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Pasquale "Pat" Ciricillo (1907-1978) was a twentieth-century musician-teacher who incorporated multiple musical approaches in his work. Born to an Italian family in Cleveland, Ohio, Ciricillo's affinity for wide-ranging musicianship afforded him a storied career as a professional trumpet player in New York City. His success as a jazz, popular, and classical musician served as a catalyst for the latter part of his career, when he became a school music teacher who created innovative school curricula based on his extensive musical background. This biographical investigation features three distinct periods in Ciricillo's career: early life in Cleveland, Ohio (1907-1929); life as a professional performer in New York City (1929-1956); and life as a school music teacher in The Bronx and the Rockland County (NY) Schools (1956-1976). Of special interest are the intersections between Ciricillo's performer and teacher identities and the pedagogical practices that he enacted in the music classroom. Ciricillo's life and career hold implications for current and future teaching practices in school music programs. [ABSTRACT FROM AUTHOR]

Throughout his life, American artist George Luks (1867–1933) actively cultivated his public identity as a hard drinking, raucous symbol of old New York. Like his contemporaries associated with the Ashcan School, Luks both patronized and painted eateries known for inexpensive food and saloons with reputations for free-flowing beer and wine. He depicted and discussed these venues in paintings and in the popular press. Additionally, he saved commentary on these establishments in a clipping scrapbook, where he also kept art critics’ discussions of his work and exhibitions. Luks’s last series of paintings, Scenes of Revelry in Old New York, is an expression of two important publics the artist leveraged to disseminate and authenticate his carefully crafted identity: (1) the bars and cafés of New York City, and (2) the pages of periodicals and magazines. The posthumous publication of the series in Vanity Fair in 1934 presents Luks’s depiction of his experiences in a New York City at the turn of the twentieth century. The paintings, contextualized for the reading public by Benjamin DeCasseres, compress Luks’s memories of bars and cafés from decades past. In Scenes of Revelry and in his personal scrapbook, Luks utilized the bars and cafés of New York City, in addition to the pages of magazines and newspapers, as a venue to for the performance of his constructed self. [ABSTRACT FROM AUTHOR]

This article uses the history of Brooklyn's Truant School from its inception in 1857 to its demise in 1924 to highlight the interconnected rationales for public education and juvenile incarceration in nineteenth and early twentieth century urban America. Drawing on newspaper accounts and Board of Education records, I seek to historicize current understandings of the so-called school-to-prison pipeline by examining how the nation's modern penal and school systems were developed together during the antebellum and Progressive eras, not in tension, but as two sides of the same coin. [ABSTRACT FROM AUTHOR]

In the study of early silver owned by Monmouth County families, one piece stands out. It is a silver bowl with two handles and six panels that is monogrammed "VD / I M" for Jacob and Maritje Van Dorn and dated 1699. Of a form made in New York City between 1690 and 1720, a legend, first recorded in the early 20th century, accompanies the bowl. Descendants believed that it was a racing trophy awarded for winning a horse race held on King's Highway in Middletown Village. This article discusses the bowl, its form and function, descent in the Van Dorn and Conover families, early horse racing in America, an antiques dealer named Edna M. Netter who once handled it, acquisition by the Henry Ford Museum, and finally, the legend itself. [ABSTRACT FROM AUTHOR]

Shrinking cities are older urban settlements that played prominent roles in the industrial economies of developed nations, but have experienced substantial depopulation, economic contraction and undesirable physical change since at least the middle of the 20th century. To counter the problems that necessarily accompany massive depopulation, shrinking cities have aggressively used structural demolition as a right-sizing strategy. Right-sizing is both a policy objective and the set of strategies used to restructure the built environment of a shrinking city to meet its current needs, by aligning the supply of community assets (eg infrastructure, housing, services) with current and future demand. In practice, it appears that many shrinking cities equate right-sizing exclusively with large-scale demolition. The result is that demolition is implemented in a standalone fashion, which fails to meaningfully stem the tides of shrinkage and vacancy. This paper draws on a framework of strategic demolition for shrinking cities to analyse a well-publicised, 'signature' demolition programme in Buffalo, NY, USA. The critical analysis shows that Buffalo failed to take recommended actions that were within its reach, which likely contributed to perceptions that its signature programme was unsuccessful. The case study has several implications for planning and policy in shrinking cities. [ABSTRACT FROM AUTHOR]

This note is a follow-up to the article "Performing Communism in the American Dance: Culture, Politics, and the New Dance Group" which appeared in the 2008 Volume 7, #1 issue of American Communist History. It focuses particularly on the history of the New York City dance troupe New Dance Group (NDG) established by a group of six radical women in 1932 to promote dance which reflected revolutionary and working-class idealogies. The NDG ceased operations in 2009 and some of its choreographer/performers included Sophie Maslow, Jane Dudley, and Eve Gentry.

