Cultural History

Cultural Landscape Workshop Set for Lorenzo SHS

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Lorenzo State Historic Site, in Cazenovia, Madison County, NY, will host a one-day workshop for preservation planners, cultural resource managers and stewards of historic properties.

The day’s agenda will include defining the types and characteristics of cultural landscapes- documenting historic and current conditions including preparation of period and contemporary plans- developing treatment plans within an historic preservation context- examples of cultural landscape reports and their various components- interpreting the cultural landscape- what resources to consult and what steps to take in establishing a cultural landscape preservation program- and touring the historic landscape at Lorenzo.

Presenting cultural landscape experts:

John Auwaerter, Co-director of the Center for Cultural Landscape Preservation, SUNY ESF, and a National Park Service Partner with the Olmsted Center in Boston

Christine Capella-Peters, member of the technical staff for the NYS Historic Preservation Office, a division of OPRHP

George Curry, Professor Emeritus, Dept. of Landscape Architecture, SUNY ESF and cultural landscape Project Director at SUNY ESF

The registration deadline is May 15, 2012. The cost is $40 for MAAM members- $50 non-MAAM members (payment accepted by check or credit card). More information can be found online.

The program is presented by the Mid-Atlantic Association of Museums in cooperation with the NYS Office of Parks, Recreation and Historic Preservation (OPRHP), the State University of New York, College of Environmental Science & Forestry (SUNY ESF), and the National Park Service Olmsted Center for Landscape Preservation.

A NY Classic: Drums Along the Mohawk

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After its first publication in 1936, Walter D. Edmonds’ classic historical novel Drums Along the Mohawk battled Gone With the Wind as the most popular historical novel of the ensuing years, and became a feature film in 1939 directed by John Ford, and starring Claudette Colbert and Henry Fonda.

A New York Times review by Frank Nugent celebrated the film. &#8220It is romantic enough for any adventure-story lover,&#8221 Nugent wrote. &#8220It has its humor, its sentiment, its full complement of blood and thunder. About the only [John] Ford staple we miss is a fog scene. Rain, gun smoke and stockade burnings have had to compensate. The fusion of them all has made a first-rate historical film, as rich atmospherically as it is in action.&#8221 Those laudatory comments still suit the original novel just as well, but for those with an interest in the history of the Mohawk Valley, there’s more than just a good story.

Edmonds was born in 1903 in Boonville (Oneida County) and died in 1998. Edmonds was troubled by the presentation of the history of the American Revolution and used local primary sources to create life on the Revolution’s frontier. &#8220Edmonds turned to &#8216-Working with the sources’,&#8221 Frank Bergman wrote when Syracuse University Press took over publication of the novel in 1997. &#8220His knowledge of the facts enabled Edmonds to dye his narrative in the wool- his history is color-fast and guaranteed not to fade&#8230- His goal was not to establish &#8216-how it actually was,’ but to allow his readers to experience the past as if it were the present.&#8221

&#8220To those readers who may have felt some curiosity about the actual occurrences in the Mohawk Valley during the Revolution,&#8221 Edmonds wrote in the book’s &#8220Author’s Note&#8221, I should like to say here that I have been as faithful to the scene and time and place as study and affection could help me to be.&#8221 Edmond’s sources were varied, but he himself points to the importance of the Minute Book of the Committee of Safety of Tryon County &#8220to understand what valley life was really like&#8221.

This summer readers will have a taste of that life at an outdoor drama based on Drums Along the Mohawk that coincides with the British Brigade and Continental Line’s national Revolutionary War encampment at Gelston Castle Estate in Mohawk, NY. About 1,000 reenactors are expected to take part in honor of the 235th anniversary of the Battle of Oriskany.

Note: Books noticed on this site have been provided by the publishers. Purchases made through this Amazon link help support this site.

Nellis Tavern: War of 1812 Songs and Stories

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The historic Nellis Tavern museum east of St. Johnsville (Montgomery County) will present performer and researcher Dave Ruch on Saturday, May 5, in a special concert entitled “The War of 1812 – Songs and Stories from New York and Beyond.” The program will begin at 2 p.m.

