Blog - For The Record — NYC Department of Records & Information Services

NYPD Surveillance of Organized Labor

The Municipal Archives’ digital gallery hosts a collection of more than 1,400 surveillance films created by the New York Police Department (NYPD)’s photography unit at the request of the Bureau of Special Services and Investigations. Dating between 1960 and 1980 they total more than70 hours of visually fascinating footage of one of the most tumultuous eras in American history. Among the highlights in the collection are footage of the first Earth Day march in 1970, a Nation of Islam rally, Young Lords building occupations, early protests by gay-rights advocates, and the massive anti-war marches and demonstrations after the Kent State shootings in May 1970.

Previous blogs have highlighted footage of the San Juan Fiesta in 1979, occupation of Sydenham Hospital in 1980, and protests during construction of Rochdale Village in 1963. This week the blog shines a light on the NYPD’s surveillance of organized labor demonstrations and strikes. Beginning in the 1920s, the NYPD targeted unions, socialists and communists, earning their surveillance wing the nickname ‘The Red Squad.’

During the 1950s and 60s, leaders of the Civil Rights Movement often used strikes to push for equal employment opportunities for people of all ethnicities. Black and Puerto Rican New Yorkers were routinely denied jobs available only to their white counterparts and unions found little success in negotiating fair treatment. Indeed, large umbrella labor organizations like the AFL-CIO remained split for decades on whether to become more racially inclusive. This 1963 NYPD surveillance film shows striking workers and their supporters protesting the use of all-white construction unions to build the Downstate Medical Center in Brooklyn. When the demonstrators used civil disobedience tactics like obstructing traffic, NYPD officers quickly arrested them.

In 1969, the Communications Workers of America (CWA), backed by the AFL-CIO, went on their first national strike since 1947. AT&T had refused their demands for a cost of living adjustment as well as payments to cover health care premiums. Bad weather didn’t stop hundreds from picketing in downtown Manhattan for days on end, drawing on laborers from all parts of the City. The rain also didn’t stop a robust NYPD response. Just like with the Downstate Hospital construction site, the NYPD arrested scores of strikers. Unlike the Downstate strikers whose demands were not met, the CWA workers were successful. After 12 days, AT&T met their demands in full.

Transport Workers Union of America, N.D. The earliest NYPD surveillance film documents a TWU strike from the early 1960s. NYPD film collection, NYC Municipal Archives.

On his first day in office, January 1, 1966, Mayor Lindsay was confronted with a transit strike, one of the most consequential labor actions in City history. In 1958, Mayor Wagner gave public employees the right to collective bargaining. Wagner formed a close working relationship with Michael J. Quill, head of the Transport Workers Union, and together they avoided any significant stoppages in public transportation during his three terms in office (1954-1965). However, as a mayoral candidate in the 1965 election, John Lindsay campaigned against such arrangements, accusing the City and the unions of corruption.

The twelve-day1966 Transit Strike spurred creation of the Public Employees Fair Employment Act, more commonly known as the Taylor Law. The new Law introduced a framework for public employee unions to negotiate their demands with the City, imposing harsh penalties if they went on strike. The most recent City transit strike in 2005 resulted in fines to the Transport Workers Union of $1 million for every day of the strike. Laws like the Taylor Law exist in most states, severely curtailing the ability of public employees to strike for wage hikes and improved working conditions.

The NYPD was not above conducting surveillance on their own union, then called the Patrolmen’s Benevolent Association, now the Police Benevolent Association. In 1968 and 1976, the PBA demonstrated for higher wages and better hours. Along with signs making their demands clear, the demonstrators added effigies of Mayor Lindsay and coffins symbolizing fallen police officers and the dangerous working conditions that NYPD officers faced. In 1971, the NYPD engaged in a mass work stoppage involving 20,000 officers calling in sick when their request for a wage increase was denied. But why call in sick instead of striking? The answer is the Taylor Law. As described above, the law prevented police officers, like all public employees, from going on strike. And if they did take this action, they would face heavy fines and jail time.


 The Municipal Archives transferred the surveillance films from the NYPD photography unit in 2015 as part of a larger collection of photographic materials including glass, nitrate, acetate and polyester-base negatives and silver-gelatin prints. Many of these images are also available in the digital gallery

Digitization of the NYPD films was supported by a grant from the New York State Archives’ Local Government Records Management Improvement Fund. The films were scanned to create digital video files in .mov and .mp4 formats for master and access versions, respectively. Future blogs will highlight newly digitized footage from the Archives’ moving image collection that will be added to the digital gallery beginning in October.  