This paper examines the history of New York City’s Greenmarket program, a municipal farmers market program designed to bring fresh local food to New Yorkers as well as to prevent the loss of regional farmland to increasing suburbanization. In the 38 years since it was established, Greenmarket has expanded from a single location with 7 vendors to 195 vendors selling at fifty-three markets across all five boroughs. This paper traces tensions created by the program’s growth, its shifting place in the city’s food retail environment, and its current renewed commitment to the original goals. Drawing on primary documents, New York Times articles, and other popular press, this paper presents a comprehensive history of NYC’s Greenmarket, describes its unique position in New York City, and ability to serve as a model for other cities’ food planning efforts. [ABSTRACT FROM PUBLISHER]

This article aims to provide a clearer understanding of the emerging market for Islamic art in the early decades of the twentieth century through a study of the changing purchasing habits of one European collector, Calouste Gulbenkian, and specifically his acquisition of mīnāʾī ware. Such an approach allows for a coherent, focused study that engages with the leading dealers, agents, and auction houses of the time. These were located primarily in Paris and, to lesser extent, New York and London, in the key period during which the Islamic art market became a major part of the broader art and antiquities business. The main focus is on the shift from buying newly excavated fragmentary material from Armenian dealers to purchasing seemingly complete, but heavily restored, bowls from established collections sold at the leading auction houses. Each of the pieces in Gulbenkian's collection of mīnāʾī ware is examined in detail, and a new taxonomic classification is presented for this well known, but still poorly understood, class of Islamic ceramics. [ABSTRACT FROM AUTHOR]

This article illuminates what it was like for African Americans dining at majority-white restaurants in New York City before the Civil Rights Act of 1964. Primary sources include: records of the Committee on Civil Rights in East Manhattan (the CCREM, an organization that investigated New York restaurant and housing sector discrimination in the 1950s), the personal papers of the CCREM’s secretary, contemporaneous newspaper accounts of restaurant discrimination, and 1950s travel guides for African Americans. This article argues that unlike southern cities, where Jim Crow laws clearly demarcated color lines in public accommodations, color lines in New York City restaurants were more ambiguous. Although African Americans were frequently discriminated against in New York restaurants, they were seldom refused service outright. Rather, the discrimination they experienced was more oblique—though no less benign—than in the South. [ABSTRACT FROM PUBLISHER]

This essay revisits American artist Dan Graham's original motivations for the development of his long‐running series of pavilion sculptures. It explores their relationship to minimalist art of the 1960s and to the postmodern architecture of the 1970s and 1980s, before considering the implications of their large number and global spread for their current critical purchase. It is argued that the proliferation of Graham's pavilions across innumerable sites since the early 1980s augments their mimicry of corporate architecture, lending additional credence to existing claims made for his work as a critical parallel to wider architectural trends. This is especially the case in so far as contemporary corporate architecture itself, as a key expression of today's ruling logic of finance capitalism, is programmed to proliferate as a 'spatial fix' for capital's periodic crises of over‐accumulation, as a means to absorb surplus capital. [ABSTRACT FROM AUTHOR]

Surprising as it might sound, considering the known political history of the US, socialism managed to find a place in this busy environment as well. Jews were among the main contributors to the emergence of American socialism. Two of them were Abraham Cahan and Morris Hillquit. They had both come from Russia in the 1880s. They were both proud - though critical - American citizens and New Yorkers. Both were active within the Socialist Party of America and among the Jewish masses of New York. Yet despite their apparent cooperation, they were actually working for opposing goals. Cahan was using socialism as a tool for recreating a sort of 'spiritual ghetto' in the minds of his followers, while Hillquit was trying to use Yiddish socialism as part of his quest for a stronger and greater American socialism. The 1917 mayoral campaign allows us to form a better understanding of an enduring historical question, reflected in this political cooperation of divergent currents. [ABSTRACT FROM AUTHOR]