With guitar, mandolin, banjo, jew’s harp, bones, and voice, Dave Ruch interprets the traditional and historical music of the New York State region. For this program, Ruch presents a ringing portrait of the War of 1812 through the songs and stories of the people themselves.


Ruch has dug deeply into archival recordings, diaries, old newspapers and other historical manuscripts to unearth a wealth of rarely-heard music which, alongside some of the classics from the war period, offers a rounded and fascinating picture of this “second war of independence.” Special emphasis is given to New York State’s important role in the conflict.

By the War of 1812, the Nellis Tavern, originally built about 1747 facing the Mohawk River, had been enlarged and faced the recently completed Mohawk Turnpike (NYS highway 5). The turnpike was an important thoroughfare during the war, and the tavern served a host of travelers, military and civilian alike. Ruch will perform music which might have been heard in the tavern two hundred years ago.

Ruch travels widely from his home base in Buffalo, giving hundreds of performances each year for schools, museums, historical societies, libraries, festivals, community events and more. He will appear at the Nellis Tavern as a Speaker in the Humanities sponsored by the New York Council for the Humanities.

Admission is free and open to the public.

For more information, contact the Palatine Settlement Society at 518-922-7051.

NYPL Putting Historical Documents Online

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Thousands of historical documents at The New York Public Library – including material handwritten by George Washington and Thomas Jefferson and papers from authors such as Mark Twain – will soon be accessible to the public online.

The project, which began in January and will continue through 2014, will digitize documents from the Thomas Addis Emmet Collection, located within the Manuscripts and Archives Division, and almost all the papers of several major American authors in the Henry W. and Albert A. Berg Collection of English and American Literature at The New York Public Library.

“This exciting project is a key element in our goal of creating greater possibilities for our collections and expanding their accessibility worldwide,” said NYPL President Anthony Marx. “Digitizing collections featuring hand-written documents from Benjamin Franklin, George Washington and Mark Twain, among others, provides remarkable new opportunities for scholarly research, and creates new teaching applications for an international audience. The Library is grateful to The Polonsky Foundation and other generous supporters who assist us in this valuable work.”

Technicians at the New York Public Library have already begun digitizing the Thomas Addis Emmet Collection, which documents the founding and early years of the United States – the move towards independence, the Revolutionary War, and the establishment of the federal government. The approximately 11,000 manuscripts in the collection include letters and documents by nearly every patriot and statesman who distinguished himself during this period American history.

Their letters provide insight into important historic milestones, such as the Stamp Act Congress, the First and Second Continental Congress, and the Annapolis Convention- trace the genesis of the Declaration of Independence and the Articles of Confederation- and chronicle the successes and struggles of the first Federal Administration. The correspondence and letterbooks of generals and other officers detail their decisions, actions, and relationships during the Revolutionary War.

Highlights of the Emmet Collection include a copy of the Declaration of Independence in Jefferson’s hand, an engrossed copy of the Bill of Rights, and manuscript minutes of the Annapolis Convention. The collection has been a vital and repeatedly consulted resource for American historians since the Library acquired it in 1896.

Following the completion of digitization of the Emmet Collection, nearly all the papers from the Berg Collection’s holdings of Nathaniel Hawthorne, his wife Sophia Peabody Hawthorne, Henry David Thoreau, Mark Twain and Walt Whitman will be digitized. An estimated 35,000 pages will be scheduled for digitization beginning in January 2013 and be made available through the Library’s website. Items slated for digitization will include:

Hawthorne’s correspondence with President James Buchanan, educator Horace Mann, and fellow authors Oliver Wendell Holmes, Ralph Waldo Emerson and Herman Melville, as well as the diaries of his wife, Sophia Peabody Hawthorne that chronicle her own work as a writer and the literary work of her husband-

An original pencil map of Walden Pond, as well as several Thoreau manuscripts, including Faith in a Seed, about which the novelist Annie Proulx wrote in the Library’s Centennial celebration volume, Know the Past, Find the Future: The New York Public library at 100-

Mark Twain’s manuscripts of A Connecticut Yankee in King Arthur’s Court and Following the Equator, and correspondence with such influential American icons as Andrew Carnegie, William Dean Howells, and Theodore Roosevelt-

Numerous poems by Walt Whitman and over 300 of his letters, most of them to his mother and to Union soldiers during the Civil War.

