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Dylan, Cash, and the Nashville Cats Exhibit to Feature Jon Langford Artwork Exhibit Opens March 27, 2015, for a Two-Year Run
Dylan, Cash, and the Nashville Cats exhibit to feature Jon Langford artwork Exhibit opens March 27, 2015, for a two-year run NASHVILLE, Tenn., December 9, 2014 – The Country Music Hall of Fame® and Museum has unveiled the artwork for its forthcoming exhibit Dylan, Cash, and the Nashville Cats: A New Music City. Created by renowned artist and punk rocker Jon Langford, the commissioned painting will serve as the exhibit motif and inspiration for other artistic elements in the exhibit design. Langford is a founding member of influential punk band the Mekons and of pioneering hard-country rockers the Waco Brothers. He was born in Newport, Wales, and studied fine art at Leeds University. Langford is known for his powerful portraits of country and rock icons, including Hank Williams, Johnny Cash, and Elvis Presley. His punk rock instincts and singular artistic eye converge in a painting style that is distinctive, demanding of engagement, and at times politically charged. For Langford, the line between Acuff-Rose and Strummer-Jones is a direct one. His preferred medium is acrylic/mixed media on “square-ish wooden objects.” The exhibit logo is intricately layered in Langford’s characteristic style. It features portraits of ’60s-era Dylan and Cash, the cityscape as seen on the back cover of Dylan’s 1969 album, Nashville Skyline, and a background of exhibit-related graffiti— including names of the featured musicians, song titles, lyrics and symbols of the era. The Country Music Hall of Fame and Museum, in addition to its broad scope of educational programs and archival focus, is widely known for its provocative mix of museum exhibits showcasing the evolving history of country music. -
GLOSSARY of COLLECTIVE BARGAINING TERMS and SELECTED LABOR TOPICS
GLOSSARY of COLLECTIVE BARGAINING TERMS and SELECTED LABOR TOPICS ABEYANCE – The placement of a pending grievance (or motion) by mutual agreement of the parties, outside the specified time limits until a later date when it may be taken up and processed. ACTION - Direct action occurs when any group of union members engage in an action, such as a protest, that directly exposes a problem, or a possible solution to a contractual and/or societal issue. Union members engage in such actions to spotlight an injustice with the goal of correcting it. It further mobilizes the membership to work in concerted fashion for their own good and improvement. ACCRETION – The addition or consolidation of new employees or a new bargaining unit to or with an existing bargaining unit. ACROSS THE BOARD INCREASE - A general wage increase that covers all the members of a bargaining unit, regardless of classification, grade or step level. Such an increase may be in terms of a percentage or dollar amount. ADMINISTRATIVE LAW JUDGE – An agent of the National Labor Relations Board or the public sector commission appointed to docket, hear, settle and decide unfair labor practice cases nationwide or statewide in the public sector. They also conduct and preside over formal hearings/trials on an unfair labor practice complaint or a representation case. AFL-CIO - The American Federation of Labor and Congress of Industrial Organizations is the national federation of unions in the United States. It is made up of fifty-six national and international unions, together representing more than 12 million active and retired workers. -
Italy's Atlanticism Between Foreign and Internal
UNISCI Discussion Papers, Nº 25 (January / Enero 2011) ISSN 1696-2206 ITALY’S ATLANTICISM BETWEEN FOREIGN AND INTERNAL POLITICS Massimo de Leonardis 1 Catholic University of the Sacred Heart Abstract: In spite of being a defeated country in the Second World War, Italy was a founding member of the Atlantic Alliance, because the USA highly valued her strategic importance and wished to assure her political stability. After 1955, Italy tried to advocate the Alliance’s role in the Near East and in Mediterranean Africa. The Suez crisis offered Italy the opportunity to forge closer ties with Washington at the same time appearing progressive and friendly