The Chinese Lady: An Interview with Nancy E. Davis
Interviewed by Hongdeng Gao
Today on the blog, editor Hongdeng Gao speaks to Nancy E. Davis about her recent book, The Chinese Lady: Afong Moy in Early America. Through creative use of disparate sources from many years of research, Davis captures the experiences of Afong Moy — the first recognized Chinese woman to arrive in America — as she introduced exotic goods from the East, as well as Chinese life, to the American public. The book provides rich insights into how Afong Moy’s presence changed Americans’ views of China and influenced American popular and material culture. It also sheds light on New York City’s role in the early US-China trade and the rise of the global marketplace.
The First Cinemas in Black Harlem: A Look at the Silent Film Era, 1909-1926
By Agata Frymus
The history of cinemas in Harlem is as old — or, in fact a few years older — than its history as a lively center of Black life. Movie houses that opened their doors to African Americans in the late 1900s and early 1910s offer a fascinating insight into the history of Harlem’s residents.
The Pornographic Archive and New York City History
Reviewed by Jeffrey Patrick Colgan
Certain significant portions of New York City’s history are indelibly linked to the production and consumption of hardcore pornography, and, conversely, the history of hardcore is without a doubt indebted to the city’s artistic, cultural, and economic history. Following the 1957 Roth v. United States ruling — which concerned New York City bookseller Samuel Roth and resulted in a narrower definition of obscenity — a series of Supreme Court decisions liberalized the production and exhibition of pornography and ushered in the so-called Golden Age of Porn. New York City was at the center of this pornographic revolution, where movies with explicit penetrative sex (aka hardcore) received wide, albeit controversial, theatrical distribution.
“The presentation of the civic and commercial life of the city”: May King Van Rensselaer and the founding of the Museum of the City of New York
By Alena Buis
At the January 2, 1917 annual meeting of the New-York Historical Society (N-YHS), May King Van Rensselaer (1848-1925) delivered a passionate speech. Addressing the organization’s staid (and at that point startled) representatives she proclaimed: “I have been attending the meetings of the New-York Historical Society for nearly three years, and have not heard one new or advanced scientific thought, although many distinguished scholars have visited the city.”
Marriage, Failure, and Exile: H.P. Lovecraft in New York
By David J. Goodwin
Horror writer H.P. Lovecraft is identified with his native city of Providence, Rhode Island and greater New England. That region — its geography, architecture, history, and lore — stood as the primary connective tissue of many of his best conceived and most popular stories, such as “The Dunwich Horror,” “The Colour Out of Space,” and “The Whisperer in Darkness.” Lovecraft once declared, “Few persons have ever been as closely knit to New England’s rock-ribbed hills as I.” He spent all of his adult life living and writing in a single Providence neighborhood with one notable exception — his two years in New York City between 1924 and 1926.
“She Wiggled Her Body in the Most Suggestive and Obscene Manner”: Sexuality and Respectability in the West Indian Labor Day Parade
By Marlene H. Gaynair
During the long 20th century, Caribbean carnival traditions and celebrations dispersed throughout the Atlantic World as West Indians migrated and settled in new locales. Carnival was not just limited to the Lenten period like in Trinidad and Tobago, Brazil, and New Orleans, but also took place around August 1st in the British Caribbean diaspora as a celebration for harvest and Emancipation. In New York City, the significant Caribbean community would recreate carnival celebrations in Trinidad and Tobago as the world-famous West Indian Labor Day Parade.
Eva Tanguay's Racial and Gender Iconoclasticism and the Making of “Personality”
By Jonathan Goldman
When Dorothy Parker wanted to dunk on Billie Burke’s performance in the new Somerset Maugham play, she called Burke's acting “an impersonation of Eva Tanguay.”The reference may be obscure now, but it was not then. In January 1920, Tanguay had been a New York fixture and international celebrity for over fifteen years. Crowned “Queen of Vaudeville” by an infatuated press, from 1905 on she commanded her industry's highest salaries.
A Sound as International as the City Itself: A Review of Benjamin Lapidus' New York and the International Sound of Latin Music, 1940-1990
Reviewed by Matthew Pessar Joseph
New York and the International Sound of Latin Music boasts an ambitious title. Yet Benjamin Lapidus’s history of Spanish Caribbean music in Gotham does not disappoint. By exploring overlooked Cuban, Puerto Rican, Panamanian, and Jewish performers, dancers, music teachers, and instrument builders, the author shows how between 1940 and 1990 New York served as a transnational mecca for Latinx music.
Freedom Songs: Socialist Multiculturalism and the Protest Lyric from Percy Shelley to Chaim Zhitlovsky
By Benjamin Schacht
As protests exploded around the United States in the wake of the excruciating police murders of George Floyd and Breonna Taylor last June, the venerable New York City-based Yiddish daily the Forward ran a story with the headline “‘We Shall Overcome’ sung in Yiddish.” Highlighting the ongoing dialogue between American Jews the civil rights movement, the article mostly focused on a recently adapted Yiddish version of the classic civil rights anthem. But it also touched on a somewhat more obscure Yiddish contribution to the movement, Un du akerst, un du zeyst (“And you plow, and you sow,” also known as “The Hammer Song”), a song that Theodore Bikel performed for a movement audience in the early 1960s.
Dismantling Jim Crow from the Stage: A Review of The Civil Rights Theatre Movement in New York, 1939-1966
Reviewed by Madeline Steiner
Back in the olden days, before the global spread of COVID-19, when we could freely attend live theatre, I was fortunate enough to see the 2011 revival of Alice Childress’s play Trouble in Mind at Arena Stage in Washington, DC. Written in 1955, the play, a metatheatrical commentary on Black civil rights, contains a complex message about racial representation, whites’ complicity in upholding racist institutions, and a critique of civil rights plays from earlier in the 20th century. Over half a century after it was written, the play is still quite stirring and its civil rights message feels unfortunately just as relevant now as at the time of its writing.