The total cost of the project including both collections is $1 million- a gift of $500,000 from The Polonsky Foundation is expected to be matched by similar donations.

Modern New York: Recent NYC Economic History

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The economic history of New York is filled with high-stakes drama. In Modern New York: The Life and Economics of a City (2012, Palgrave Macmillan), journalist, economist and political commentator Greg David (who edited the regional Crain’s New York Business for more than 20 years and is now director of the business and economics reporting program at the Graduate School of Journalism at CUNY), tells the story of the city’s financial highs and lows since the 1960s.

David fairly conservative approach looks at how Wall Street came to dominate the economy in the years following a decade of economic decline. He argues that New York City’s great recession is not happening now, and it didn’t happen after 9-11. &#8220The Great Recession That Wasn’t&#8221, is David’s term for the current American economic disaster.

&#8220By comparison, the city’s great recession had occurred between 1969 and 1977, when a stock market crash devastated Wall Street and the city’s manufacturing sector collapsed and it’s competitiveness waned as the city hiked its tax burden,&#8221 David writes. &#8220Some 650,000 jobs disappeared over those years, and the population fell by almost 1 million people, two little-discussed factors that were as important as budget chicanery in created the Fiscal Crisis that almost sent the city into bankruptcy.&#8221

This understanding of New York’s post-war period rests in part on the neo-liberal interpretation of New York City’s recent history. It goes something like this: the anti-business policies (regulation, and higher taxes) of liberal machine politicians like John Lindsay (Mayor from 1966 to 1973) and Abe Beame (Mayor from 1974 to 1977) led to the loss of manufacturing and then the flight of New Yorkers from a desperate, crime-ridden and &#8220grimy&#8221 Gotham. Only the pro-development policies of Ed Koch and the great victory of Rudolph Giuliani, reformist street cleaner and crime fighter, kept New York City from becoming another Detroit.

That’s more or less the story told here in chapters like &#8220Structural Not Cyclical&#8221, and &#8220Making New York Safe For Commerce&#8221. David chastises leaders for failing to recognize long term manufacturing declines, and points to unions, burdensome taxes, and restrictive zoning as the major culprit. Perhaps due to the author’s limiting regional scope and focus on the perspective of the business community, significant American trends such as baby-boom suburbanization, container shipped goods from low wage workers in Asia and elsewhere, and media-based perceptions about crime and quality of life issues are set on the back burner.

For example, a wider perspective in Modern New York would include worker struggles to retain the wages and benefits that made living in the city attractive. New York City’s economic decline coincided directly with unprecedented attacks on the city’s workers. Witness, for example, the 1966 transit strike during which Lindsey refused to negotiate and mocked workers to the press. Or the seven-month teacher strike in 1968 that was the result of the firing of teachers opposed to Lindsey’s contract negotiation plan to divide their union. These strikes were followed by actions on Broadway, and the sanitation strike in the fall of 1968. In 1971 the city’s AFSCME workforce walked off the job. One might argue that workers simply had no interest in living in the city’s difficult employment environment. Whatever the cause of the city’s working class losses, Modern New York could have offered a deeper, more multidimensional understanding of the city’s recent economic history.

In David’s interpretation, after 9-11 the finance industry and tourism stepped in to help save the day, at least temporarily. In a chapter entitled &#8220Three Sectors To The Rescue&#8221, the author suggests that film and television production, higher education, and the technology sectors are the future of New York, leaving the contrary reader to wonder how the city can survive without its working class.

Note: Books noticed on this site have been provided by the publishers. Purchases made through this Amazon link help support this site.

Woody Guthrie Centennial: Guthrie Archivist Interview

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Music legend and songwriting luminary Woody Guthrie was born on July 14, 1912, and this year marks his centennial birthday. To celebrate, the Grammy Museum, the Guthrie family, Woody Guthrie Publications and the Woody Guthrie Archives have planned an international program of events, including tours, concerts, festivals, and conferences.

