Island Gospel: Pentecostal Music and Identity in Jamaica and the United States
Review by Ray Allen
Writing about musical performance during the time of COVID-19 gives me pause, as it does, no doubt, for all of us who revel in live music. Whether we choose to raise our voices in praise of the deities or to drum and dance to the most sensual rhythms, the act of communal music making is, at its core, a celebration of our deepest humanity. Michael Butler’s Island Gospel is a keen reminder of this reality, and leaves us longing for the day when we can again gather in places of worship, dance halls, clubs, concert venues, and street fetes for the simple joy of making music together.
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The Toughest Gun Control Law in the Nation: The Unfulfilled Promise of New York’s SAFE Act
Reviewed by Andrew C. McKevitt
When Governor Andrew Cuomo pushed a new gun control law, the Secure Ammunition and Firearms Enforcement (SAFE) Act, through the New York State Assembly in January 2013, just a month after the tragic mass shooting at Sandy Hook Elementary in Newtown, Connecticut, critics said he acted in haste. Cuomo’s administration started drafting a bill before the New Year; it submitted the bill to the Assembly on January 13 and, utilizing a rare emergency measure, the governor signed it an incredible 18 hours later.
Read MoreThere Went New York; or What Is New York?
Reviewed by Mason B. Williams
New York is layered with ghosts. “It carries on its lapel,” E.B. White wrote, “the unexpungeable odor of the long past, so that no matter where you sit in New York you feel the vibrations of great times and tall deeds, of queer people and events and undertakings.” Holed up in the Algonquin Hotel, White compiled a brief compendium: “I am twenty-two blocks from where Rudolph Valentino lay in state, eight blocks from where Nathan Hale was executed, … thirty-four blocks from the street Willa Cather lived in when she came to New York to write books about Nebraska … (I could continue this list indefinitely); and for that matter I am probably occupying the very room that any number of exalted and somewise memorable characters sat in, some of them on hot, breathless afternoons, lonely and private and full of their own senses of emanations from without.”
Read MoreThe Enigma of Rescue: On a Recent History of the New School for Social Research
By Ben Wurgaft
The New School for Social Research holds a story of rescue dear. This is the tale of how its co-founder and first president, the economist Alvin Johnson, climbed a mountain of correspondence and paperwork to save scores of German scholars after Nazism’s rise to power in the early 1930s. Johnson saved lives and scholarly lineages. He also burnished the reputation of the institution he helped build, establishing a University in Exile (renamed the Graduate Faculty) within the New School itself. An academic institution in downtown Manhattan, equally committed to adult education and to using the social sciences to analyze all that is oppressive in social, cultural, and political life, the New School has — at certain moments in its history — embodied a set of egalitarian and progressive values. In 1918, the sociologist Thorstein Veblen published his The Higher Learning in America: A Memorandum on the Conduct of Universities by Business Men, in which he criticized academic institutions for defending the interests of the ruling class. He practically anticipated the 1919 founding of the New School in response to the actions of Nicholas Murray Butler, president of Columbia University, who had fired two faculty members for protesting the U.S.’s entrance into the war in Europe. Many elite academic institutions have flattering stories they tell about themselves. Some value their historical connections to wealth and power. Some value their political histories (“the Free Speech Movement happened here”). Some their famous former professors (“That was Foucault’s favorite sandwich shop”). The New School values its two foundations: on the basis of protest, in 1919, and on the basis of rescue, in 1933. In his memoir Kafka was the Rage, the writer and critic Anatole Broyard captured the way American students at the New School, after WWII, could turn the narrative of rescue into one of personal triumph: “We admired the German professors. We had won the fight against fascism and now, with their help, we would defeat all the dark forces in the culture and the psyche.”
Read MoreBattling Bella: The Protest Politics of Bella Abzug
Reviewed by Dylan Gottlieb
“She is loud. She is good and rude,” wrote Jimmy Breslin, the redoubtable New York newspaperman. Like “a fighter in training,” he continued, Bella Abzug was “pushing, brawling, poking, striding her way toward the Congress of the United States.” In the 1970s, as New York approached its nadir, Abzug emerged onto the political scene as a pugilist for the people: a “tough broad from the Bronx” (to borrow the title of another biography), whose combative style and populist message fit the tough times.
Read MoreHorace Greeley: Print, Politics, and the Failure of American Nationhood
Reviewed by John Bugg
How many New Yorkers could identify the large, weathered bronze statue of a journalist with a newspaper open across his lap that sits in City Hall Park, just off Chambers Street? Probably no more or less than could identify the equally imposing bronze statue of the same journalist, nestled in the park that bears his name on 32nd Street and Broadway, clutching a rolled newspaper at his side. The fact that Horace Greeley is honored by two large memorials in New York City testifies to his massive importance to the city’s history. That Greeley is hardly a household name in 2020, meanwhile, reveals that unlike other major figures in the history of New York, and unlike other prominent agents in the abolition movement, Greeley’s fame has receded sharply in the modern era. Receded, but not vanished: Greeley continues to appear in scholarly accounts of the importance of the press during the Civil War, and every few years he is the focus of a book-length study. He even made a cameo, trademark unkempt white hair and all, in Martin Scorsese’s 2002 Gangs of New York (based on Herbert Asbury’s 1928 book of the same name). Scorsese shows Greeley both walking through the notoriously violent “Five Points” and lounging in an opulent billiards room: though brief, these scenes together show Greeley’s presence in New York City as a kind of bridge between very different loci of power.
Read MoreThe Women of Atelier 17: Modernist Printmaking in Midcentury New York
Review by Jennifer Farrell
While there is certainly no dearth of scholarship on midcentury art in the United States, especially work made in New York City, this informative and important new book proves that there are still many areas in this period which demand further study. In The Women of Atelier 17, the independent historian Christina Weyl closely examines a world largely ignored in both art history and cultural studies—modernist printmaking and work done by female artists at the celebrated print studio when it operated in Gotham. Using archival sources, interviews, skillful visual analysis, as well as literature from a variety of fields (including art history, women’s studies, cultural studies, history, sociology, and other subjects), she considers both their work and influence, in this particular field and beyond it.
Read MoreStirrings: How Activist New Yorkers Ignited a Movement for Food Justice
Reviewed by Nevin Cohen
It is impossible to read Stirrings: How Activist New Yorkers Ignited a Movement for Food Justice in the midst of the 2020 Democratic primaries without drawing comparisons between the tensions faced by the food justice pioneers profiled in Lana Dee Povitz’s history and the very different visions of social change articulated by the two candidates. Bernie Sanders’s case for the radical transformation of an unequal and unjust economic and political system seems diametrically opposed to Joe Biden’s more conservative approach, emphasizing incremental change within existing institutions. Their ideologies seem irreconcilable. But as the organizations profiled in Lana Dee Povitz’s compelling history of food activism illustrate, on the ground social change is more nuanced and complex than the Sanders/Biden schism suggests.
Read MorePublic Works: Reflecting on 15 Years of Project Excellence for New York City
Reviewed by Fran Leadon
“Public Works: Reflecting on 15 Years of Project Excellence for New York City,” on view at the AIA Center for Architecture, on LaGuardia Place, (before the Center closed for COVID-19) is a tiny exhibition about a big idea. In 1996, during Rudy Giuliani’s first term as mayor, the city created the Department of Design and Construction (DDC) in order to unify construction programs that had previously been scattered through the Transportation, Environmental Protection, and General Services departments. In 2004, under Mayor Michael Bloomberg, the DDC started a program called “Project Excellence” (also, confusingly, referred to as “Design and Construction Excellence.”)
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