The Tastemaker
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Acknowledgments
First, I should like to thank Genevieve Pegg and Jon Elek, whose help at the very start of this project was crucial to its continuation. Thanks also to Chris Parris-Lamb at the Gernert Company for showing such belief in the book in its infancy and for helping me tell the story I wanted to tell. For similar reasons, I am indebted to Jonathan Galassi at Farrar, Straus and Giroux. Thanks also to Alexander Star at FSG, but in particular to Chris Richards for his hard work and erudition and for fielding my dozens of confused queries so phlegmatically. Without his sharp critical eye this book would not have been published.
It was a pleasure to have worked with some fascinating archival materials stored at the Schomburg Center for Research in Black Culture and the Billy Rose Theatre Division of the New York Public Library. Staff at these institutions and at the Columbia Center for Oral History, the Bass Library at Yale University, and the Boatwright Library at the University of Virginia helped me with innumerable issues, large and small. I must reserve a special mention for the staff of the Beinecke Rare Book & Manuscript Library, as well as for Thomas Lannon, Tal Nadan, and all the staff at the Manuscripts and Archives Division of the New York Public Library for their invaluable help and expert guidance. I should also like to say a word for the British Library, where much of this book was written and where I first discovered Van Vechten’s writing.
My research was aided enormously by the patience and generosity of many people. Wynn, Sally, and Sam Chamberlain gave their time to help me further my understanding of Van Vechten in his later years, as did Reverend Peter Francis O’Brien, S.J., who also responded to my inquiries with great enthusiasm and thoughtfulness. Nobody has done more over the last fifty years to keep alive interest in Van Vechten and his works than Bruce Kellner, Successor Trustee of the Carl Van Vechten Trust, whose scholarly efforts proved extremely useful to me during my research. Rosa Vieira de Almeida and Erik Cronqvist offered a rare combination of hospitality and research assistance. Darryl Pinckney showed great kindness by offering advice and introductions; Emily Bernard gave similar help and shared her tremendous knowledge and insight as I researched and wrote the manuscript. Karen Abbott helped clear up some issues about the bordellos of nineteenth-century Chicago, for which I am grateful, and Hannah Kauders did a terrific job in providing research assistance. I also owe thanks to those who gave their permission to reproduce text and images throughout the book: John Pennino at the Metroplitan Opera Archives, María Elena Rico Covarrubias, Wynn Chamberlain, Mimi Muray, Andrea Beauchamp at the Hopwood Room at the University of Michigan, and Nancy Kuhl and the Yale Committee on Literary Property.
Various friends and colleagues on both sides of the Atlantic pretended—sometimes quite convincingly—not to be bored when I rambled on, yet again, about Carl Van Vechten. They also offered help, advice, and critiques, all of which were greatly appreciated. I should like to say special thanks to Chris Levy and Andrew Bainbridge for hours of conversation about the book and for the repeated use of their sofa beds, while Robert Portass gave much-needed counsel and encouragement at various points. Mary Bralove and Peggy Mitchell served up steak dinners, club sandwiches, and support when I first arrived in the United States, and Sue Jones did a passable impersonation of The Great Soprendo, pulling rabbits out of hats just when I needed them most. Simba Bhebhe merits a line of thanks for indirectly stoking my interest in Van Vechten’s life and work.
The biggest thanks of course go to my family for their help in ways too numerous to list here. In particular, I owe my parents, John and Patricia, an enormous debt for their unfailing support during the writing of this book and the twenty-odd years that preceded it.
Index
The index that appeared in the print version of this title does not match the pages in your eBook. Please use the search function on your eReading device to search for terms of interest. For your reference, the terms that appear in the print index are listed below.
The name Carl Van Vechten has been abbreviated as “CVV.”
A
Abbott, Bessie
abolitionists
Academy Awards
Academy of Motion Picture Arts and Sciences
Adams, Franklin Pierce
Adams, Kenneth
Addams, Jane
Ade, George
Aeolian Hall (New York)
African-Americans; in Cedar Rapids; in Chicago; CVV’s championing of culture of; CVV’s comparison of Pueblo culture to; at CVV’s parties; discrimination against; in Europe; evangelical religion of; in Manhattan (see also Harlem); music of (see also blues; jazz; ragtime; spirituals; names of performers); responses to Nigger Heaven of; struggle for rights of, see civil rights; Vanity Fair articles on culture of; in vaudeville; white patrons of; and World War I; Yale
collection of materials on culture of; see also blackness
African Methodist Episcopal Church
Africana (revue)
Afro American, The
Alabama
Aldrich, Richard
Alexander, Elizabeth
Alexander, John W.
Algonquin Hotel (New York); Roundtable
Allan, Maud
“All Coons Look Alike to Me” (song)
All God’s Chillun Got Wings (Eugene O’Neill)
Alvarez, Marguerite d’
Ambassador Hotel (Los Angeles)
American Beauty (show)
American Extravaganza Company
American Homes and Gardens
American Jewish Congress
American Mercury, The
American Novel, The (Van Doren)
American Photographs (Walker Evans)
American Tragedy, An (Dreiser)
Amsterdam
Anderson, Marian
Anderson, Sherwood
Angelus Temple (Los Angeles)
Angus, Donald
Antheil, George
Arensberg, Walter
Armory Show (New York, 1913)
art nouveau
Astaire, Adele
Astaire, Fred
Atlanta University
Atlantic City
Atlantic Monthly, The
Auditorium (Chicago)
Austria
Autobiography of Alice B. Toklas, The (Gertrude Stein)
Autobiography of an Ex-Colored Man, The (James Weldon Johnson)
Auzias, Eugénie (“Nina de Montparnasse”)
avant-garde
Avon publishing company
Axel’s Castle (Wilson)
B
Babbitt (Lewis)
Bach, Johann Sebastian
Baer, Lewis
Bahamas
Baker, Josephine
Baker, Martha
Balanchine, George
Baldwin, James
“Ballad of Ludlow Street Jail, The” (CVV)
“Ballad of Reading Gaol, The” (Wilde)
ballet; see also Ballets Russes
Ballets Russes
Baltimore Afro American
Bankhead, Tallulah
Baptists
Barcelona