As the East's premiere socialist daily newspaper in English, The New York Call represented an important if struggling slice of a rich print culture that spread the socialist creed and sustained the faithful. This article uses the prism of The Call to consider functions of social movement media that, in contrast to mainstream media, promote collective action instead of products. It raises the question of whether the notion of a successful social-movement journal in the mass media market is oxymoronic. Besides considering The Call's contributions to the socialist movement, it analyzes the challenges the socialist daily faced in the capitalist-driven mass media market; examines the relationship between he Call and the mainstream press; and probes its relationship to the socialist movement, which it not only reflected but also shaped. The article concludes he Call provided a robust challenge to hegemony and played an important role as a forum for socialist discourse and as a record of New York's labor and socialist movements. Its inability to thrive, however, reflects divisions among socialists and labor as well as financial problems and governmental repression. [ABSTRACT FROM AUTHOR]

This article explores how Dr Emil Altman and the New York City Board of Education manipulated prevailing narratives of disability in a crusade to rid their city school system of “unfit” teachers during the late 1920s through to the early 1940s. Capitalising on fears of disability related to ideas about efficiency and eugenics, Altman and board officials redefined the purpose of the New York City Board of Education’s Medical Examiner, pathologised unsatisfactory teaching as illness or disability, introduced new standards and tests required to gain a permanent teaching licence, and forced over 100 teachers out of the school system. An examination of theNew York Timescoverage of this struggle over teacher tenure, retirement policy, competence, and pensions shows how skilfully Altman crafted rhetoric based in current ideas of fitness in order to expand his control over teacher examining and retiring and to help the Board of Education address a major budget deficit. [ABSTRACT FROM PUBLISHER]

An essay is presented which profiles the founder of the Coney Island Psychoanalytic Society Albert Grass, with a particular focus on his architectural designs for the Dreamland Amusement Park in Coney Island, New York City, New York. Grass's designs are compared with the surrealists artists Salvador Dali and René Magritte.

Anti-Semitic beliefs that associated Jews, especially New York Jews, with the news media helped create the idea of a "liberal news media." Anti-Semites around the world have linked Jews with "control" of the news media since the nineteenth century. In the postwar United States, anti-Semitic critiques of the news media were closely linked with Cold War-era anticommunism, Christian conservatism, and reaction to the civil rights movement by white conservatives. Anti-Semites of the postwar period were usually fervent Christian anticommunists who believed that Jews secretly manipulated and masterminded the news in order to promote the civil rights movement, destroy the Christian United States, and pave the way for communist world government. [ABSTRACT FROM AUTHOR]

Anti-Semitic beliefs that associated Jews, especially New York Jews, with the news media helped create the idea of a “liberal news media.” Anti-Semites around the world have linked Jews with “control” of the news media since the nineteenth century. In the postwar United States, anti-Semitic critiques of the news media were closely linked with Cold War–era anticommunism, Christian conservatism, and reaction to the civil rights movement by white conservatives. Anti-Semites of the postwar period were usually fervent Christian anticommunists who believed that Jews secretly manipulated and masterminded the news in order to promote the civil rights movement, destroy the Christian United States, and pave the way for communist world government. [ABSTRACT FROM PUBLISHER]

A literary criticism is presented on essays by the 20th century African American author Ralph Ellison, including "Harlem Is Nowhere," "An Extravagance of Laughter” and “New York, 1936.” Particular focus is given to the geography within Ellison's depiction of the 20th century African American migration known as the Great Migration from the Southern States to the Northern States, including to New York City, New York. Ellison's perspective on African American laughter is discussed.

The article explores the connection between masculine style and lesbian self-presentation in postwar New York City. The author reflects on the expression and concealment of femme and butch queerness and the development of lesbian subjectivity. Emphasis is given to topics such as the culture of gender nonconformity in New York City, feminine fashion standards, and destabilization of norms through visual cues.

