By Morgen Stevens-Garmon
There is a statue in Times Square that stands on the north side of 46th Street between Broadway and Seventh Avenue; not the Father Duffy sculpture for which the intersection is named, but a slightly smaller work found to the south of the formidable World War I priest. This statue depicts the great American song and dance man George M. Cohan. Measuring a solid three feet taller than its subject did in life, the statue celebrates a man who composed, directed, produced, or starred in over 100 Broadway productions, making him the most prolific musical theater artist in history.
Today marks the 75th anniversary of George M. Cohan's death
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.
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