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.
Have you recently trekked to a farmers’ market for fresh produce? In this lockdown year, do you miss attending concerts at Carnegie Hall? A Broadway show? Have you enjoyed roaming through the romantic landscape of Central Park, or wandered the streets of the city’s historic districts? Do you go out of your way to experience the inspiring urban spaces of Grand Central Terminal? Are you invigorated when you head west to the Hudson River Park and marvel at the river’s recovery?
Down the Up Staircase: Three Generations of a Harlem Family
Bruce Haynes Interviewed by Tyesha Maddox
Down the Up Staircase: Three Generations of a Harlem Family tells the story of one Harlem family across three generations, connecting its journey to the historical and social forces that transformed Harlem over the past century. Bruce D. Haynes and Syma Solovitch capture the tides of change that pushed blacks forward through the twentieth century — the Great Migration, the Harlem Renaissance, the early civil rights victories, the Black Power and Black Arts movements--as well as the many forces that ravaged black communities, including Haynes's own. As an authority on race and urban communities, Haynes brings unique sociological insights to the American mobility saga and the tenuous nature of status and success among the black middle class.
New York: Where the Rich Get Richer and the Poor Get… Art?
Reviewed by Alexis Monroe
The class divisions inherent in the New York art world which Rachel Klein deftly identifies in her book are all too persistent today. Art Wars: The Politics of Taste in Nineteenth Century New York promises a history of taste fundamentally informed by class tensions and sectional strife. Klein crafts this history around three case studies, which she sees as defining events in the 19th-century art world: the collapse of the American Art-Union in 1852, the controversy in the mid-1880s around the Cesnola collection at the Metropolitan Museum of Art, and the push in the mid-1880s to open the Met on Sundays.
Clifford Mason’s Macbeth in Harlem traces how African-American theater artists shaped theater in the United States, beginning in the early 19th century and ending in the mid-20th century. Mason reveals how events gave rise to different Black performers and movements, beginning with Harlem’s particular contributions to Broadway and concluding with a discussion of the post-World War II conditions that gave rise to Lorraine Hansberry’s 1959 play A Raisin in The Sun.
From 1899 to 1914, people around the world gave over 12,000 animals to the New York Zoological Park in the Bronx (almost 5,000 of them were snakes). Donations to the zoo fulfilled two purposes: they supplied the zoological park with more animals, and, perhaps more importantly, helped the zoo form a relationship with certain communities around them. This project is a focused look at a section of these animal donors, the people of New York City.
Prehistoric and Ahead of Her Time: Sapphasaura at the Museum of Natural History
By Rachel Pitkin
In the summer of 1973, members of the newly formed Lesbian Feminist Liberation (LFL) group were engaged in a unique construction project in the Upper West Side backyard of one of its members, Robin Lutsky. A physically onerous labor of love, the project unfolded over ten days of round-the-clock attention, a last-ditch protest effort to gain the attention of one of New York’s most celebrated yet controversial institutions: the American Museum of Natural History (AMNH).
