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For five days in July 1863, at the height of the Civil War, New York City was under siege. Angry rioters burned draft offices, closed factories, destroyed railroad tracks and telegraph lines, and hunted policemen and soldiers. Before long, the rioters turned their murderous wrath against the black ...

For five days in July 1863, at the height of the Civil War, New York City was under siege. Angry rioters burned draft offices, closed factories, destroyed railroad tracks and telegraph lines, and hunted policemen and soldiers. Before long, the rioters turned their murderous wrath against the black community. In the end, at least 105 people were killed, making the draft riots the most violent insurrection in American history. In this vividly written book, Iver Bernstein tells the compelling story of the New York City draft riots. He details how what began as a demonstration against the first federal draft soon expanded into a sweeping assault against the local institutions and personnel of Abraham Lincoln's Republican Party as well as a grotesque race riot. Bernstein identifies participants, dynamics, causes and consequences, and demonstrates that the "winners" and "losers" of the July 1863 crisis were anything but clear, even after five regiments rushed north from Gettysburg restored order. In a tour de force of historical detection, Bernstein shows that to evaluate the significance of the riots we must enter the minds and experiences of a cast of characters--Irish and German immigrant workers, Wall Street businessmen who frantically debated whether to declare martial law, nervous politicians in Washington and at City Hall. Along the way, he offers new perspectives on a wide range of topics: Civil War society and politics, patterns of race, ethnic and class relations, the rise of organized labor, styles of leadership, philanthropy and reform, strains of individualism, and the rise of machine politics in Boss Tweed's Tammany regime. An in-depth study of one of the most troubling and least understood crises in American history, The New York City Draft Riots is the first book to reveal the broader political and historical context--the complex of social, cultural and political relations--that made the bloody events of July 1863 possible.

New York is the capital of mambo and a global factory of latinidad. This book covers the topic in all its multifaceted aspects, from Jim Crow baseball in the first half of the twentieth century to hip hop and ethno-racial politics, from Latinas and labor unions to advertising and Latino culture ...

New York is the capital of mambo and a global factory of latinidad. This book covers the topic in all its multifaceted aspects, from Jim Crow baseball in the first half of the twentieth century to hip hop and ethno-racial politics, from Latinas and labor unions to advertising and Latino culture, from Cuban cuisine to the language of signs in New York City. Together the articles map out the main conceptions of Latino identity as well as the historical process of Latinization of New York. Mambo Montage is both a way of imagining latinidad and an angle of vision on the city.

In the 1960s and early 1970s, young people in New York City radically altered the tradition of writing their initials on neighborhood walls. Influenced by the widespread use of famous names on billboards, in neon, in magazines, newspapers, and typographies from advertising and comics, city youth ...

In the 1960s and early 1970s, young people in New York City radically altered the tradition of writing their initials on neighborhood walls. Influenced by the widespread use of famous names on billboards, in neon, in magazines, newspapers, and typographies from advertising and comics, city youth created a new form of expression built around elaborately designed names and initials displayed on public walls, vehicles, and subways. Critics called it "graffiti," but to the practitioners it was "writing." Taking the Train traces the history of "writing" in New York City against the backdrop of the struggle that developed between the city and the writers. Austin tracks the ways in which "writing" -- a small, seemingly insignificant act of youthful rebellion -- assumed crisis-level importance inside the bureaucracy and the public relations of New York City mayoral administrations and the Metropolitan Transportation Authority for almost two decades. Taking the Train reveals why a global city short on funds made "wiping out graffiti" an expensive priority while other needs went unfunded. Although the city eventually took back the trains, Austin eloquently shows how and why the culture of "writing" survived to become an international art movement and a vital part of hip-hop culture.