By Luke J. Feder
Over the past ten years, superheroes and comic books have had a meteoric resurgence within American culture. Superheroes have leapt from the pages of comic books; they appear regularly in blockbuster films (The Avengers and The Dark Knight), television shows (Daredevil, Arrow, and The Flash), and theatrical productions (Spider-Man: Turn Off the Dark). Even non-superhero comics and graphic novels, such as Robert Kirkman’s The Walking Dead and Alison Bechdel’s Fun Home: A Family Tragicomic, have achieved critical success and migrated to other mediums. Comic book conventions have expanded in scope and developed into pop culture extravaganzas that draw crowds of over 100,000 fans. Historians, philosophers, and literary scholars have also increasingly turned to comics as a subject of academic inquiry. Superheroes have become what legendary comic book writer and editor Dennis “Denny” O’Neil has termed “post-modern folklore.” Superman, Batman, Captain America, and others have, in effect, replaced “Paul Bunyan and mythic figures of earlier ages.”
This is the second in a series of posts about the New York Chamber Music Society. The first post explored the founding of the group. Future posts will look at the musicians in the group, its repertoire, and composers of the time. There will be a salon-style concert, commemorating the 100th Anniversary of the NYCMS’s first major performance, on December 20, co-sponsored by The Gotham Center and featuring the chamber music of Mozart, Bach, and Bax, plus a special piece written for the occasion. Email here for more information.
By Lisa A. Kozenko
This is the first in a series of posts about the New York Chamber Music Society. Future posts will look at the musicians in the group, its repertoire, and venues and composers of the time. There will be a salon-style concert, commemorating the 100th Anniversary of the NYCMS’s first major performance, on December 20, co-sponsored by The Gotham Center and featuring the chamber music of Mozart, Bach, and Bax, plus a special piece written for the occasion. Email here for more information.
By Jennifer Fronc
On September 28, 1912, George Francis O’Neill headed out to Marshall’s Hotel, a black-owned establishment that offered comfortable accommodations, delicious food, cold drinks, and hot jazz. Located in two neighboring brownstones in the heart of the Tenderloin district, Marshall’s Hotel featured live music and attracted throngs of fashionable New Yorkers -— both black and white -— every night of the week. Indeed, Marshall’s revolutionized social life for black New Yorkers, who began to abandon the older clubs downtown. According to James Weldon Johnson, by 1900 Marshall’s had become the center “of a fashionable sort of life that hitherto had not existed.” The “actors, the musicians, the composers, the writers, and the better-paid vaudevillians” congregated at Marshall’s; white actors and musicians also spent evenings there in the company of their black friends. Luminaries such as Rosamond Johnson, James Reese Europe, Paul Laurence Dunbar, Florenz Ziegfeld, and W.E.B. DuBois all frequented the establishment. In short, Marshall’s Hotel was not a gin-soaked, rat-infested, honky-tonk, but an important gathering place for New York’s black cultural elite.
A Hot Supper and a Benevolent Berth: Brooklynite John Arbuckle and his Deep Sea Hotel, The Jacob A. Stamler
70 TO LOSE HOMES IN FLOATING HOTEL
The Good Ship Stamler, John
Will Be Dismantled.2
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