The Haymarket Story and Judge Joseph E. Gary by Curtis F
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Markets Not Capitalism Explores the Gap Between Radically Freed Markets and the Capitalist-Controlled Markets That Prevail Today
individualist anarchism against bosses, inequality, corporate power, and structural poverty Edited by Gary Chartier & Charles W. Johnson Individualist anarchists believe in mutual exchange, not economic privilege. They believe in freed markets, not capitalism. They defend a distinctive response to the challenges of ending global capitalism and achieving social justice: eliminate the political privileges that prop up capitalists. Massive concentrations of wealth, rigid economic hierarchies, and unsustainable modes of production are not the results of the market form, but of markets deformed and rigged by a network of state-secured controls and privileges to the business class. Markets Not Capitalism explores the gap between radically freed markets and the capitalist-controlled markets that prevail today. It explains how liberating market exchange from state capitalist privilege can abolish structural poverty, help working people take control over the conditions of their labor, and redistribute wealth and social power. Featuring discussions of socialism, capitalism, markets, ownership, labor struggle, grassroots privatization, intellectual property, health care, racism, sexism, and environmental issues, this unique collection brings together classic essays by Cleyre, and such contemporary innovators as Kevin Carson and Roderick Long. It introduces an eye-opening approach to radical social thought, rooted equally in libertarian socialism and market anarchism. “We on the left need a good shake to get us thinking, and these arguments for market anarchism do the job in lively and thoughtful fashion.” – Alexander Cockburn, editor and publisher, Counterpunch “Anarchy is not chaos; nor is it violence. This rich and provocative gathering of essays by anarchists past and present imagines society unburdened by state, markets un-warped by capitalism. -
Drums • Bobby Bradford - Trumpet • James Newton - Flute • David Murray - Tenor Sax • Roberto Miranda - Bass
1975 May 17 - Stanley Crouch Black Music Infinity Outdoors, afternoon, color snapshots. • Stanley Crouch - drums • Bobby Bradford - trumpet • James Newton - flute • David Murray - tenor sax • Roberto Miranda - bass June or July - John Carter Ensemble at Rudolph's Fine Arts Center (owner Rudolph Porter)Rudolph's Fine Art Center, 3320 West 50th Street (50th at Crenshaw) • John Carter — soprano sax & clarinet • Stanley Carter — bass • William Jeffrey — drums 1976 June 1 - John Fahey at The Lighthouse December 15 - WARNE MARSH PHOTO Shoot in his studio (a detached garage converted to a music studio) 1490 N. Mar Vista, Pasadena CA afternoon December 23 - Dexter Gordon at The Lighthouse 1976 June 21 – John Carter Ensemble at the Speakeasy, Santa Monica Blvd (just west of LaCienega) (first jazz photos with my new Fujica ST701 SLR camera) • John Carter — clarinet & soprano sax • Roberto Miranda — bass • Stanley Carter — bass • William Jeffrey — drums • Melba Joyce — vocals (Bobby Bradford's first wife) June 26 - Art Ensemble of Chicago Studio Z, on Slauson in South Central L.A. (in those days we called the area Watts) 2nd-floor artists studio. AEC + John Carter, clarinet sat in (I recorded this on cassette) Rassul Siddik, trumpet June 24 - AEC played 3 nights June 24-26 artist David Hammond's Studio Z shots of visitors (didn't play) Bobby Bradford, Tylon Barea (drummer, graphic artist), Rudolph Porter July 2 - Frank Lowe Quartet Century City Playhouse. • Frank Lowe — tenor sax • Butch Morris - drums; bass? • James Newton — cornet, violin; • Tylon Barea -- flute, sitting in (guest) July 7 - John Lee Hooker Calif State University Fullerton • w/Ron Thompson, guitar August 7 - James Newton Quartet w/guest John Carter Century City Playhouse September 5 - opening show at The Little Big Horn, 34 N. -
Haymarket Riot (Chicago: Alexander J
