Take a walk on the wild side: Punk music walking tours in New York City

2018 ◽  
Vol 18 (3) ◽  
pp. 315-331 ◽  
Author(s):  
Rebecca Johinke
Keyword(s):  
New York ◽  
New York City ◽  
York City ◽  
Social Practice ◽  
Popular Media ◽  
Punk Rock ◽  
Music Culture ◽  
History Of ◽  
Music Tourism ◽  
Walking Tours

Walking tours on the streets of cities like New York offer music fans the opportunity to tread in the footsteps of their punk rock idols. Music lovers seek a tourist experience that constructs intra- and inter-personal authenticity as a ‘true fan’ as they seek to see for themselves where their idols lived, worked, recorded, and performed in New York City. Music walking tours are situated as a form of embodied music tourism or psychogeographic practice as they connect fans with the soundscape and the cityscape. When fans document their walking experience, they contribute to a history of music culture and to the practice of music tourism as an embodied social practice. This article engages with popular media through tourism and tells the story of one of many cultural communities with a special tie to the Lower East Side.

Messy, Energetic, Intense: A Roundtable Conversation among New York's Asian American Experimental Filmmakers of the Eighties with Roddy Bogawa, Daryl Chin, Shu Lea Cheang, and Rea Tajiri

2020 ◽  
Vol 73 (3) ◽  
pp. 66-78
Author(s):  
Vince Schleitwiler ◽  
Abby Sun ◽  
Rea Tajiri
Keyword(s):  
New York ◽  
New York City ◽  
Asian American ◽  
York City ◽  
American Film ◽  
The Sixties ◽  
History Of

This roundtable grew out of conversations between filmmaker Rea Tajiri, programmer Abby Sun, and scholar Vince Schleitwiler about a misunderstood chapter in the history of Asian American film and media: New York City in the eighties, a vibrant capital of Asian American filmmaking with a distinctively experimental edge. To tell this story, Rea Tajiri contacted her artist contemporaries Shu Lea Cheang and Roddy Bogawa as well as writer and critic Daryl Chin. Daryl had been a fixture in New York City art circles since the sixties, his presence central to Asian American film from the beginning. The scope of this discussion extends loosely from the mid-seventies through the late nineties, with Tajiri, Abby Sun, and Vince Schleitwiler initiating topics, compiling responses, and finalizing its form as a collage-style conversation.

From Colonia to Community: The History of Puerto Ricans in New York City. 1917-1948.

1984 ◽  
Vol 18 (1) ◽  
pp. 126
Author(s):  
Olga Jimenez Wagenheim ◽  
Virginia Sanchez Korrol
Keyword(s):  
New York ◽  
New York City ◽  
York City ◽  
Puerto Ricans ◽  
History Of

New York at its Core: A Review of an Exhibition at the City Museum of New York

2018 ◽  
Vol 12 (1) ◽  
pp. 103-106
Author(s):  
Thomas Wide
Keyword(s):  
New York ◽  
New York City ◽  
York City ◽  
History Of ◽  
The City

AbstractThomas Wide visits a recent exhibition on the history of New York City

A History of Public Health in New York City, 1866-1966

1976 ◽  
Vol 81 (2) ◽  
pp. 453
Author(s):  
Gert H. Brieger ◽  
John Duffy ◽  
Robert Stevens ◽  
Rosemary Stevens ◽  
Lloyd C. Taylor. Jr.
Keyword(s):  
Public Health ◽  
New York ◽  
New York City ◽  
York City ◽  
History Of Public Health ◽  
History Of

scholarly journals ‘A women’s war against war: The socialist-feminist pacifism of Four Lights: An Adventure in Internationalism ’

2018 ◽  
Author(s):  
Rachel Schreiber
Keyword(s):  
New York ◽  
New York City ◽  
York City ◽  
Peace Movement ◽  
History Of ◽  
Short Span

The New York City Women’s Peace Party (NYC-WPP) published the first issue of Four Lights: An Adventure in Internationalism on 27 January 1917. The inaugural issue opened with the founders’ mission to ‘voice the young, uncompromising woman’s peace movement in America’ and declared the publication’s anti-war and anti-militarist position to be ‘daring and immediate’. In the short span of the nine months between January and October that Four Lights issued fortnightly numbers, its editors staked and held onto the staunch anti-war stance and Four Lights braided pacifism together with feminism. Their entwined anti-capitalist perspectives on gender, labour, class and race can be understood as anticipating intersectional feminism. Not nearly as well known as The Woman Citizen, The Suffragist and other publications of the women’s national suffrage and Progressive presses, Four Lights offers a fascinating glimpse into the thinking of the most ardent pacifists of the 1910s. This study of Four Lights illuminates this history and situates the journal’s critical place in the history of radical American periodicals.

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