In 1988, director Elia Kazan recalled a story in which he and Broadway scenic designer Boris Aronson drove cross-country together on a research trip for their latest theatrical collaboration. According to Kazan, as they entered New Mexico, Aronson pointed to a single tree growing atop a chain of hills barren of any other vegetation and said, “Without this tree, these hills would not exist.” As single elements, neither the tree nor the hills attract notice. But when taken together, it is the tree that draws the eye to the hills, bringing them into focus, making them relevant.
It Was Vulgar and It Was Beautiful: How AIDS Activists Used Art to Fight a Pandemic
Reviewed By Ivan Bujan
In a recent conversation with my students in my undergraduate course that explores the politics of pleasure, the class reaffirmed my belief that the current US sex education still gives little practical information about sex and sexuality, largely reinforcing the Victorian myths about abstinence, monogamy, and reproduction. One student had not heard about HIV/AIDS or its history before coming to college. Only a few had heard about Gran Fury and AIDS Coalition to Unleash Power (ACT UP) and their importance in the history of contemporary politics of sexuality.
Henry Collins Brown and the Museum of the City of New York
By Claudia Keenan
Since at least the turn of the 20th century, New Yorkers raised the possibility of establishing a city museum. In 1904 when subway excavations at Bowling Green turned up a stone from the early 17th-century Fort George, a local author named Charles Hemstreet opposed giving it to the New-York Historical Society. “Once in the possession of the Society,” he told a reporter, “it would be as inaccessible to the general public as if it had been left in its underground resting place.” He urged the creation of a “municipal museum.”
Since the late 1950s, New York City has been an epicenter of rumba outside Cuba. For more than six decades, a rumbacircle in Central Park has embraced those of African descent from Spanish-speaking islands (Cubans, Puerto Ricans, Dominicans) and Latin America (Panamanians, Colombians), local African Americans, AfroLatinxs (Nuyorican, NuyoDominicans, Cuban Americans) and those from other diasporas including American Jews. A focus on Central Park rumba illustrates the intricacies and ancestral functionings of the African Diaspora present in contemporary New York.
“Mortars over Stapleton Heights”: Audre Lorde on Staten Island
By David Allen
In the poem, “On My Way Out I Passed Over You and the Verrazano Bridge,” Lorde contemplates leaving Staten Island where she had lived for nearly thirteen years. Her connections to the place were complex, bringing together her love of nature, her need for a place to write and work, to be with her lover and her children, as well as with other poets and activists. All these had come to pass within a social and political climate inscribed with racism, homophobia, and violence.
Soyica Diggs Colbert’s Radical Vision eschews a traditional biographical account of artist-intellectual Lorraine Hansberry. Regarding Hansberry’s oeuvre as a “writing of her life,” Colbert asserts, that Hansberry used her work to creatively imagine an alternative way of being in the world through global collective emancipation. Thus, her writing was a source of her becoming in a world that persistently misunderstood — “misapprehended” — the playwright as well as her work.
Interview: Bob Santelli on the “Songwriters Hall of Fame Experience” Exhibit at the GRAMMY Museum
Bob Santelli interviewed by Ryan Purcell
What makes great music? What gives it power to sway our hips and emotions? These are some of the questions behind the Songwriters Hall of Fame Experience exhibit at the CUNY Graduate Center. Founded in 1969 by songwriter Johnny Mercer, the Songwriters Hall of Fame (SOHF) has celebrated the work and legacy of some of the most significant songwriters in American popular culture. The esteemed ranks of SHOF’s inductees include prolific teams such Rogers and Hammerstein (who helped compile the Great American Songbook), and Holland-Dozier-Holland (the songwriting engine that drove Motown), as well as solo songsmiths from Carole King to Mariah Carey.
“Never No Wells of Lonelinesses in Harlem:” Black Lady Lovers in Prohibition Era New York
By Cookie Woolner
In 1928, the British novel The Well of Loneliness by Radclyffe Hall was published in the United States, which brought conversations on the topic of lesbianism into the mainstream like never before. The book was one of the first on the subject written by someone who openly identified as queer. Although the novel was deemed controversial and became the object of censorship trials in the United States and at home in Britain, this notoriety helped it become a best seller in bookstores nationwide, including in Harlem. In February 1929, African American journalist Geraldyn Dismond reviewed the annual masquerade ball at the Hamilton Lodge, which had become one of the preeminent institutionsof queer life uptown.
The Complicated Legacy of Paul Moss, La Guardia’s Infamous “Gutter-Cleaner”
By Jonathan Kay
Outside the conference room at the Bow Tie Partners offices in Times Square, there is a framed letter, dated September 5, 1944, addressed to one “Master Charles B. Moss, Jr.” — the grandson of legendary New York City film exhibitor B.S. Moss (1878-1951), who still presides over the family film and real-estate business.
“The Avant-Groove”: Excerpt from No Sounds Are Forbidden
By Matthew Friedman
Morton Subotnick arrived in New York in the fall of 1966 already a giant of the burgeoning avant-garde music scene. Together with composer Ramon Sender, a tape recorder, scattered equipment borrowed from a local high school or through a fortuitous connection with the local Ampex representative, and support from Mills College, he had built the San Francisco Tape Music Center into a force in electronic music rivaling the Columbia-Princeton Electronic Music Center (CPEMC), uptown.
