Terri Thal was very much a part of the folk music world in 1960s Greenwich Village, New York. Few people know that she was 21-year-old Bob Dylan's first manager prior to his contract with Albert Grossman and Columbia Records. She also managed musician Dave Van Ronk (who was her husband), and others to include the Roche sisters, Paul Geremia and The Holy Modal Rounders. She booked performances at coffee houses, clubs and basket houses. On 6 September 1961, she recorded a set from a young Bob at The Gaslight Café – it is the first known live recording of his original songs - known to Dylan fans as the First Gaslight Tape! Terri took this 'audition' tape to clubs to try to get him gigs – and she still owns the original reel-to-reel tape! She had many friends in Greenwich Village including Suze Rotolo and a number of seminal 1960s folk musicians. When Dave Van Ronk first saw young Bob performing in a club in Greenwich Village he said 'I just heard this kid who's a fucking genius. You've got to hear him.' Within a few days I heard him play and agreed with Dave. Bob Dylan asked me, 'Would you get me gigs?' Terri Thal has two passions: folk music and social justice. This is a personal story of the world of folk music in 1960s New York written by a Jewish woman from Brooklyn who, although not a musician, was an intrinsic part of this scene. Terri describes Greenwich Village as a community that was supportive, musically exciting and one in which people had fun.Terri tells us what it was like to hang out in the Village coffee houses, to host folk singers like Tom Paxton and Phil Ochs who hung out at her apartment, and to be a manager. We hear her view and involvement of the 1960s socialist organizations, and how she later merged her professional work in not- for-profit agencies.

When the poet Maxwell Bodenheim and his common-law wife, Ruth Fagan, were found brutally murdered by the insane man whose single room they were sharing, the press made much of the sensation. Persons safely distant from Bodenheim’s bitter struggle for existence, who thought of him merely as a drunken shambles, felt, somewhat smugly, he had met a suitable end. But Bodenheim’s funeral was richly attended by poets and artists who know better. They knew that to the last minute of his precarious life Bodenheim was a working writer and a productive poet, though he often had no place but a doorstep to lay his head. They came with tears instead of flowers to say goodbye. Alfred Kreymbourg read an eloquent tribute to Max’s undying sense of the beauty of life. Maxwell Bodenheim knew Greenwich Village as no one else did, because he was Greenwich Village. Its waywardness, its dreams, its love life, were his to cherish. These memoirs are filled with irony, with compassion, with love, laughter and unquenchable dignity. He had intended to write a summing-up, but death, most grotesquely, intervened. The publishers are proud to present Maxwell Bodenheim’s last and most fascinating work.

Most of these tales take place during the 1960s and shed light on the gay scene in New York during that period of change. Cee Jay Seton is the narrator of these fictitious accounts of a diversity of men he meets in La Bar, a neighborhood hangout in Greenwich Village, New York. Their stories are serious, humorous, touching, and even tragic. These tales will appeal to people of any sexual orientation; however, the reader should be warned that this book contains controversial topics and explicit language.

For fans of HBO’s The Gilded Age, explore the dazzling world of America’s 19th century elite in this lush, page-turning saga… In early twentieth-century New York, a young social butterfly discovers the darker side of the big city . . . First in this suspenseful historical mystery series. A year before World War I breaks out, the sidewalks of Manhattan are crowded with restless newcomers chasing the fabled American Dream, including a sharp-witted young woman who discovers a talent for investigating murder . . . New York City, 1913. Twenty-year-old Louise Faulk has fled Altoona, Pennsylvania, to start a life under dizzying lights. In a city of endless possibilities, it’s not long before the young ingénue befriends a witty aspiring model and makes a splash at the liveliest parties on the Upper East Side. But glitter fades to grit when Louise’s Greenwich Village apartment becomes the scene of a violent murder and a former suitor hustling for Tin Pan Alley fame hits front-page headlines as the prime suspect. Driven to investigate the crime, Louise finds herself stepping into the seediest corners of the burgeoning metropolis—where she soon discovers that failed dreams can turn dark and deadly . . . Praise for the Louise Faulk Mystery series “Maisie Dobbs fans will be pleased.” —Publishers Weekly