Ryan Anthony Donaldson of the Archivists Round Table of Metropolitan New York (ART) recently had the chance to ask Tiffany Colannino a few questions about the Woody Guthrie Centennial Celebration. Tiffany is the Archivist with the Woody Guthrie Archives, currently located in Mount Kisco, New York, as well as the newly appointed ART Advocacy Chair.

ART: How did the centennial partnership between the GRAMMY Museum, Guthrie Family/Woody Guthrie Publications, and Woody Guthrie Archives come about?

TC: The centennial partnership between the GRAMMY Museum and the Woody Guthrie Archives has deep roots. For starters, we are both non-profit organizations committed to the history of American music. The Archives’ mission is to perpetuate Woody Guthrie’s life and legacy through the proactive preservation of his Archival material, whereas the GRAMMY Museum’s mission is to explore and celebrate the enduring legacies of all forms of music. Although these missions differ, with the Archives’ focus on preservation and research, and the GRAMMY Museum on public programs and activities, our two organizations can work together to use these archival documents to bring Guthrie’s life to a broad audience.

But it’s more than just our missions that link us together: Robert Santelli, Executive Director of the GRAMMY Museum, is actually a former researcher at the Woody Guthrie Archives. Since 1990, Santelli has researched in the Archives in support of several Woody Guthrie book projects, including his 2012 work This Land Is Your Land: Woody Guthrie and the Journey of the American Folk Song. He has maintained an active working relationship with Nora Guthrie – President of Woody Guthrie Publications, Inc and Director of the Woody Guthrie Archives – for over 20 years.

In a recent press release, Nora Guthrie comments on this partnership, remarking: &#8220Because of its deep enthusiasm for Woody’s creative legacy as well as the underlying influence he’s had on so many musicians and songwriters in all genres of American music, the GRAMMY Museum is the obvious choice to help us celebrate the legacy that he created.&#8221

The centennial celebrations will include concerts, conferences, and exhibits across the United States, Canada, and Europe. We’ve launched www.Woody100.com as a one-stop-shop for all of our North American events, and www.Woody100.de for our European events. In addition to the events we are planning with the GRAMMY Museum, these sites also list the Grassroots events that Guthrie fans and supporters are planning across the world, including lecture series, concerts, hootenannies, and exhibits. In addition, there are many new releases – books, films, and musical albums – including many based solely on material from the Woody Guthrie Archives, set to launch in 2012 to help celebrate Guthrie’s centennial, and perpetuate his legacy.

ART: In terms of centennial celebrations for Woody in the New York area, there will be a concert at Brooklyn College as well as a conference at Penn State University in September. What topics relating to Woody Guthrie would you like to see explored at the conference?

TC: That’s a tough question, because there are so many facets of Woody Guthrie’s life yet to be explored! However, the great thing about the academic conferences being planned for this year is that rather than focus solely on a specific aspect of Guthrie’s life, each conference will use Guthrie as the starting point to open a discussion on a broader, contemporary theme. The theme for each conference will be selected by the host institution, allowing them to decide on a topic that is of direct relevance to their local community.

The 2012 Woody Guthrie Centennial Celebrations will include four large academic conferences: Tulsa, Los Angeles, Penn State, and Brooklyn.

The Tulsa conference, Different Shades of Red: Woody Guthrie and the Oklahoma Experience at 100, used Guthrie as a stepping stone to discuss Oklahoma politics. At the University of Southern California conference, Woody Guthrie’s Los Angeles: A Centenary Celebration, we’ll talk about Los Angeles in the late 1930s, where Guthrie worked for several local radio stations and wrote for various newspapers after fleeing the Dust Bowl. Woody At 100: Woody’s Legacy to Working Men & Women, the Penn State conference in September, will use Guthrie to focus on the labor movement and unions, while the theme for the Brooklyn conference, also in September, is yet to be announced.

ART: It has been announced that the research collection of the Woody Guthrie Archives will be relocating from Mount Kisco, NY, to Woody’s home state of Oklahoma in 2013. How is the planning coming along for it?

TC: In 2013, the Woody Guthrie Archives will relocate from Mount Kisco, New York to a permanent home with the George Kaiser Family Foundation in Tulsa, Oklahoma. As a native Oklahoman, this move will truly bring Guthrie’s life full circle!