NATIONAL HISTORIC LANDMARK NOMINATION NFS Form 10-900 USDI/NPS NRHP Registration Form (Rev. 8-86) OMB No. 1024-0018 HAYMARKET MARTYRS1 MONUMENT Page 1 United States Department of the Interior, National Park Service______________________________________________National Register of Historic Places Registration Form 1. NAME OF PROPERTY Historic Name: Haymarket Martyrs' Monument Other Name/Site Number: 2. LOCATION Street & Number: 863 South Des Plaines Avenue Not for publication: City/Town: Forest Park Vicinity: State: IL County: Cook Code: 031 Zip Code: 60130 3. CLASSIFICATION Ownership of Property Category of Property Private: X Building(s): Public-Local: _ District: Public-State: _ Site: Public-Federal: Structure: Object: Number of Resources within Property Contributing Noncontributing ___ buildings ___ sites ___ structures 1 ___ objects 1 Total Number of Contributing Resources Previously Listed in the National Register:_Q_ Name of Related Multiple Property Listing: Designated a NATIONAL HISTrjPT LANDMARK on by the Secreury 01 j^ tai-M NPS Form 10-900 USDI/NPS NRHP Registration Form (Rev. 8-86) OMB No. 1024-0018 HAYMARKET MARTYRS' MONUMENT Page 2 United States Department of the Interior, National_P_ark Service___________________________________National Register of Historic Places Registration Form 4. STATE/FEDERAL AGENCY CERTIFICATION As the designated authority under the National Historic Preservation Act of 1966, as amended, I hereby certify that this __ nomination __ request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60. In my opinion, the property __ meets __ does not meet the National Register Criteria. -
Día Del Trabajo
Día del Trabajo El día del trabajo celebra los logros alcanzados por los trabajadores de todo el mundo, como es la jornada de ocho horas, con dos días de descanso a la semana. Pero antes, esto no era así. Hacia 1874, la idea de llevar a cabo acciones para conseguir una jornada de trabajo de ocho horas comenzó a extenderse desde distintos lugares y sectores de Estados Unidos. Los pioneros en reaccionar fueron los obreros ferroviarios, quienes llevaron a cabo una huelga que por semanas involucró a 17 estados. Al poco tiempo se fueron sumando varias otras organizaciones, creándose en 1881 la Federación Americana del Trabajo (American Federation Labor, AFL), heredera de la anterior Federación de Gremios y Sindicatos. Esta nueva Federación reiteró la petición de las ocho horas en sus congresos de 1882 y de 1883, exigiéndole incluso al Presidente de los Estados Unidos que promulgara una ley nacional al respecto. También solicitaron el pronunciamiento de los partidos Demócrata y Republicano sin ningún resultado. Ante el fracaso de las gestiones, los trabajadores comenzaron a buscar nuevos caminos. Así, la Federación Norteamericana del Trabajo acordó en su cuarto congreso, de 1884, realizar una huelga general el 1 de mayo de 1886. En el intertanto, se debía luchar por conseguir de parte de los patrones y autoridades la nueva jornada; de no lograrse eso en esos años, se haría efectiva la huelga. El llamado de la AFL fue acogido por los sindicatos, el movimiento fue tomando cuerpo a medida que se acercaba la fecha indicada, y los esfuerzos patronales por detener la iniciativa obrera prosperaban. -
Act III the Chicago Police Had Scarcely Gathered Their Dead and Wounded Before They Embarked on a Fierce Roundup of Every Real Or Imagined Radical in the City
Act III The Chicago police had scarcely gathered their dead and wounded before they embarked on a fierce roundup of every real or imagined radical in the city. A terrible crime had been committed, and the perceived perpetrator was not so much a particular person as anarchism itself. The police received active encouragement from a frenzied and frightened public, as well as from State's Attorney Julius Grinnell, who reportedly ordered, "Make the raids first and look up the law afterward!" The result was both a latter-day witch hunt and the first "red scare" in America. Although only eight men would stand trial, dozens found themselves "in the toils of the law." Arrest and Indictment Perhaps the most active, and certainly