Transcribing the Messages Written on September 11 Memorial Supports

Archivists gather materials left in one of the temporary reflecting pools constructed on the footprint of  the South tower of the World Trade Center. September 11, 2008. Photographer: Michael Lorenzini, NYC Municipal Archives

Archivists gather materials left in one of the temporary reflecting pools constructed on the footprint of the South tower of the World Trade Center. September 11, 2008. Photographer: Michael Lorenzini, NYC Municipal Archives

The New York City Department of Records and Information Services (DORIS) offers internships to high school and college students throughout the year. This summer DORIS partnered with the New York City-based non-profit organization, PENCIL, to again participate in their internship program. PENCIL’s internship program matches interns with local organizations and businesses to provide career readiness training, connections to professional mentors, and a paid summer internship. In return, the organizations and businesses benefit from the work completed by the interns and from the relationships fostered with the intern and wider community.

The Municipal Archives hosted PENCIL intern Saadia Islam to begin the transcription of the messages written on supports from September 11 anniversary commemorations. The September 11 memorial transcription project is an ongoing project initiated this summer that will conclude when all of the written messages are transcribed.   

The Municipal Archives holds numerous collections documenting the aftermath of the September 11 attacks, including wooden beams inscribed with messages.  Comprising fifty-six pieces, they are the wooden supports for the temporary reflecting pools that were constructed on the footprints of the two World Trade Center towers destroyed by the attacks on September 11, 2001. Prior to the opening of the 9/11 Memorial and Museum, anniversary the temporary pools were the location of memorial services held for the families who lost loved ones.  Attendees left mementos such as stuffed animals, notes and flowers.  They also inscribed handwritten messages on the wooden supports. Municipal Archives staff collected many of the items and supports annually between 2002 and 2009  after each commemoration concluded.

Saadia Islam, July 2021.  NYC Municipal Archives

Saadia Islam, July 2021. NYC Municipal Archives

In 2020, DORIS hired photographer Stephen Mallon to document the messages written on the supports. In many instances the writing is fading and preserving the information in digital images was the best preservation strategy. In 2021, in preparation for the start of the transcription project, Digitization Specialist, Matt Minor, meticulously numbered each message inscribed on the supports. With each inscription assigned a number, Saadia worked within a spreadsheet to transcribe more than 450 messages.  The transcriptions completed by Saadia form the background of a banner that will be displayed at the non-profit Photoville event that opens in September, “Messages to Those We’ve Lost: 9/11 Memorial Railings.”

Staff archivist Patricia Glowinski talked with intern Saadia Islam about her project:

PG: Tell me about your background, how you became a PENCIL intern, and why you were interested in working at the New York City Municipal Archives for your internship? 

SI: I graduated from Boston University this May with a double major in International Relations and Linguistics. I originally went in as an IR major, but I was always intrigued by language and the power of it, so I took an introduction to Linguistics class. I fell in love with it and decided that the hassle of overloading on credits for 2.5 years was worth adding Linguistics as my second major.

I actually have worked with PENCIL in the past and first heard about it through a friend. It is a great program with incredible summer internship opportunities for students. Since I did not want to jump straight into a full-time job after graduating because I wanted to dedicate a good portion of my time to studying for the LSAT, I thought that finding an internship through PENCIL would be a good option. Through PENCIL, I was able to find the transcriber internship at the Municipal Archives. I was always aware of the deep and rich history of New York, being born and raised here. I knew that there were archives in the city, but I never ventured into it in the past since I never realized that it was open to the general public. When I heard about the position at the archives, I was ecstatic about getting a deeper understanding about archives and getting the experience working for one. Having the chance to work with texts and historical documents seemed like a dream job for me and I could not have asked for a better internship experience.

PG: You have previously worked at that Lighthouse Guild International as an intern/teaching assistant where you gained skills as a trained sighted guide, reader, and notetaker. Has this experience informed your work transcribing the handwritten notes on the memorial risers for the Municipal Archives?

SI: It definitely has! I developed many skills that could be translated into the work I did for the Municipal Archives through working with visually impaired adults looking to go to college (or go back in some cases). For example, it was imperative that I refrain from adding myself into anything that I may have been typing up or writing down for them when working with the adults. It is a task that requires a great deal of patience and cognizance because it is easy to input oneself into anything that one does without realizing it. I was able to translate this skill into my transcription work. Preserving the content in its original state without any sort of modification from myself meant that I had to pause and take care to authentically replicate what I saw whether it was incorrect spelling or a lack of punctuation or grammar rules.