to the Arabs in the Mediterranean, where she tried to be a protagonist vis a vis the so called neo- Atlanticism. This link with Washington was also instrumental to neutralize General De Gaulle’s ambitions of an Anglo-French-American directorate. The main issues of Italy’s Atlantic policy in the first years of “centre-left” coalitions, between 1962 and 1968, were the removal of the Jupiter missiles from Italy as a result of the Cuban missile crisis, French policy towards NATO and the EEC, Multilateral [nuclear] Force [MLF] and the revision of the Alliance’ strategy from “massive retaliation” to “flexible response”. On all these issues the Italian government was consonant with the United States. After the period of the late Sixties and Seventies when political instability, terrorism and high inflation undermined the Italian role in international relations, the decision in 1979 to accept the Euromissiles was a landmark in the history of Italian participation to NATO. -
On the Streets of San Francisco for Justice PAGE 8
THE VOICE OF THE UNION April b May 2016 California Volume 69, Number 4 CALIFORNIA TeacherFEDERATION OF TEACHERS, AFT, AFL-CIO STRIKE! On the streets of San Francisco for justice PAGE 8 Extend benefits Vote June 7! A century of of Prop. 30 Primary Election workers’ rights Fall ballot measure opportunity Kamala Harris for U.S. Senate Snapshot: 100 years of the AFT PAGE 3 PAGE 5 PAGE 7 California In this issue All-Union News 03 Community College 14 Teacher Pre-K/K-12 12 University 15 Classified 13 Local Wire 16 UpFront Joshua Pechthalt, CFT President Election 2016: Americans have shown they that are ready for populist change here is a lot at stake in this com- But we must not confuse our elec- message calling out the irresponsibil- Ting November election. Not only toral work with our community build- ity of corporate America. If we build will we elect a president and therefore ing work. The social movements that a real progressive movement in this shape the Supreme Court for years to emerged in the 1930s and 1960s weren’t country, we could attract many of the Ultimately, our job come, but we also have a key U.S. sen- tied to mainstream electoral efforts. Trump supporters. ate race, a vital state ballot measure to Rather, they shaped them and gave In California, we have changed is to build the social extend Proposition 30, and important rise to new initiatives that changed the the political narrative by recharging state and local legislative races. political landscape. Ultimately, our job the labor movement, building ties movements that keep While I have been and continue is to build the social movements that to community organizations, and elected leaders to be a Bernie supporter, I believe keep elected leaders moving in a more expanding the electorate. -
Janice Fine, Page 1
Janice Fine, Page 1 JANICE FINE Associate Professor, Rutgers, The State University of New Jersey 50 Labor Way, New Brunswick, NJ 08901 (848) 932-1746, office (617) 470-0454, cell [email protected] Research and Teaching Fields Innovation and change in the U.S. labor movement; worker centers, new forms of unionism and alternative forms of organization among low-wage workers; community organizing and social movements; immigration: history, theory, policy and political economy; immigrant workers and their rights, US and comparative immigration policy and unions in historical and contemporary perspective, labor standards regulation and enforcement, government oversight, privatization. Education Massachusetts Institute of Technology Ph.D., Political Science January, 2003 (American Politics, Public Policy, Political Economy, Industrial Relations) University of Massachusetts, Boston B.A., 1989, Labor Studies/Community Planning Professional Experience April 2011- Rutgers University, Associate Professor, School of Management and Labor Relations July 2005-April 2011 Rutgers University, Assistant Professor, School of Management and Labor Relations 2003-2005 Economic Policy Institute, Principal Investigator, national study of immigrant worker centers Publications Books No One Size Fits All: Worker Organization, Policy, and Movement in a New Economic Age, LERA 2018 Research Volume, ISBN: 978-0-913447-16-1, Editor, with co-editors: Linda Burnham, Research Fellow, National Domestic Workers Alliance; Kati Griffith, Cornell University; Minsun Ji, University of Colorado, Denver; Victor Narro, UCLA Downtown Labor Center; and Steven Pitts, UC Berkeley Labor Center Worker Centers: Organizing Communities at the Edge of the Dream, Cornell University Press ILR Imprint, 2006. http://www.cornellpress.cornell.edu Nominee, UALE Best Published Book in Labor Education, 2006. -
