Times Square, in its heyday, expressed American culture in the moment of vivid change. A stellar group of critics and scholars examines this transitional moment in Inventing Times Square, a study of the development of New York's central entertainment district. A fascinating visit to Times Square, from its christening in 1905 to its eventual decline after the Depression, the book explores the colorful configuration of institutions and cultural practices that propelled Times Square from a local and regional entertainment center to a national cultural marketplace. Changes in the economy, in religion, in leisure culture, and in aesthetics gave birth to a geographical space that fostered Vaudeville and Tin Pan Alley, Flo Ziegfeld and Billy Rose, the spectacle of the Hippodrome and the bright lights of the Great White Way. Out of this same place eventually came national network radio and many Hollywood films. Though conceived as a public space, Times Square was quickly transformed into a commercial center. Power brokers wielded their influence on a public ready to succumb to consumerism. Theatrical entertainment  became a large-scale national business based in, and operated out of, Times Square. A new commercial aesthetic travelled with Joseph Urban from Vienna to Times Square to Palm Beach, bringing to society a sophisticated style that will forever say "Broadway." Times Square as the "center of the universe" had its darker sides as well, for it was the testing ground for a new morality. The packaging of sexuality on the stage gave it legitimacy on the streets, as hotels and sidewalks became the province of female prostitution, male hustling, and pornography. At the center of New York City, Times Square's commercial activities gave full rein to urban appetites and fantasies, and challenged and defied the norms of behavior that prevailed elsewhere in the city. Cultural history at its finest, Inventing Times Square portrays the vibrant convergence of social and economic forces on Forty-second Street.

Who has ruled New York? Has power become more concentrated—or more widely and democratically dispersed—in American cities over the past one hundred years? How did New York come to have its modern physical and institutional shape? Focusing on the period when New York City was transformed from a nineteenth-century mercantile center to a modern metropolis, David C. Hammack offers an entirely new view of the history of power and public policy in the nation's largest urban community. Opening with a fresh and original interpretation of the metropolitan region's economic and social history between 1890 and 1910, Hammack goes on to show how various population groups used their economic, social, cultural, and political resources to shape the decisions that created the modern city. As New York grew in size and complexity, its economic and social interests were forced to compete and form alliances. No single group—not even the wealthy—was able to exercise continuing control of urban policy. Building on his account of this interplay among numerous elites, Hammack concludes with a new interpretation of the history of power in New York and other American cities between 1890 and 1950. This book makes a major contribution to the study of community power, of urban and regional history, and of public policy. And by taking the meaning and distribution of power as his theme, Hammack is able to reintegrate economic, social, and political history in a rich and comprehensive work.   "Lucid, instructive, and discerning....The most commanding analysis of its subject that I know." —John M. Blum, professor of history, Yale University "A powerful and persuasive treatment of a marvelous subject." —Nelson W. Polsby, professor of political science, University of California, Berkeley

The "Puerto-Rican Problem" in Postwar New York City presents the first comprehensive examination of the emergence, evolution, and consequences of the “Puerto Rican problem” campaign and narrative in New York City from 1945 to 1960. This notion originated in an intense public campaign that arose in reaction to the entry of Puerto Rican migrants to the city after 1945. The “problem” narrative influenced their incorporation in New York City and other regions of the United States where they settled. The anti-Puerto Rican campaign led to the formulation of public policies by the governments of Puerto Rico and New York City seeking to ease their incorporation in the city. Notions intrinsic to this narrative later entered American academia (like the “culture of poverty”) and American popular culture (e.g., West Side Story), which reproduced many of the stereotypes associated with Puerto Ricans at that time and shaped the way in which Puerto Ricans were studied and perceived by Americans.
 

2017 American Book Award Winner from the Before Columbus Foundation 

In 1911, a fire at the Triangle Shirtwaist Factory in New York City took the lives of 146 workers, most of them young immigrant women and girls. Their deaths galvanized a movement for social and economic justice then, but today’s laborers continue to battle dire working conditions. How can we bring the lessons of the Triangle fire back into practice today? For artist Ruth Sergel, the answer was to fuse art, activism, and collective memory to create a large-scale public commemoration that invites broad participation and incites civic engagement. See You in the Streets showcases her work.

It all began modestly in 2004 with Chalk, an invitation to all New Yorkers to remember the 146 victims of the fire by inscribing their names and ages in chalk in front of their former homes. This project inspired Sergel to found the Remember the Triangle Fire Coalition, a broad alliance of artists and activists, universities and unions—more than 250 partners nationwide—to mark the 2011 centennial of the infamous blaze. Putting the coalition together and figuring what to do and how to do it were not easy. This book provides a lively account of the unexpected partnerships, false steps, joyous collective actions, and sustainability of such large public works. Much more than an object lesson from the past, See You in the Streets offers an exuberant perspective on building a social art practice and doing public history through argument and agitation, creativity and celebration with an engaged public.