PG: Tell me more about your project.  What has been the biggest challenge? What has been the most surprising/interesting?

SI: I worked on transcribing messages from loved ones of those who were lost during 9/11. There are wooden beams where family and friends can write messages every year on the anniversary. Since I was working remotely, I used high definition photos of the beams to transcribe what was written down.

The biggest challenge was the overwhelming sense of grief and the gravity of what I was transcribing. The families went through tremendous loss. Seeing pure grief and sorrow is always hard, I can only imagine the magnitude of it for those who lost someone. Something that I did not expect from this experience was to somehow get to “know” the victims through different family members or friends’ eyes due to there often being multiple messages addressing each person. I felt like this allowed memories of them to live on and never forget.

PG: Because of the Covid-19 pandemic your internship has been completely remote apart from one site visit and tour of the New York City Municipal Archives. How has this experience been for you? Has there been challenges and/or benefits?

SI: Shifting into working remotely has probably been strange for most people but it does have its benefits. I am grateful for the opportunity of being able to go in for a site visit and tour since it helped me ground my internship experience physically. Working completely online with digital images can become monotonous or tiring in long intervals and it is easy to lose sight of what one works on, but the tour helped solidify the feeling of actually working with archives.

One challenge I had was the legibility of the handwritten messages. There was a lot of messy handwritings which could be deciphered but the digital images sometimes limited the legibility of faded notes or smudged notes because of the pixilation. I am usually good at being able to read just about most handwritings, but I think it is a bit different and more helpful to be able to manipulate the object with the text physically. Nonetheless, the photos were of great quality for the most part and working remotely has been a good experience. I do like the added perk of working in pajamas all day!

PG: Now I am going to put you to the ultimate archivist challenge! During your internship you have been reading about what archives are and what archivists do. As archivists, we try to have an “elevator speech” ready to explain to others what archives are, what archivists do, and (most importantly) why archives matter. Basically, it’s a concise statement that could be expressed in the time it takes to ride an elevator with someone, say thirty seconds or so. What would be your elevator speech about what archives are and why they matter?

SI: Archives are generally somewhere where information, resources, and primary sources are gathered and preserved by archivists. There are many different types of archives and most contain sources of historical records and documents or anything of value that archivists organize and keep in as best condition as possible for anyone looking to access the information. It is essential for maintaining a comprehensive historical record and to learn about and from the past.

The Municipal Archives is grateful to Saadia for her work on the first phase of the transcription project.  We are recruiting volunteers to assist in transcribing the content of the remaining supports.  As she noted, the contents are very moving and important to preserve. We welcome volunteers to engage with the transcription project.

The 1968 Labor Day Parade

The NYPD Surveillance Film collection has it all—environmental activists, antiwar protestors, elected officials, Black Panthers. There is even a film documenting a Labor Day parade complete with burlesque performers, horses and political candidates.

Labor Day is a national holiday because at one point, our national leaders believed that honoring working people was the right thing to do, as well as smart politics. Labor unions were a force to be reckoned with. After peaking at 35% in 1954, union membership in the United States has declined to 10.8% in 2020, according to the latest estimate from the Bureau of Labor Statistics.

In New York City, union membership has held at about 22%, partly thanks to Mayor Wagner’s 1958 Executive Order No. 49, which gave many municipal employees the right to collective bargaining. Likewise, participation in New York City’s annual Labor Day parade has waxed and waned in concert with the level of union employment.

Recently digitized film footage of the 1968 Labor Day parade in the Municipal Archives collection vividly illustrates this history. On September 3, 1968, the New York Times reported that 125,000 marchers participated “….in a long and spirited Labor Day parade up Fifth Avenue.” With the presidential election that year just two months off, Democratic candidate Hubert Humphrey took the opportunity to connect with voters along the parade route. The Times article added that President Richard Nixon spent the day working in his apartment at 812 Fifth Avenue, “… within earshot of the day long marching brass, fife and drum corps and bagpipes.”

The parade occurred just days after the conclusion of the bloody 1968 Democratic National Convention in Chicago. Some New Yorkers were not happy that the “Happy Warrior” presidential candidate was walking in their midst.  Like true New Yorkers, they made their opinions known.

Take a moment or two this Labor Day holiday weekend to view footage of the 1968 Labor Day Parade in the Archives collection  gallery .   

Powered by Squarespace