Frances Goldin and the Moses Threat to Cooper Square
By Katie Heiserman
Less remembered than her West Village counterpart Jane Jacobs, Frances Goldin deserves attention and further study as a model of both forceful and joyful neighborhood organizing. An activist with a distinctive style, she brought the community together and sustained engagement over many years. In her 2014 oral history interview with Village Preservation, Goldin highlighted the egalitarian, community-centered approach at the core of her work with CSC: “Fifty-nine years ago, dues were a dollar a year, and today, dues are a dollar a year.”
Staged News: The Federal Theatre Project’s Living Newspapers in New York
Review By J.J. Butts
Jordana Cox’s excellent study Staged News: The Federal Theatre Project’s Living Newspapers in New York explores the history of the New York Living Newspapers (NYLN) unit, revealing its complex engagement with news and performance. The focus on journalism within the FTP separates her book from many others on New Deal writing and performance arts. Scholars highlighting the value of the FTP and Federal Writers’ Project (FWP) have often made a case for them around the artistic innovations or careers they nourished. However, journalists constituted one of the major categories of writing professionals seeking work relief, and journalism prepared them for the kinds of fact-based work that typified many of the FTP and FWP productions. In consequence, Cox’s focus on the way the newsroom shaped and was reshaped by the Living Newspapers refreshingly spotlights a crucial element of the story of New Deal culture.
The “Puerto Rican Problem” in Postwar New York City
Review By Kenneth M. Donovan
Perhaps most significantly, the book sheds light on how ideas about Puerto Ricans and Puerto Rico itself were constructed and incorporated into public policy and popular culture. According to Meléndez, those ideas have had staying power. As the island of Puerto Rico faces ongoing challenges in the present, from crippling debt to the privatization of its electric power, it seems that, to quote Melendez, “the ‘Puerto Rican Problem’ has not disappeared. It has simply changed shape.”
A Pathfinder in the Village: Buffy Sainte-Marie on Building a Career in New York’s Folk Music Revival
By Christine Kelly
Even as the Village proved a less inclusive environment than its outward appearance suggested, Buffy Sainte-Marie effectively harnessed the resources available to her as an up-and-coming artist in the heart of the national folk scene in order to craft a stage persona that resisted gender and race-based stereotypes, garner and maintain creative and commercial success, and use her popularity to raise awareness of dire needs among Indigenous communities across North America in an era of racial reckoning and social change. By making the most of her time in New York – an experience marked by the artist’s fascination with the rock and rhythm and blues shows of 1950s Brooklyn as much as the Village performances of the 1960s folk era – cultivating allies among fellow artists, and supporting Indigenous causes, Buffy Sainte-Marie charted a rare path forward as an influential artist and activist whose story paints a complex portrait of New York’s folk revival and the creative influences, cultural locations, and power brokers that shaped it.
Walkers in the City: Jewish Street Photographers of Midcentury New York
Review by Daniel Morris
In an homage to a space and time that have passed, but that remain as traces in the vivid depictions on display in this handsome and informative volume, Moore offers a love letter to photographers who looked past ideological doctrine (worker strikes and political protests are set aside) to teach viewers and to remind themselves how to regard their fellow New Yorkers with the dignity of concerned attentiveness.
Streets in Play: The Playstreets Photography of Katrina Thomas
By Rebekah Burgess and Mariana Mogilevich
Photographs of recreation programs like this one were commissioned to offer visual proof that, after four summers of nation-wide protest and violence, starting in Harlem and Bedford-Stuyvesant in 1964, the city was compensating for a long-term lack of investment in low-income, racially segregated neighborhoods…. A few of Thomas’ images were utilized for official purposes, reproduced in pamphlets to attract or to thank program sponsors, but her exceptional eye transcended the municipal task. Her lens recorded the city's sponsored activities as well as the more candid action at the edge of the frame. These captivating, impromptu images provide a rare perspective on a distressed urban landscape, privileging a child’s-eye view of the possibilities for play and delight.
Boy with the Bullhorn: A Memoir and History of ACT UP New York
Review by Rachel Pitkin
In six parts, Ron Goldberg’s Boy with the Bullhorn: A Memoir and History of ACT UP guides readers through what can often seem like a dizzying terrain of AIDS-related political networks, medical jargon, and direct-action campaigns. The tour is intimate and strikingly honest. Goldberg, a self-described unsuspecting activist, charts his growth from an aspiring theater actor to core ACT UP member and finally—with the publication of The Boy with the Bullhorn—to a “witness.”
Ono’s earliest performances took place in the Chambers Street Loft Series, which featured artists who had met in [John] Cage’s composition class at the New School. For this performance series, Ono conceived the idea of renting the loft of a hundred-year-old Italianate commercial building in Tribeca and paid the $50.50 monthly rent. Ono co-organized the series with the composer La Monte Young. Nonetheless, her works did not appear formally on the series program. And Ono found herself denied credit for her role in organizing and producing the series, which Young claimed as solely his own in the series invitations, programs, and oral history….Ono creatively responded to the challenge of her own noninclusion by staging dramatic guerilla performances.
Grand Emporium, Mercantile Monster: The Antebellum South’s Love-Hate Affair with New York City
Review by Emily Holloway
In 1788… a mere 62 bales were shipped to Europe via New York, compared to 153,757 less than thirty years later (2)….Despite the lengthy and arduous journey, tourists, planters, and writers flocked to the city... During their visits, these elite southerners – many of whom owned cotton plantations -- were rubbing elbows with New York’s mercantile and financial leaders,… The close social ties that developed between these classes built on their intimate financial connections through cotton… southern writers remarked critically on the vast economic inequality on display throughout the rapidly growing city, a characteristic they frequently tied to the machinations of industrial capitalism. This critique was frequently deployed as a reaction to northern abolitionist sentiments, a false equivalence between the ravages of industrial “wage slavery” and the racist violence of plantation slavery.
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.
