The title here, taken from the 1962 hit lyrics "Lipstick traces/On a cigarette," aptly sums up Marcus' (Village Voice columnist; Mystery Train, 1975) paradoxical project—which amounts to fashioning a text on the enduring aspects of the "hidden history" of modernism as revealed in that imprint of the ephemeral, pop music. Predicted on the thesis that any given "groove" is indicative of the pressing of its time upon the wax of collective sensibility—and that even one-chord wonders and bored teen-agers must say something, however incoherent, about both their parents and the society that produced them—this well-illustrated book is about ". . .the pop magic in which the connection of certain social facts with certain sounds creates irresistible symbols of the transformation of social reality." Starting with the Sex Pistols and the 70's malaise they symbolized, Marcus traces a recta-musical social history that's informed both by Marxist aesthetics and political economy. Rather like those French annaliste histories devoted to explicating the structures of everyday life obscured by their familiarity, this is an excavation—a kind of cultural archeology of buried evidence of obscured affinities and archetypes from the Paris Commune Revival of May 1968 back through the Situationist International of the 1950's, the surrealists of the 30's and 40's, dada (often thought of as proto-punk), Marx, various medieval heretics, and even the Knights of the Round Table. Marcus deftly orchestrates what might have been a cacophony of voices into a coherent context, thus acquitting himself honorably in his critical function of being the instrument, podium, and conductor "of a new conversation. . .to lead speakers and listeners unaware of each other's existence to talk to one another." Ratified but provocative, intriguing, and hip sociocultural analysis.
Pub Date: April 5, 1989
ISBN: 0571277101
Page Count: -
Publisher: Harvard Univ.
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 15, 1989
A zesty, energetic history, not only of a building, but of more than a century of American culture.
A revealing biography of the fabled Manhattan hotel, in which generations of artists and writers found a haven.
Turn-of-the century New York did not lack either hotels or apartment buildings, writes Tippins (February House: The Story of W. H. Auden, Carson McCullers, Jane and Paul Bowles, Benjamin Britten, and Gypsy Rose Lee, Under One Roof In Wartime America, 2005). But the Chelsea Hotel, from its very inception, was different. Architect Philip Hubert intended the elegantly designed Chelsea Association Building to reflect the utopian ideals of Charles Fourier, offering every amenity conducive to cooperative living: public spaces and gardens, a dining room, artists’ studios, and 80 apartments suitable for an economically diverse population of single workers, young couples, small families and wealthy residents who otherwise might choose to live in a private brownstone. Hubert especially wanted to attract creative types and made sure the building’s walls were extra thick so that each apartment was quiet enough for concentration. William Dean Howells, Edgar Lee Masters and artist John Sloan were early residents. Their friends (Mark Twain, for one) greeted one another in eight-foot-wide hallways intended for conversations. In its early years, the Chelsea quickly became legendary. By the 1930s, though, financial straits resulted in a “down-at-heel, bohemian atmosphere.” Later, with hard-drinking residents like Dylan Thomas and Brendan Behan, the ambience could be raucous. Arthur Miller scorned his free-wheeling, drug-taking, boozy neighbors, admitting, though, that the “great advantage” to living there “was that no one gave a damn what anyone else chose to do sexually.” No one passed judgment on creativity, either. But the art was not what made the Chelsea famous; its residents did. Allen Ginsberg, Bob Dylan, Andy Warhol, Janis Joplin, Leonard Cohen, Robert Mapplethorpe, Phil Ochs and Sid Vicious are only a few of the figures populating this entertaining book.
A zesty, energetic history, not only of a building, but of more than a century of American culture.Pub Date: Dec. 3, 2013
ISBN: 978-0-618-72634-9
Page Count: 448
Publisher: Houghton Mifflin Harcourt
Review Posted Online: Sept. 18, 2013
Kirkus Reviews Issue: Oct. 1, 2013
BOOK REVIEW
A wondrous mix of races, ages, genders, and social classes, and on virtually every page is a surprise.
Photographer and author Stanton returns with a companion volume to Humans of New York (2013), this one with similarly affecting photographs of New Yorkers but also with some tales from his subjects’ mouths.
Readers of the first volume—and followers of the related site on Facebook and elsewhere—will feel immediately at home. The author has continued to photograph the human zoo: folks out in the streets and in the parks, in moods ranging from parade-happy to deep despair. He includes one running feature—“Today in Microfashion,” which shows images of little children dressed up in various arresting ways. He also provides some juxtapositions, images and/or stories that are related somehow. These range from surprising to forced to barely tolerable. One shows a man with a cat on his head and a woman with a large flowered headpiece, another a construction worker proud of his body and, on the facing page, a man in a wheelchair. The emotions course along the entire continuum of human passion: love, broken love, elation, depression, playfulness, argumentativeness, madness, arrogance, humility, pride, frustration, and confusion. We see varieties of the human costume, as well, from formalwear to homeless-wear. A few celebrities appear, President Barack Obama among them. The “stories” range from single-sentence comments and quips and complaints to more lengthy tales (none longer than a couple of pages). People talk about abusive parents, exes, struggles to succeed, addiction and recovery, dramatic failures, and lifelong happiness. Some deliver minirants (a neuroscientist is especially curmudgeonly), and the children often provide the most (often unintended) humor. One little boy with a fishing pole talks about a monster fish. Toward the end, the images seem to lead us toward hope. But then…a final photograph turns the light out once again.
A wondrous mix of races, ages, genders, and social classes, and on virtually every page is a surprise.Pub Date: Oct. 13, 2015
ISBN: 978-1-250-05890-4
Page Count: 432
Publisher: St. Martin's
Review Posted Online: July 27, 2015
Kirkus Reviews Issue: Aug. 15, 2015
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