Cities were fundamental to the rise of the black power movement in the late 1960s, but, as Brian D. Goldstein uncovers, the built environment also served as a crucial medium through which black power proponents imagined the future that would follow from racial self-determination. As the case of Harlem shows, activist architects and planners and their community partners crafted an urban vision that valued existing African American residents and preserved their vibrant neighborhoods. In doing so, they not only offered a rebuke to modernist city building, with its emphasis on clearance and redevelopment, but they also played a thus-far-overlooked role in crafting a new, postmodern urbanism in its place. [ABSTRACT FROM AUTHOR]

The article examines the Latin American community in New York City during the early 20th century and argues that Spanish-speaking New Yorkers utilized representations of boxer Paulino Uzcudun in an effort to promote the unification of Spanish-speaking as a sort of colony within New York City without regard to national origin. It discusses the significant immigration of Spaniards to New York City, demographic change and cultural development in New York City during the early 20th century, and the popularity of Spanish culture in New York City.

In 1961 New York City (NYC) brokered more than ten "affiliation" agreements between private academic medical centers (AMCs) and 18 of the City's 21 public hospitals, to fix crises in both sectors. For nearly 50 years NYC poured millions of dollars into the AMCs to run the public hospitals, giving private institutions enormous power and advantage in deciding how to spend the money; thus placing the delivery of healthcare to the public primarily in the hands of the private sector. This article examines the Columbia University/Harlem Hospital affiliation in the 1960s. It brings the discussion to 2010 when the Health and Hospitals Corporation dissolved the relationship after years of mismanagement, carelessness and tragedy; and entered a corporate phase of privatization. [ABSTRACT FROM AUTHOR]

cIn the first decade of the 20th century, French illustrated news journals--and especially L'Illustration--published articles on the skyscrapers of New York. Through the diachronic analysis of word-image relations at work in these journals, this article reveals how the publishing of this new building type--within an equally new cityscape--moved within a single decade towards new forms that were the product of inverted hierarchies between the written and the graphic. The spectacular double-page photographs taken with an unusual viewing axis gave the clearest expression of it. These photographs, preceding those famously taken by Alvin Coburn, were a means developed by the journal editors to convey strong sensations to its readership. With this evolution towards architecture as sensational news in which the reader became the protagonist, the general-interest journals offered a completely different approach visually compared to the conventional way architecture journals published the same skyscrapers. This episode in publishing New York buildings represented the beginning of an important rift between the general public's and the architectural expert's ways of perceiving and experiencing architecture and the city. [ABSTRACT FROM AUTHOR]

Decade after decade, New York’s elected officials have deliberately raised false expectations about their ability to build a Second Avenue subway line. As a result, the city and state have wasted resources, eliminated critical transit infrastructure, and nearly ruined the nation’s most important transit system. [ABSTRACT FROM AUTHOR]

Contemporary scholars have focused on creative placemaking and the role of the arts in urban development, but there is less of an academic understanding of how artists contribute to neighborhood revitalization “on the ground.” In New York’s SoHo (South of Houston) neighborhood, artists created new methods of urban development in the 1960s by using their labor and design expertise to invent a new form of housing, the loft apartment, in former industrial space. They worked to legalize this novel form of residence through grassroots advocacy, lobbying, and collaborations with leading artists and politicians in New York. Their political advocacy, and the attractive loft homes they created, increased residential demand. By the 1970s, real estate speculation was rampant in SoHo, leading some artists to work with policymakers to rein in development and others to become investors themselves. SoHo’s history challenges the artist/developer binary usually associated with gentrification. [ABSTRACT FROM AUTHOR]

The article provides a personal narrative of the experiences of a New York City actor working Off-Off-Broadway at the Theater Genesis in the East Village with playwright, director, and actor Sam Shepard. Topics include experimental theater in the 1960s, the 1964 plays "The Rock Garden" and "Cowboys," and director Ralph Cook.