Punk Aesthetics in Independent "New Folk", 1990-2008
PUNK AESTHETICS IN INDEPENDENT "NEW FOLK", 1990-2008 John Encarnacao Student No. 10388041 Master of Arts in Humanities and Social Sciences University of Technology, Sydney 2009 ii Acknowledgements I would like to thank my supervisor Tony Mitchell for his suggestions for reading towards this thesis (particularly for pointing me towards Webb) and for his reading of, and feedback on, various drafts and nascent versions presented at conferences. Collin Chua was also very helpful during a period when Tony was on leave; thank you, Collin. Tony Mitchell and Kim Poole read the final draft of the thesis and provided some valuable and timely feedback. Cheers. Ian Collinson, Michelle Phillipov and Diana Springford each recommended readings; Zac Dadic sent some hard to find recordings to me from interstate; Andrew Khedoori offered me a show at 2SER-FM, where I learnt about some of the artists in this study, and where I had the good fortune to interview Dawn McCarthy; and Brendan Smyly and Diana Blom are valued colleagues of mine at University of Western Sydney who have consistently been up for robust discussions of research matters. Many thanks to you all. My friend Stephen Creswell’s amazing record collection has been readily available to me and has proved an invaluable resource. A hearty thanks! And most significant has been the support of my partner Zoë. Thanks and love to you for the many ways you helped to create a space where this research might take place. John Encarnacao 18 March 2009 iii Table of Contents Abstract vi I: Introduction 1 Frames -
Freakwater.” – CHICAGO TRIBUNE
“Songs about broken vows, impoverished families and impending death aren’t sup- posed to be pretty. Just don’t tell Freakwater.” – CHICAGO TRIBUNE “Bean and Irwin gave so generously of themselves that style and substance became virtually indistinguishable.” – PITCHFORK FREAKWATER SCHEHERAZADE RELEASE DATE: FEBRUARY 5, 2016 If you stop talking you’ll die. The storied namesake of the first time in the band’s long career that they recorded Freakwater’s new album, Scheherazade, told elaborate, an album outside of Chicago. The slower pace of Louisville interwoven tales of depth and pathos, because her life – what Janet calls “the Kentucky crawl” – and an literally depended on it. These songs, like Scheherazade’s extended cast of talented local musicians proved perfect “A Thousand And One Nights,” are stories within stories, elements for developing their new songs. Freakwater’s spinning into other stories, asking more than they answer. amazing collaborators on Scheherazade include Ellkington They lie between resignation and resolve, between desolate (Tweedy, Horse’s Ha, Eleventh Dream Day) on pedal steel and luminous. There are unnamed protagonists, unknown and mandola, Evan Patterson (Young Widows, Jaye Jayle) destinations, unknowable resolutions. There are the on electric guitars, Warren Ellis (Dirty Three, Nick Cave) on mysteries of the living and the mysteries of the dead; they fiddle and alto flute,Sarah Balliet (Murder By Death) on lay between resignation and resolve, between desolate and cello, and Morgan Geer (Drunken Prayer) on electric guitar. luminous. These stories are neither pretty nor not pretty, just honest, literate, and intensively inhabited by their narrators. With its generations old deep harmonies and horrors, “What the People Want,” the album’s eerie opening track, Anchored around the fragile and compelling harmonies of captures a preternatural ability to meld the alluring and Janet Bean and Catherine Irwin and the subdued, oracular the gruesome, the beauty in the murder ballad. -
The Rise and Fall Of
