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A rich ethnographical study, drawing on the memories of guests, staff, and entertainers, chronicles the development of the Jewish Catskill resorts, discussing their impact on both American and immigrant Jewish culture and tracing their slow decline since the 1970s. UP.
The Catskills (“Cat Creek” in Dutch), America’s original frontier, northwest of New York City, with its seven hundred thousand acres of forest land preserve and its five counties—Delaware, Greene, Sullivan, Ulster, Schoharie; America’s first great vacationland; the subject of the nineteenth-century Hudson River School paintings that captured the almost godlike majesty of the mountains and landscapes, the skies, waterfalls, pastures, cliffs . . . refuge and home to poets and gangsters, tycoons and politicians, preachers and outlaws, musicians and spiritualists, outcasts and rebels . . . Stephen Silverman and Raphael Silver tell of the turning points that made the Catskills so vital to the development of America: Henry Hudson’s first spotting the distant blue mountains in 1609; the New York State constitutional convention, resulting in New York’s own Declaration of Independence from Great Britain and its own constitution, causing the ire of the invading British army . . . the Catskills as a popular attraction in the 1800s, with the construction of the Catskill Mountain House and its rugged imitators that offered WASP guests “one-hundred percent restricted” accommodations (“Hebrews will knock vainly for admission”), a policy that remained until the Catskills became the curative for tubercular patients, sending real-estate prices plummeting and the WASP enclave on to richer pastures . . . Here are the gangsters (Jack “Legs” Diamond and Dutch Schultz, among them) who sought refuge in the Catskill Mountains, and the resorts that after World War II catered to upwardly mobile Jewish families, giving rise to hundreds of hotels inspired by Grossinger’s, the original “Disneyland with knishes”—the Concord, Brown’s Hotel, Kutsher’s Hotel, and others—in what became known as the Borscht Belt and Sour Cream Alps, with their headliners from movies and radio (Phil Silvers, Eddie Cantor, Milton Berle, et al.), and others who learned their trade there, among them Moss Hart (who got his start organizing summer theatricals), Sid Caesar, Lenny Bruce, Mel Brooks, Woody Allen, and Joan Rivers. Here is a nineteenth-century America turning away from England for its literary and artistic inspiration, finding it instead in Washington Irving’s “Rip Van Winkle” and his childhood recollections (set in the Catskills) . . . in James Fenimore Cooper’s adventure-romances, which provided a pastoral history, describing the shift from a colonial to a nationalist mentality . . . and in the canvases of Thomas Cole, Asher B. Durand, Frederick Church, and others that caught the grandeur of the wilderness and that gave texture, color, and form to Irving’s and Cooper’s imaginings. Here are the entrepreneurs and financiers who saw the Catskills as a way to strike it rich, plundering the resources that had been likened to “creation,” the Catskills’ tanneries that supplied the boots and saddles for Union troops in the Civil War . . . and the bluestone quarries whose excavated rock became the curbs and streets of the fast-growing Eastern Seaboard. Here are the Catskills brought fully to life in all of their intensity, beauty, vastness, and lunacy.
With selections from Isaac Bashevis Singer, Allegra Goodman, Moss Hart, TaniaGrossinger, and many others, this volume is a tribute to the legendary Jewishresort area of the Catskills. 40 halftones. 26 figures.
Art in the Catskills, The Definitive Guide to the Catskills' Rich Cultural Life is a compendium of one hundred and twenty-three arts organizations, events and other attractions in the Catskills and surrounding area, some in the neighboring Hudson Valley, and others elsewhere upstate New York. The guide includes anything from museums and memorial sites to summer festivals, art galleries and residencies, as well as theater and literary retreats. It walks the reader through a wide geographic area, from Woodstock to Livingston Manor, and Saratoga Springs to Cooperstown. Easy to digest, Art in the Catskills is a great resource for art enthusiasts travelling through the region.
At one time, according to the Catskill Institute, there were more than a thousand hotels spread across the mountains of Greene, Ulster, Delaware, and Sullivan Counties. The Catskills were an exciting world full of pleasures to be enjoyed, with summer and winter activities characterized by entertainment, food, sports, card playing, and food again. Catskill Hotels, with a collection of some two hundred images, tells the story of this world, which began with America's first resort hotel, the Catskill Mountain House, continued with places such as the world-famous Grossinger's, and can still be found today at Kutsher's Country Club, the Mountain House at Lake Mohonk, and a few other hardy resorts.
A man who sleeps for twenty years in the Catskill Mountains wakes to a much-changed world.
Greene County has long been a magnet for settlers, artists, writers, and travelers; it all began with Henry Hudson's exploration of the Hudson River and was followed by the arrival of Dutch settlers. Its geographic location between the "Rhine of America" and the scenic northern Catskill Mountains contributes to Greene County's allure, as do the Great Algonquin Flint Mines, fascinating remnants of the area's prehistoric inhabitants, the Mohegans. Much of the content in Around Greene County and the Catskills reflects "everyday living," a sampling of its architecture, people, and activities which reflect a sense of history and changing lifestyles. The inclusion of the Dutch Bronck houses of 1663 and 1738, a National Historic Landmark homestead complex, sets the tone of this visual history. From colonial times through the nineteenth and twentieth centuries, Greene County (like other New York counties) has been affected by national conditions; its economic base has changed and adjusted accordingly. Different ethnic groups who have chosen Greene County as their home have enhanced the area's rich cultural heritage.
Traditional songs from the Catskill area of New York State are accompanied by detailed discusssions of their roots, development, musical structure, and subject matter
For over two hundred years, the Catskill Mountains have been repeatedly and dramatically transformed by New York City. In Making Mountains, David Stradling shows the transformation of the Catskills landscape as a collaborative process, one in which local and urban hands, capital, and ideas have come together to reshape the mountains and the communities therein. This collaboration has had environmental, economic, and cultural consequences. Early on, the Catskills were an important source of natural resources. Later, when New York City needed to expand its water supply, engineers helped direct the city toward the Catskills, claiming that the mountains offered the purest and most cost-effective waters. By the 1960s, New York had created the great reservoir and aqueduct system in the mountains that now supplies the city with 90 percent of its water. The Catskills also served as a critical space in which the nation's ideas about nature evolved. Stradling describes the great influence writers and artists had upon urban residents - especially the painters of the Hudson River School, whose ideal landscapes created expectations about how rural America should appear. By the mid-1800s, urban residents had turned the Catskills into an important vacation ground, and by the late 1800s, the Catskills had become one of the premiere resort regions in the nation. In the mid-twentieth century, the older Catskill resort region was in steep decline, but the Jewish "Borscht Belt" in the southern Catskills was thriving. The automobile revitalized mountain tourism and residence, and increased the threat of suburbanization of the historic landscape. Throughout each of these significant incarnations, urban and rural residents worked in a rough collaboration, though not without conflict, to reshape the mountains and American ideas about rural landscapes and nature.