This article explores the history of the Rialto Theater in Times Square from the onset of the Depression to the American entry into World War II. Drawing on recent discussions of the local turn in film history, it argues for a more sustained engagement with thesociocultural contexts specific to the history of metropolitan film exhibition and reception. By taking the Rialto of the 1930s as a case study, the essay demonstrates both the challenges and potential for the adaptation of the methods of local film history to the metropolitan scene. It situates the Rialto within the local economy of the Times Square entertainment district as well as within a number of the concerns central to the city's economic recovery, including the politics and negotiation of public space, the policing of amusement and pleasure, and the integration of commerce and infrastructure. [ABSTRACT FROM AUTHOR]

In the early 1970s, as New York City was in an economic and social downfall, a vibrant downtown arts scene emerged in downtown Manhattan south of 14th Street. The scene's development is often attributed to the neighbourhood's at-the-time inexpensive rent, which permitted artists to live, work, and exhibit with low overhead. This article maintains that the scene's development was also contingent on the growing availability of a new medium: the copy machine. While xerographic copiers had been staples in office culture for 15 years, they were newly available to the general public in the early 1970s. This article examines how copy machines were used by artists and writers to produce and distribute works, to promote upcoming gigs of all kinds from drag shows to punk shows, and, eventually, to facilitate the downtown scene's migration into the suburbs and beyond through the production of mobile texts, including zines and mail art. Finally, this article asserts that as a media technology that is at once capable of intensifying the local and developing and sustaining non-local networks, copy machines were and remain uniquely situated to accommodate the inherent tensions and contradictions that define scenes. [ABSTRACT FROM AUTHOR]

An introduction is presented in which the author discusses various articles within the issue on topics including social science literature of New England colonial towns, twentieth century New York and social, legal, and political economy in both the nineteenth and twentieth centuries.

In the 1950s, the Committee on Slum Clearance of the City of New York, headed by Robert Moses, published twenty-six site-specific slum clearance brochures. A major portion of each one of these brochures attempted to demonstrate the blighted conditions that prevailed in the area to be redeveloped. These sections included maps, statistics, descriptions, and photographs. Moses wanted to keep the texts in the brochures short and allow the photographs and the illustrations to demonstrate the shortcomings of the areas designated as slums. This article analyzes the photographs that appeared in the “Demonstration of Slum Conditions” (later renamed to “Demonstration of Blight”) section of the brochures and raises a number of questions concerning the process and the paradigm under which Moses’s slum clearance organization was operating. Both the process and the paradigm of slum clearance in New York City involved elected officials, planning commissioners, and even the judiciary. [ABSTRACT FROM PUBLISHER]

The article explores the intellectual history of New York City and solidarity between U.S. liberal anti-communist thinkers and activists with Eastern European intellectuals. The author reflects on the founding of the "New York Review of Books" magazine and the establishment of the Institute for the Humanities at New York University by scholar Richard Sennett. Emphasis is given to topics such as Eastern European dissidents and the globalization of human rights issues in communist countries, the financial support of hedge fund manager George Soros, and the presence of Hungarian intellectuals at the Institute such as András Kovács, Zsolt Csalog, György Konrád, and György Bence,

In the early twentieth century in New York City, the tongs of Chinatown established themselves as one of the most resilient, and clever, organized crime enterprises in Lower Manhattan. Through spectacular violence and shrewd political dealings, they survived by adapting to, and helping to shape, the evolution of Chinese America. Groups like the Hip Sings and On Leongs, inspiring awe and fear, spiced a chaotic urban stew in which race, class, and politics bubbled into a peculiarly American amalgam. But the tongs were never mere street criminals. These sophisticated organizations represented a formative period in New York’s Chinatown and the Chinese American community. Though rooted in Chinese culture, the tong was a uniquely American response to the racist oppression and political disenfranchisement of the Chinese, who were criminalized and legally excluded under immigration codes until the 1940s. The changes that the tongs underwent, in both their public image and their economic and political activities, reflected evolving, often contradictory, relationships with local law enforcement, civil society, and transnational political movements. Previous scholarship on the tongs is sparse, yet the tong wars appear in numerous literary, cultural, and analytical works on Chinese American history. The article examines the histories of two rival tongs with similar political underpinnings, the Hip Sings (協勝堂) and On Leongs (安良堂), who negotiated cultural and political boundaries to build power in the emerging Chinese American community. During the Exclusion Era, which lasted roughly from the late 1800s through 1943, the tongs consolidated their power by curating elements of tradition and Western urban society. In response to local, national, and global social change, the tongs continually honed and recast their public roles in Chinatown as the community came of age in modern America. [ABSTRACT FROM PUBLISHER]

The cover story provides a literary criticism of the book "Amiable With Big Teeth: A Novel of the Love Affair Between the Communists and the Poor Black Sheep of Harlem," by Claude McKay. The novel's depiction of the African Americans of Harlem, New York City's sentiment towards Ethiopia following Italy's 1935 invasion of the country is discussed. McKay's reliance on historical archives for his book "Amiable With Big Teeth" is also discussed. An overview of the novel's portrayal of transnational themes is provided.