The Rise and Fall of the Organizing Model in the U.S. Richard W. Hurd Professor of Labor Studies Cornell University (607) 255-2765 [email protected] forthcoming in Trade Unions and Democracy: Strategies and Perspectives Edited by G. Wood and M. Harcourt Manchester University Press 2004 2 3 With union representation at an all-time low and public support for unions the highest it’s been in years, there’s never been a better time for changing to organize. - AFL-CIO (1996:8) Organizing has been at the center of union strategy discussions in the U.S. for twenty years, and since 1995 new member recruitment has been the top priority of the American Federation of Labor-Congress of Industrial Organizations (AFL-CIO) and of many individual national unions. Prompted originally by a steep drop in membership during the Ronald Reagan era, attention to organizing increased over time as it became clear that modest adjustments in practice were not halting decline. During the late 1980s an important step was taken with the founding of the Organizing Institute (OI), ostensibly a training school for organizers but symbolizing dreams for union revitalization. In the 1990s impatience with continued stagnation grew among national union leaders, and John Sweeney was elected as President of the AFL-CIO on a platform that emphasized organizing. Sweeney had constructed labor’s most successful recruitment program as the President of the Service Employees International Union (SEIU), and the hope was that he would be able to apply his magic touch to the labor movement as a whole. -
Local Officers' Resource Manual
Dear Colleagues: Congratulations on your election. You take office at one of the most critical moments in the history of our country and union. This moment calls for bold leadership as our union responds to three intersecting crises. We are living in an era of extreme economic inequality and Corporate Power. We have seen the largest redistribution of wealth in our nation’s history and the lowest unionized workforce in decades. In 2020 we also faced the threat, destruction, and tragedy of the COVID-19 pandemic. Amidst the devastation of COVID-19, we have found ourselves confronting the plague of racism in America, which has been rampaging in our communities since long before the pandemic. I have been proud of the actions our union has taken to dismantle anti-Black racism and we have so much more work to do. I know that together we are up to the task of confronting these challenges. We can continue building our union’s power through new organizing, bargaining strong contracts, and building independent political power behind a working class agenda. As unprecedented as the COVID-19 pandemic is, CWAers have been on the front lines every day, keeping people informed, connected, and safe during this difficult time. And if we are to make progress in tearing down racism in this country and in our union, we must listen to the experiences of Black CWA members and all Black workers. Every white union member, Black union member, Latino union member, and every ally must fight and organize for Black lives. Unions have a duty to fight for power, dignity and the right to live for every working-class person in every place. -
Melophobe Months 2012 Music Reviews
Melophobe Months 2012 Music Reviews Walter Biggins This is issue #6 of Afronaut. Published by Afronaut Press, February 2013. Text and design © 2013 Walter Biggins. The following issues are available at Quiet Bubble (http://quietbubble.wordpress.com/zines/): Demo Tapes: Essays by Walter Biggins, 2005-2010 (issues #4 & 5, May 2011). A Tribute to Whitney Balliett (issue #3, October 2010). The Patter of Raindrops: The Wonderful Worlds of Hayao Miyazaki (issue #2, February 2010). Letters to Mr. Konigsberg (issue #1, October 2009). Muñeco: A 24-Hour Comic (issue #0, November 2000). For more information, please contact me at [email protected] or check out my blog: quietbubble.wordpress.com. Introduction. Something’s happened to me over the last five years. I listen to, and trust, pop music far less than I did in my twenties, and the pop that I still listen to is radically different than what I grew up with. My ears cock, like a cat’s, more toward jazz, avant-garde, and instrumental hip-hop now than to the rock, rap, R&B, and beat-driven fare that sustained me for twenty years. To be fair, jazz was always there, ever since I bought a $20 CD of Miles Davis’s Capitol/Blue Note years in a cold January morning in 1994. I bought it from Sound Warehouse, a chain that’s long gone, because the cover was cool and Davis—with his close-cropped hair and natty suit—looked cooler than I could ever hope for. It was a sophistication to aspire toward, and to try and impress girls with. -
