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.
Excerpt From New York Women of Wit in the Twentieth Century
By Sabrina Fuchs Abrams
The question remains, why does women’s humor continue to be overlooked and undervalued? And why did these New York women of wit feel the need to mask their social critique through humor? The primary resistance to women’s humor goes back to false assumptions about feminine versus masculine behavior associated with the expression of intellect, aggression, and humor. Women were not supposed to “get” jokes, and they were certainly not expected to tell jokes.
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.
Musical Migration and Imperial New York: Early Cold War Scenes
Review by M. Syd Rosen
Musical Migration and Imperial New York contends that by understanding how experimental music was enlisted in the American imperial project—indeed, by examining how such music co-produced this project—we might better understand the complicated ways in which creative experimentation is entangled with questions of identity and institutional power. The author is well aware of the scale of her task, which investigates how “state ambitions on a planetary scale” resulted in experimental music operating as “a force field of US global prestige and power.”
Saving the Bronx River: An Excerpt From South Bronx Rising: The Rise, Fall, and Resurrection of An American City
By Jill Jonnes
Until the 21st century, few residents of New York City, much less the South Bronx, even knew there was a Bronx River, the City’s only river. And why would anyone know? For more than a century, the banks and flowing waters of the lower Bronx River had long been largely fenced-off and out of sight behind an almost-solid wall of riverfront factories, gargantuan scrap metal yards, sprawling warehouses, and parking lots (including, starting in 1967, the massive Hunts Point wholesale food market). The lower five miles of the twenty-three mile river below the New York Botanic Garden and Bronx Zoo served as an industrial dump and sewer, its few access points blocked by gigantic mounds of submerged cars, worn-out tires, less identifiable garbage, and rusting junk…
From roughly 1850 to 1950, Fulton Market would dominate wholesale fish provisioning in the United States and much of the country’s fish would pass through Fulton…As the market supplied itself from more distant locales, Fulton’s ecological impact widened. … wholesalers had to look further and further away and develop more and more complex means of preserving and moving fish. … the length and complexity of this process served to obscure the ecological impact of food—consumer appetites were, after all, destroying ecosystems a world away.
The Sewing Girl’s Tale: A Story of Crime and Consequences in Revolutionary America
Reviewed by Carolyn Eastman
It isn’t easy to read the story of a seventeen-year-old girl from a modest family raped by a wealthy and politically well-connected man. Making it even harder to read is the fact that when she chose to charge him with the crime, he and his lawyers accused her of lying, promiscuity, and greed. …The Sewing Girl’s Tale doesn’t hold back … the horrific implications of the crime, nor from tracking the painful modern-day resonances of this story… a powerful narrative about early New York City chockablock with extraordinary details drawn from an enormous range of archival and literary sources, a story that only becomes more compelling over the course of the book… for those of us fascinated by the history of New York, this book is irresistible.
Bob Dylan first set foot in the Village in 1961, and even as he continues to make music, you can argue that his Greenwich Village years in the 1960s were a formative period in his life and work. Dick Weissman’s new book, Bob Dylan’s New York: A Historic Guide, published by the State University of New York Press, helps fans and students of Dylan walk the streets where his career took off.