The Archives will be located in a repurposed warehouse – the Tulsa Paper Company – along with other arts oriented organizations, and I have had the opportunity to walk through the building site several times. Work is already underway, and it is exciting to see the Archives’ new home come to life! I have had meetings with the building architects to review design plans and requirements, discussing the archival needs to be taken into consideration during the design phase. This relocation to Tulsa will ensure continued researcher access to the material in the collection, and the long-term preservation of over 10,000 pages of documents held in the Woody Guthrie Archives.

More information on Woody Guthrie centennial events is available online.

Oz and Bedford Falls: Upstate NYs American Icons

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Upstate New York has bequeathed to the American culture two iconic towns, neither of which exist in the real world. Bedford Falls from the movie It’s a Wonderful Life is based on the village of Seneca Falls&#8230-or so claim the people of Seneca Falls! Oz of the Wizard of Oz book series and one memorable movie also derives its origin from the exact same area &#8211 author Frank Baum was spurred on by his living in Fayetteville in what is now the Gage Home. Read more →

Iroquois Indian Museum Prepares Opening, Events

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The Iroquois Indian Museum opens for its 2012 season on May 1 with a new exhibit and special events planned throughout the year. From May 1 until the closing day on November 30, the Museum hosts the exhibition, &#8220Birds and Beasts in Beads: 150 Years of Iroquois Beadwork.&#8221 The exhibit features more than 200 beaded objects, largely from the collection of retired archeologist and Museum trustee, Dolores Elliott.

A great number of animal images appear in Iroquois beadwork including pets, forest wildlife, farm animals, and exotic beasts. The exhibition highlights these animals that appear on varied beaded household items such as purses, pincushions, wall pockets and picture frames made popular during the Victorian era.

In addition to the exhibit, the Museum has a Nature Park of 45 acres and a Children’s Museum &#8212- an active, hands-on area &#8212- where Iroquois traditions are introduced through crafts, games and technologies.

The Museum has a full schedule of special events in 2012 (see below). Events at the Museum are free with paid admission. The Museum is open from 10 a.m. to 5 p.m. Tuesday through Saturday and from 12 Noon to 5 p.m. on Sunday. It is closed Monday. Regular admission is $8 for adults, $6.50 for seniors/students and $5 for children ages 5-12. Children under five are free when accompanied by an adult. Special group rates are available by calling the Museum at 518-296-8949. For more information, visit www.iroquoismuseum.org.

2012 SPECIAL EVENTS

May 26 & 27: IROQUOIS CULTURAL FESTIVAL: Join the Iroquois Indian Museum at New York State Historical Association in Cooperstown for their first festival featuring Iroquois artists, dancers and storytellers.

May 29: NATIVE AMERICAN ARTISAN SERIES: Carla Hemlock, Mohawk quilter and Babe Hemlock, Mohawk painter demonstrate at Iroquois Indian Museum. (May 26 – 28: Carla and Babe will be at the Fenimore Art Museum/New York State Historical Association, Cooperstown)

June 3: from 1:00 – 3:00: PLANTING A THREE SISTERS GARDEN AND STORYTELLING: Visitors are invited to help us plant a Three Sisters Garden of corn, beans and squash. Traditional Iroquois stories about planting and the natural world will be shared.

June 22: NATIVE AMERICAN ARTISAN SERIES: Natasha Smoke Santiago, Mohawk painter and sculptor demonstrates at Iroquois Indian Museum (June 17 – 21: Natasha will be at the Fenimore Art Museum/New York State Historical Association, Cooperstown)

July 4: EARLY TECHNOLOGY DAY: Visitors can watch and participate in the process of flint knapping, using local and semi-local cherts and lithics, fire making, atl-atl spear throwing, and early archery. There will be displays of projectile points, tools, and local archaeological finds from our archaeology department.

