Broadway Boogie Woogie: Damon Runyon and the Making of New by D. Schwarz
By D. Schwarz
Damon Runyon's acceptance and value in shaping Amer-ican pop culture throughout the first half the 20th century can infrequently be exaggerated. In vigorous and exuberant chapters that come with a breathtaking view of recent York urban among the area Wars-with an emphasis at the city's colourful nightlife-Schwarz examines almost each aspect of Runyon's profession, from sports-writer, day-by-day columnist, trial re-porter, and Hollywood determine to the writer of the nonetheless greatly learn brief tales that have been the resource of the Broad-way hit men and Dolls. whereas examining Runyon's high-spirited paintings when it comes to old contexts, pop culture, and of the altering functionality of the media, Schwarz argues that during his columns and tales Runyon was once an integral determine in developing our public pictures of recent York urban tradition, inclu-ding our curiosity within the demimonde and underworld that explains partly the good fortune of The Godfather motion pictures and the Sopranos. As a part of his dialogue of Runyon's artwork and artistry of Runyon's fiction, he skillfully examines the distinctive language of the Broadway tales often called 'Runyonese' and explains how 'Runyonese' has turn into an adjective describing flamboyant habit.
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Extra resources for Broadway Boogie Woogie: Damon Runyon and the Making of New York City Culture
The growth of advertising was a major factor in the flourishing of magazines in which Runyon’s work appeared. 10 With the increasing dominance of New York in literary culture, it is not surprising that a great many of the major American magazines were published in New York. ”11 Although these magazines were national and international in coverage, they often stressed the glamour of New York, where celebrities, particularly those in the theater, resided. ”12 Many factors, of course, went into the making of the world Runyon describes.
The pugnacious Winchell varied his content from day to day to satisfy his diverse audience—Mondays were for gossip, Tuesdays and Thursdays he focused on anecdotes and jokes, and Saturdays he wrote about obscure facts. While in his columns Winchell did take on somewhat different personae, he did not do so in the wildly inventive way that Runyon did. The growth of advertising was a major factor in the flourishing of magazines in which Runyon’s work appeared. 10 With the increasing dominance of New York in literary culture, it is not surprising that a great many of the major American magazines were published in New York.
Runyon’s view was not too different; he at once celebrated and condemned promiscuity. Evergood and Marsh were patronized by highbrow critics for similar reasons as Runyon. On first encounter, all three seemed more interested in subject matter than technique and used popular forms and seemingly unsophisticated techniques to communicate viscerally with a larger audience. Moreover, they relied on exaggerations and even grotesque and distorted perspectives. Another painter who helps us understand Runyon is John Marin (1870–1953), especially his 1936 series of watercolors, including “City Movement, Downtown Manhattan #2” (1936), which had much in common with Runyon’s rendering of the city’s vitality and energy.