The creation of the South Street Seaport Museum in 1967 represents a dynamic synthesis of urban development, civic memory, and the use of heritage in urban revitalization. The dominant narrative of midcentury urban renewal debates, which pits growth-oriented modernism against a street corner preservationism antagonistic to change, offers an incomplete analysis of the founding of South Street as a historic museum district. The Seaport plan imagined historic preservation and the use of civic memory as integral factors in the process of urban modernity, not as a resistance to it. Rather than simply rejecting urban development and the modernist architectural landscape that had come to dominate the tip of lower Manhattan, boosters of South Street, like Progressive Era preservationists before them, envisioned historic preservation as an integral part of the future cityscape. This article argues that South Street boosters were far more concerned with sustainability and building a new urban future than preservationists of this era are often credited. The emergence of the South Street Seaport Museum symbolizes the maturation of historic preservation in the 1960s and uncovers an allegiance to early twentieth-century Progressive conceptions of a new urbanism. Finally, this narrative exposes the common ground that Seaport boosters and urban development supporters shared regarding the use of heritage and collective memory as necessary elements in the city’s development. [ABSTRACT FROM PUBLISHER]

While significant scholarly attention has been paid to retail in gentrified neighborhoods, the origins of this specific form of urban commerce are less clear. The history of New York’s SoHo neighborhood provides a way to explain how and why art galleries, boutiques, and restaurants have come to define the retail landscape of gentrification. It also can help scholars answer two important questions about the arts and city life: how do artists and art galleries spark retail growth? Furthermore, outside of the economic activity created by the sale of art, how do they inspire economic development and gentrification? In the case of SoHo, the art market, government arts funding, and the sweat equity of artists were of central importance in drawing visitors into the neighborhood. These artistic tourists eventually became the customer base for area retail, shaping its distinctive commercial landscape. [ABSTRACT FROM PUBLISHER]

The article discusses the death of Sadie Dellon, a 13-year-old Jewish girl living on 125th street in West Harlem, New York City, who apparently committed suicide after being attacked for flying a Zionist flag during a block party. It uses Dellon's death to examine American Jews' images of Irish Americans. The author comments on Dellon's image as a martyr and the belief that she was murdered. The Jewish image of the Irish as antisemitic, violent, and drunk is explored and Jewish relations with Gentiles in Eastern Europe are considered.

The article discusses jazz band leader James Reese Europe's role in the development and popularization of black music in the United States between 1903 and 1915, focusing on the influence of his time spent in New York City and of his Clef Club entertainment venue and Clef Club Symphony Orchestra. Topics discussed include Europe's marketing of the Clef Club, His partnership with dancers Irene and Vernon Castle, and white peoples' expectations for black musicians in the early 20th century.

This article seeks to rebalance historical assessment of the debate between “pathologists” and “anti-pathologists” which dominated discussions of black urban life in the United States during the 1960s, and which continues to shape ideas about race and the urban environment today. The heated disagreement between the social psychologist Kenneth B. Clark (1914–2005) and the critic and novelist Albert Murray (1916–) presents an opportunity to consider not only the pitfalls and unintended consequences of pathologist representations of black urban life, which have received much attention from scholars in recent years, but also the problematic aspects of anti-pathologist discourse, which have largely been overlooked. The dispute between Clark and Murray also illuminates the intense competition among some African American intellectuals to claim the personal authenticity and disciplinary authority to define and represent black urban life – and to adjudicate the authenticity and authority of others. [ABSTRACT FROM PUBLISHER]