Capturing the lively modernist milieu of Kenneth Burke’s early career in Greenwich Village, where Burke arrived in 1915 fresh from high school in Pittsburgh, this book discovers him as an intellectual apprentice conversing with “the moderns.” Burke found himself in the midst of an avant-garde peopled by Malcolm Cowley, Marianne Moore, Jean Toomer, Katherine Anne Porter, William Carlos Williams, Allen Tate, Hart Crane, Alfred Stieglitz, and a host of other fascinating figures. Burke himself, who died in 1993 at the age of 96, has been hailed as America’s most brilliant and suggestive critic and the most significant theorist of rhetoric since Cicero. Many schools of thought have claimed him as their own, but Burke has defied classification and indeed has often been considered a solitary, eccentric genius immune to intellectual fashions. But Burke’s formative work of the 1920s, when he first defined himself and his work in the context of the modernist conversation, has gone relatively unexamined. Here we see Burke living and working with the crowd of poets, painters, and dramatists affiliated with Others magazine, Stieglitz’s “291” gallery, and Eugene O’Neill’s Provincetown Players; the leftists associated with the magazines The Masses and Seven Arts; the Dadaists; and the modernist writers working on literary journals like The Dial, where Burke in his capacity as an associate editor saw T. S. Eliot’s “The Wasteland” into print for the first time and provided other editorial services for Thomas Mann, e.e. cummings, Ezra Pound, and many other writers of note. Burke also met the iconoclasts of the older generation represented by Theodore Dreiser and H. L. Mencken, the New Humanists, and the literary nationalists who founded Contact and The New Republic. Jack Selzer shows how Burke’s own early poems, fiction, and essays emerged from and contributed to the modernist conversation in Greenwich Village. He draws on a wonderfully rich array of letters between Burke and his modernist friends and on the memoirs of his associates to create a vibrant portrait of the young Burke’s transformation from aesthete to social critic.

When Greenwich Village Was Ours! is a collection of written memoirs and short stories from various people who grew up in Greenwich Village, New York City.

Reproduction of the original: Greenwich Village by Anna Alice Chapin

The definitive history of the rise and heyday of the revolutionary Greenwich Village music scene, based on new research and first-hand interviews with many of its legendary performers Although Greenwich Village encompasses less than a square mile in downtown New York, rarely has such a concise area nurtured so many innovative artists and genres. Over the course of decades, Billie Holiday, the Weavers, Sonny Rollins, Dave Van Ronk, Ornette Coleman, Bob Dylan, Nina Simone, Phil Ochs, and Suzanne Vega are just a few who migrated to the Village, recognizing it as a sanctuary for visionaries, non-conformists, and those looking to reinvent themselves. Working in the Village’s smokey coffeehouses and clubs, they chronicled the tumultuous Sixties, rewrote jazz history, and took folk and rock & roll into places they hadn’t been before. Based on over 150 new interviews (Judy Collins, Sonny Rollins, Herbie Hancock, Eric Andersen, Suzzy and Terre Roche, Suzanne Vega, Steve Forbert, Arlo Guthrie, John Sebastian, Shawn Colvin, the members of the Blues Project, and more), previously unseen documents, and author David Browne’s longtime immersion in the scene, Talkin’ Greenwich Village lends the saga the epic, panoramic scope it’s long deserved. It takes readers from the Fifties jamborees in Washington Square Park and into landmark venues like Gerde’s Folk City, the Gaslight Café, and the Village Vanguard, onto Dylan’s momentous arrival and returns, the no-holds-barred Seventies years (West Village discos, National Lampoon’s Lemmings), and the folk revival of the Eighties (Vega’s enduring “Tom’s Diner”). In eye-opening fashion, Browne also details the often-overlooked people of color in the Sixties folk clubs, reveals how the FBI and city government consistently kept their eyes on the community, unearths the machinations behind the infamous “beatnik riot” in Washington Square Park, and tells the interconnected tales of Van Ronk, the seminal band the Blues Project, and the beloved sister trio, the Roches. In also recounting the racial tensions, crackdowns, and changes in New York and music that infiltrated the neighborhood, Talkin’ Greenwich Village is more than just vivid cultural history. It also speaks to the rise and waning of bohemian culture itself, set to some of the most enduring lyrics, melodies, and jazz improvisations in American music.

Tales of ghostly goings-on and otherworldly encounters in Greenwich Village Among New York City’s many treasures is Greenwich Village, a bohemian area filled with creativity and rebellion. Haunted Greenwich Village—a collection of stories of ghosts, mysteries, and paranormal happenings in Greenwich Village—will leave readers delightfully frightened. Meet a colorful cast of spirits and spectres, visit haunted hotels and houses, and experience the eerie and supernatural. Many of the locations are accessible to the public—and some are even open for overnight stays for the truly daring—including: Washington Square: This upper-class neighborhood is haunted bycelebrity apparitions, the spirits of those buried there, the ghosts of those executed at Hangman’s Elm—and even a phantom dog. Third Street: The spirit that haunts a block here sometimes parks his horse and carriage directly in front of NYU’s D’Agostino Residence Hall. This famous early American politician and his daughter, who disappeared at sea, have even disrupted a restaurant about four blocks away in the West Village.

Expands the picture of early American modernism well beyond New York City's dominant impact on the movement by revealing the rich and vibrant modernist art community that New York socialite Mabel Dodge Luhan created in her famous Taos, New Mexico, salon.