50 YEARS of EUROPEAN PARLIAMENT HISTORY and Subjugated
European Parliament – 50th birthday QA-70-07-089-EN-C series 1958–2008 Th ere is hardly a political system in the modern world that does not have a parliamentary assembly in its institutional ‘toolkit’. Even autocratic or totalitarian BUILDING PARLIAMENT: systems have found a way of creating the illusion of popular expression, albeit tamed 50 YEARS OF EUROPEAN PARLIAMENT HISTORY and subjugated. Th e parliamentary institution is not in itself a suffi cient condition for granting a democratic licence. Yet the existence of a parliament is a necessary condition of what 1958–2008 we have defi ned since the English, American and French Revolutions as ‘democracy’. Since the start of European integration, the history of the European Parliament has fallen between these two extremes. Europe was not initially created with democracy in mind. Yet Europe today is realistic only if it espouses the canons of democracy. In other words, political realism in our era means building a new utopia, that of a supranational or post-national democracy, while for two centuries the DNA of democracy has been its realisation within the nation-state. Yves Mény President of the European University Institute, Florence BUILDING PARLIAMENT: BUILDING 50 YEARS OF EUROPEAN PARLIAMENT HISTORY PARLIAMENT EUROPEAN OF YEARS 50 ISBN 978-92-823-2368-7 European Parliament – 50th birthday series Price in Luxembourg (excluding VAT): EUR 25 BUILDING PARLIAMENT: 50 YEARS OF EUROPEAN PARLIAMENT HISTORY 1958–2008 This work was produced by the European University Institute, Florence, under the direction of Yves Mény, for the European Parliament. Contributors: Introduction, Jean-Marie Palayret; Part One, Luciano Bardi, Nabli Beligh, Cristina Sio Lopez and Olivier Costa (coordinator); Part Two, Pierre Roca, Ann Rasmussen and Paolo Ponzano (coordinator); Part Three, Florence Benoît-Rohmer; Conclusions, Yves Mény. -
Bellowing Sun MIND OVER MIRRORS Wide Lights Low Apr 6–7, 2018 Fri–Sat, Notes Program
Eyes Sun Bellowing MIRRORS MIND OVER Wide Lights Low Apr 6–7, 2018 Apr 6–7, Fri–Sat, Notes Program at MCA Stage Theater Neeson Edlis STAGE MCA Winter/Spring Bellowing Sun running 2018 time is ninety minutes with no intermission. SUPPORT FOR THIS Created and performed by Mind Over Mirrors in Sun Bellowing MIRRORS MIND OVER MCA STAGE PROJECT collaboration with Timothy Breen, Eliot Irwin, ABOUT THE WORK Lead support for the MCA Stage New Works and Keith Parham. Initiative is provided by Elizabeth A. Liebman. –––––––––––––––––––––––––––––––––––––––––––––– “For a moment of night we have a glimpse of Bellowing Sun is a PERFORMERS National Performance ourselves and of our world islanded in its Network/Visual Artists Network (NPN/VAN) Oberheim SEMs, Jaime Fennelly stream of stars—pilgrims of mortality, voyaging Creation and Development Fund OB-6 synthesizer, and between horizons across eternal seas of space Project co-commissioned Indian harmonium by the Museum of and time.” Contemporary Art Chicago in partnership Lead vocals, zither, Janet Beveridge Bean —Henry Beston, The Outermost House (1928) with Alverno Presents and NPN. Additional and percussion support comes from the NPN Forth Fund and from the NPN Fiddle and vocals Jim Becker Performance Residency In 1925, a thirty-seven-year-old American writer and WWI Program. Major contributors of NPN Drums and vocals Jon Mueller vet named Henry Beston bought fifty acres of desolate include the Doris Duke Charitable Foundation, dune land on Coast Guard Beach on Cape Cod—the the Andrew W. Mellon –––––––––––––––––––––––––––––––––––––––––––––– Foundation, the Ford PRODUCTION peninsula’s furthest fingers reaching into the gray Atlantic— Foundation, and the National Endowment and designed and built a small cottage overlooking the for the Arts (a federal Artistic Director Jaime Fennelly agency).