This article investigates the exhibit of the Third International Congress of Eugenics, which was organized by Harry Hamilton Laughlin and showcased at the American Museum of Natural History in 1932. It argues that the exhibit's displays shaped popular eugenic ideology by connecting particular eugenic principles to specific visual representations that were experienced in relation to binaries such as the artistically traditional and the modern, the classical and the grotesque, and the scientific and the spectacle (or the "freak" and the medical specimen). These dichotomies were, in turn, experienced within the context of the exhibit's overall theme of eugenics as anchored in the past and the future and concern over the differential birthrate. The exhibit to the Third Congress provides insight into growing tensions within the eugenics movement of the 1930s, the importance of positive eugenics, the aesthetics of heredity, and how the "scientific truths" of a given era are publicized and perpetuated. [ABSTRACT FROM AUTHOR]

The article discusses interaction between Chilean artist Nemesio Antúnez and British printmaker Stanley William Hayter, who ran the Atelier 17 printmaking studio, in New York City in the 1940s. The author describes Antúnez's Taller 99 studio set up in Santiago, Chile in 1955 and discusses his involvement in a series of print biennial exhibitions in Chile from 1963-1970, including the American Print Biennial. Other topics include Chilean artist Roberto Matta's work at Hayter's studio, how Hayter and Antúnez's studios promoted social change, and the Museo de Arts Contemporáneo and Museo Nacional de Bellas Artes in Chile.

The article discusses the industrial organization and unionism of New York City laundry workers, focusing on the period 1930 to 1950. It explores issues of race and gender and notes that laundry workers were mainly women and people of color. The author considers tensions between trade union leaders and laundry workers. Unions examined include the Women's Trade Union League (WTUL), the American Federation of Labor (AFL)-affiliated Laundry Workers International Union (LWIU), the Congress of Industrial Organizations (ClO)-affiliated Amalgamated Clothing Workers of America (ACWA), and the ACWA-affiliated Laundry Workers Joint Board of Greater New York (LWJB). The influence of communism is also discussed.

The article discusses the writings of Richard Hell, a punk musician and founder of the magazine "Genesis : Grasp." The author examines the musical release "Blank Generation," the relationship between poetry and punk music in Hell's work, and the literary aspects of punk music and culture in New York City in the early 1970s.

The article discusses public memorials to the 1911 Triangle Shirtwaist Company fire in New York City, which killed 146 young, mostly female, Jewish and Italian workers. The fire was believed to be the result of the company's undermining of garment union attempts to improve working conditions. The city refused to release the unidentified bodies for a public procession, fearing expressions of outrage, and instead buried the bodies quietly in Brooklyn. A large parade organized by the union took place on the same day with almost 400,000 people attending. A memorial statue appeared at the graves in December 1912. Possible sculptors, including Evelyn Beatrice Longman and Henry Bacon, are discussed. Class differences in the approach to memorials are discussed.

This article focuses on the history of the women's liberation movement in New York City in the 1960s and 1970s. The author argues that young feminists involved with the movement often found support and mentors from the women radical leaders of the New York's tenant councils. The article considers the Post-War Tenant Movement, especially in the Lower East Side and in Harlem; the Popular Front; the urban renewal programs of the 1950s; Jane Benedict, leader of the Metropolitan Council on Housing; housing rights attorneys Francis Golden and Esther Rand; and the African American political action group the Black Panthers and the similar Puerto Rican Young Lords group.

This article discusses the founding of the Manhattan Institute as part of a wider mobilization of conservative ideology and activism in 1970s New York. Important to the success of this mobilization was the concerted effort to reframe the "urban crisis" as a problem of values and culture and to construct a narrative of moral decline—and ultimately of conservative redemption—based in liberal New York. [ABSTRACT FROM AUTHOR]

The author discusses public displays of noise in Harlem, New York City during the period between World War I and World War II. It was a part of Harlem's black culture to celebrate or mourn in public spaces. The author does point out that parades that began in white sections of New York City were seldom cheered until they reached Harlem. Some of the incidents that led to large public outpourings of emotion included the opening of "Macbeth," directed by Orsen Welles in 1936, when the Monarch Negro Elks Band led an estimated 10,000 people to the theater. The night that boxer Joe Lewis beat Jack Kracken with a knockout became a huge celebration in Harlem with people dancing, banging pots and trash cans, and yelling out loud for joy.

Focuses on the establishment of the Ninety-Second Street Young Men's and Young Women's Hebrew Association (YMHA) Dance Center, in New York City in the 1930s. Details on some of the performances at the dance center; Discussion on the history of YMHA; Role of educational director William Kolodney at the dance center; Information on Kolodney.