July 14: IROQUOIS SOCIAL DANCE SATURDAY with ONOTA’A:KA (Oneida Nation Dancers)
Onota’a:ka, based in the central New York Haudenosaunee community of Oneida, was founded by Elder and Wolf Clan Mother Maisie Shenandoah for the purpose of cultural education. While Maisie passed away in 2009, the troupe’s original purpose continues to be carried forth by daughter Vicky, granddaughter Tawn:tene (Cindy Schenandoah Stanford) and an extended family with common goals. For the Schenandoahs dance is not a separate expression of heritage and thanksgiving, but one that is thoroughly integrated into daily life. The dancers will demonstrate a variety of traditional Iroquois Social Dances and encourage participation from the audience. Social songs vary in length, verses and tempo depending on the song selection of the singers. All dances are done in a counter clockwise direction. The instruments used in the social dances in various combinations are the water drum, the horn rattle, hard sticks and the beating of the feet on the floor.

July 20: NATIVE AMERICAN ARTISAN SERIES: Penelope S. Minner, Seneca Basketmaker demonstrates at Iroquois Indian Museum (August 5 – 7: Penelope will be at the Fenimore Art Museum/New York State Historical Association, Cooperstown)

July 28: IROQUOIS SOCIAL DANCE SATURDAY: Iroquois performers will demonstrate a variety of traditional Iroquois Social Dances and encourage participation from the audience. Social songs vary in length, verses and tempo depending on the song selection of the singers. All dances are done in a counter clockwise direction. The instruments used in the social dances in various combinations are the water drum, the horn rattle, hard sticks and the beating of the feet on the floor.

August 2, 3, & 4: SONG QUEST WITH JOANNE SHENANDOAH: For the first time at the Iroquois Indian Museum, Grammy Award winning songwriter and performer Joanne Shenandoah offers a comprehensive song-writing workshop. Benefit Concert Performance at the conclusion of the workshop on Saturday evening. Pre-registration for workshop required. [email protected]

August 8: NATIVE AMERICAN ARTISAN SERIES: Karen Ann Hoffman, Oneida beadworker demonstrates at Iroquois Indian Museum (August 5 – 7: Karen will be at the Fenimore Art Museum/New York State Historical Association, Cooperstown)

August 11: IROQUOIS SOCIAL DANCE SATURDAY with the HAUDENOSAUNEE DANCERS from Onondaga. The Haudenosaunee Dancers perform Iroquois social dances as practiced in their small traditional community near Syracuse. Elegant and knowledgeable, leader Sherri Waterman-Hopper has traveled internationally as an artist and cultural speaker. The Dancers feature a core group of seasoned singer/musicians and talented and dedicated young adults. Pride in the culture and adherence to the traditions are the hallmarks of this disciplined troupe. The dancers will demonstrate a variety of traditional Iroquois Social Dances and encourage participation from the audience. Social songs vary in length, verses and tempo depending on the song selection of the singers. All dances are done in a counter clockwise direction. The instruments used in the social dances in various combinations are the water drum, the horn rattle, hard sticks and the beating of the feet on the floor.

August 24: NATIVE AMERICAN ARTISAN SERIES: Ken Maracle, Cayuga Wampum Maker demonstrates at Iroquois Indian Museum (August 21 – 23 : Ken will be at the Fenimore Art Museum/New York State Historical Association, Cooperstown)

September 1 & 2: 31ST ANNUAL IROQUOIS INDIAN FESTIVAL: Festival offerings include Iroquois music and social dance, traditional stories, all-Iroquois art market, games and Native food. More highlights include wildlife exhibits, archeology ID table, and flintknapping demonstrations.

September 2: NATIVE AMERICAN ARTISAN SERIES: Vince Bomberry, Cayuga Sculptor demonstrates at Iroquois Indian Museum (August 30 – September 1: Vince will be at the Fenimore Art Museum/New York State Historical Association, Cooperstown)

The Great Bare: The Celebrity of Adah Menken

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Adah Menken, dubbed “The Great Bare” by writer/admirer Mark Twain, was the first media celebrity, who was known around the world as “The Naked Lady” because her stage show featured her nude (in a sheer body stocking).

Her star power inspired poets like Walt Whitman and writers like Sir Arthur Conan Doyle, who used Menken as the basis for the classic Sherlock Holmes supporting character of Irene Adler. Her popularity was fueled by a new advent of the period, mass circulation newspapers.

