Manhattan Schist - Culture

Culture

See also: Culture of New York City and Music of New York City

Manhattan has been the scene of many important American cultural movements. In 1912, about 20,000 workers, a quarter of them women, marched on Washington Square Park to commemorate the Triangle Shirtwaist Factory fire, which killed 146 workers on March 25, 1911. Many of the women wore fitted tucked-front blouses like those manufactured by the Triangle Shirtwaist Company, a clothing style that became the working woman's uniform and a symbol of female independence, reflecting the alliance of labor and suffrage movements.

The Harlem Renaissance in the 1920s established the African-American literary canon in the United States. Manhattan's vibrant visual art scene in the 1950s and 1960s was a center of the American pop art movement, which gave birth to such giants as Jasper Johns and Roy Lichtenstein. Perhaps no other artist is as associated with the downtown pop art movement of the late 1970s as Andy Warhol, who socialized at clubs like Serendipity 3 and Studio 54.

A popular haven for art, the downtown neighborhood of Chelsea is widely known for its galleries and cultural events, with more than 200 art galleries that are home to modern art from both upcoming and established artists.

Broadway theatre is often considered the highest professional form of theatre in the United States. Plays and musicals are staged in one of the 39 larger professional theatres with at least 500 seats, almost all in and around Times Square. Off-Broadway theatres feature productions in venues with 100–500 seats. A little more than a mile from Times Square is the Lincoln Center, home to one of the world's most prestigious opera houses, that of the Metropolitan Opera.

Manhattan is also home to some of the most extensive art collections, both contemporary and historical, in the world including the Metropolitan Museum of Art, the Museum of Modern Art (MoMA), the Frick Collection, the Whitney Museum of American Art, and the Frank Lloyd Wright-designed Guggenheim Museum.

Manhattan is the borough most closely associated with New York City by non-residents; even some natives of New York City's boroughs outside Manhattan will describe a trip to Manhattan as "going to the city".

The borough has a place in several American idioms. The phrase a New York minute is meant to convey a very short time, sometimes in hyperbolic form, as in "perhaps faster than you would believe is possible". It refers to the rapid pace of life in Manhattan. The term "melting pot" was first popularly coined to describe the densely populated immigrant neighborhoods on the Lower East Side in Israel Zangwill's play The Melting Pot, which was an adaptation of William Shakespeare's Romeo and Juliet set by Zangwill in New York City in 1908. The iconic Flatiron Building is said to have been the source of the phrase "23 skidoo" or scram, from what cops would shout at men who tried to get glimpses of women's dresses being blown up by the winds created by the triangular building. The "Big Apple" dates back to the 1920s, when a reporter heard the term used by New Orleans stablehands to refer to New York City's racetracks and named his racing column "Around The Big Apple." Jazz musicians adopted the term to refer to the city as the world's jazz capital, and a 1970s ad campaign by the New York Convention and Visitors Bureau helped popularize the term.

Manhattan has perennially represented a quintessential cinematic venue. Notable films set in Manhattan include Miracle on 34th Street; The Godfather; Ghostbusters; many of Woody Allen's films, such as Annie Hall; and numerous crime and drama films in the 1940s and 1950s.

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Famous quotes containing the word culture:

    He was one whose glory was an inner glory, one who placed culture above prosperity, fairness above profit, generosity above possessions, hospitality above comfort, courtesy above triumph, courage above safety, kindness above personal welfare, honor above success.
    Sarah Patton Boyle, U.S. civil rights activist and author. The Desegregated Heart, part 1, ch. 1 (1962)

    The anorexic prefigures this culture in rather a poetic fashion by trying to keep it at bay. He refuses lack. He says: I lack nothing, therefore I shall not eat. With the overweight person, it is the opposite: he refuses fullness, repletion. He says, I lack everything, so I will eat anything at all. The anorexic staves off lack by emptiness, the overweight person staves off fullness by excess. Both are homeopathic final solutions, solutions by extermination.
    Jean Baudrillard (b. 1929)

    Here is this vast, savage, howling mother of ours, Nature, lying all around, with such beauty, and such affection for her children, as the leopard; and yet we are so early weaned from her breast to society, to that culture which is exclusively an interaction of man on man,—a sort of breeding in and in, which produces at most a merely English nobility, a civilization destined to have a speedy limit.
    Henry David Thoreau (1817–1862)