therapy and community help Huck's latest cover star control her narrative.

Written by: Alya Mooro

Huck is supported by our readers, subscribers and Club Huck members. It is also made possible by sponsorship from:

Signup to our newsletter

Sign up to our newsletter to informed with the cutting edge of sport, music and counterculture, featuring personal takes on the state of media and pop culture from Emma Garland, former Digital Editor of Huck, exclusive interviews, recommendations and more.

Please wait...

Accessibility Settings

Text

Applies the Open Dyslexic font, designed to improve readability for individuals with dyslexia.

Applies a more readable font throughout the website, improving readability.

Underlines links throughout the website, making them easier to distinguish.

Adjusts the font size for improved readability.

Visuals

Reduces animations and disables autoplaying videos across the website, reducing distractions and improving focus.

Reduces the colour saturation throughout the website to create a more soothing visual experience.

Increases the contrast of elements on the website, making text and interface elements easier to distinguish.