Their reporters couldn’t wait to write about her latest adventure, according to biographers Michael and Barbara Foster, who call her the originator of the modern celebrity femme fatale.

In a century remembered for Victorian restraint, Menken’s modern flair for action, scandal, and unpopular causes &#8211 especially that of the Jewish people &#8211 revolutionized show business. On stage, she was the first actress to bare all. Off stage, she originated the front-page scandal and became the world’s most highly paid actress—celebrated on Broadway, as well as in San Francisco, London, and Paris. At thirty-three, she mysteriously died.

“Menken was an original who pioneered in several areas we now take for granted,” said the Fosters, authors of the newly published A Dangerous Woman: The Life, Loves and Scandals of Adah Isaacs Menken, 1835 – 1868 (Lyons Press, 2012). “Adah invented ‘stardom’ in the modern, media-driven sense, making use of the newly invented newspaper, the telegraph, photography, railroads and steamships to become the first global superstar — number one on Broadway, the rage of gold rush San Francisco, the toast of Victorian London and Paris. Onstage, Adah risked her life every evening in the Civil War sensation Mazeppa, in which apparently stripped naked she rode up a four-story stage mountain tied to a stallion. The mix of sexuality and danger made her the Civil War siren, the highest paid actress in the world, and caused her death at 33.”

Moreover, it wasn’t that Adah did these things to garner attention or as cheap publicity stunts. The Fosters believe that “Swimming Against the Current”&#8211an essay she wrote in defense of Walt Whitman&#8211was an essential part of her personality. There was nothing contrived about her.

A Dangerous Woman is the first book to tell Menken’s fascinating story. Born in New Orleans to a “kept woman of color” and to a father whose identity is debated, Menken eventually moved to the Midwest, where she became an outspoken protege of the rabbi who founded Reform Judaism. In New York City, she became Walt Whitman’s disciple. During the Civil War she was arrested as a Confederate agent—and became America’s first pin-up superstar. Menken married and left five husbands.

Michael Foster is a historian, novelist and biographer. A Dangerous Woman is his fifth book. Barbara Foster is an associate professor of women’s studies at City University of New York.

Note: Books noticed on this site have been provided by the publishers. Purchases made through this Amazon link help support this site.

Nick Pavlik: A New Face for the Associated Press

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Recently, the Associated Press (AP), one of the world’s most respected news agencies, unveiled its brand new logo (proudly displayed on its official website), retiring its previous logo of 31 years. To help usher in the AP’s new look and its accompanying visual identity system, the Archivists Round Table of Metropolitan New York held its latest monthly programming event at the AP Corporate Archives. The event was attended by an impressive turnout and explored the development, design, and promotion of the AP’s new logo.

Featured speakers included Francesca Pitaro, AP Processing Archivist- Matt Cluney, AP Director of Marketing, Americas- and David Jalbert-Gagnier, principal of the design firm Objective Subject.

Ms. Pitaro spoke on the organization of the AP Publications Collection in the Corporate Archives, as well as how the historical graphic art contained in the collection provided invaluable context for the development and design of the new logo. Mr. Cluney spoke on the collaborative ventures between the AP Marketing and Creative Services teams for publicly marketing the new logo, while Mr. Jalbert-Gagnier expounded upon the creative and historical process of producing the AP’s new logo design and associated visual identity assets.

Presentations were followed by a viewing of the exhibit (AP) Means Associated Press: 166 Years of Logotype Design, curated by Valerie Komor, Director of the Corporate Archives, and former Assistant Archivist Sam Markham. The exhibit presented historical AP publications and promotional materials that illustrated the evolution of the AP’s visual identity, as well as a timeline of AP World magazine covers from 1944 to 2011.

For New York City archivists, this was a great opportunity to hear about and learn from a wonderfully successful interdepartmental initiative involving archives within a corporate setting.

More information on the AP’s new logo and visual identity system can be found on the AP’s FAQ page on this subject.

Photos: Above, AP seal, 1900- middle, event attendees perusing the exhibit (AP) Means Associated Press: 166 Years of Logotype Design (courtesy of AP Photo/Santos Chaparro)- and below, an AP Service Bulletin from January 1926.