the most self-promoting, of the many policemen conducting the Haymarket investigation was Captain Michael Schaack of the Fifth Precinct, whose headquarters were in the East Chicago Avenue station. Schaack's 1889 Anarchy and Anarchists is the most comprehensive contemporary history of Haymarket. Not far behind the scenes were the Chicago businessmen who were special targets of anarchist invective. Among them were men like Marshall Field, George Pullman, and Cyrus McCormick Jr., who had been on special lookout for "troublemakers" since at least 1877 and who were well aware of their own central roles as villains in radical rhetoric. They donated money to the families of the police who marched on the Haymarket, and also to Schaack's investigation. As Schaack described it, they wished to see "the law vindicated and order preserved in Chicago." That the police conducted their arrests and searches without warrants seemed of no particular concern to anyone but the accused. -
The Significance of the Haymarket Tragedy Then and Now
ESSAI Volume 17 Article 23 Spring 2019 The Significance of the Haymarket Tragedy Then and Now Veronika Janas College of DuPage Follow this and additional works at: https://dc.cod.edu/essai Recommended Citation Janas, Veronika (2019) "The Significance of the Haymarket Tragedy Then and Now," ESSAI: Vol. 17 , Article 23. Available at: https://dc.cod.edu/essai/vol17/iss1/23 This Selection is brought to you for free and open access by the College Publications at DigitalCommons@COD. It has been accepted for inclusion in ESSAI by an authorized editor of DigitalCommons@COD. For more information, please contact [email protected]. Janas: The Significance of the Haymarket Tragedy Then and Now The Significance of the Haymarket Tragedy Then and Now by Veronika Janas (English 1102) aymarket Riot, also called Haymarket Affair or Haymarket Massacre, a violent confrontation between police and labor protesters in Chicago on May 4, 1886, became a symbol of the Hinternational struggle for workers’ rights. Since its designation as International Workers’ Day by the Second International in 1889, the Haymarket tragedy has been associated with May 1 and celebrated all around the world. William J. Adelman, a historian and professor of labor and industrial relations at the University of Illinois, admits that” no single event has influenced the history of labor in Illinois, the United States, and even the world, more than the Chicago Haymarket Affair” (Adelman 29). Although the Haymarket Riot occurred a long time ago and may seem to some as an event reserved for the history books only, the issues that led to the Haymarket affair are problems that are still with us today: unemployment, the rights of minority groups, a fair distribution of wealth, freedom of speech and assembly, political corruption, police surveillance and brutality and the rights of American workers to organize unions of their choice. -
Sidestep-Programm - Gesamt 5 - Nach Jahr(Zehnt)
Sidestep-Programm - Gesamt 5 - nach Jahr(zehnt) Titel Komponist (Interpret) Jahrzehnt Jahr Oh du fröhliche Johannes Daniel Falk 1810 1815 Barcarolle Jacques Offenbach 1850 1851 Cancan Jacques Offenbach 1850 1858 Jingle Bells James Lord Pierpont (Bing Crosby & Andrews Sisters, Louis Armstrong, Nat King Cole, 1850 1857 et al.) Deck the Hall (with boughs of Holly) Trad. Christmas Carol 1860 1862 Donauwalzer Johann Strauss (Sohn) 1860 1867 Swing Low, Sweet Chariot Trad. 1860 1862 Blumen Walzer Pjotr Ilyich Tchaikovsky 1870 1877 Fledermaus Quadrille Johann Strauss (Sohn) 1870 1874 Habanera (Carmen) Georges Bizet 1870 1875 Wiener Blut Johann Strauss (Sohn) 1870 1873 Frühlingsstimmen Johann Strauss (Sohn) 1880 1883 Herbststimmen Johann Strauss (Sohn) / Maksym Deineko 1880 1883/2008 Rosen aus dem Süden Johann Strauss (Sohn) 1880 1880 Happy Birthday Trad. 1890 1893 Leise rieselt der Schnee Eduard Ebel 1890 1895 Czardas Vittorio Monti 1900 1904 Fächerpolonaise C. M. Ziehrer 1900 1905 Gold und Silber F. Lehar 1900 1902 Wade in the Water Trad. (Eva Cassidy) 1900 1901, 1997 Cumparsita, La Gerardo Matos Rodríguez 1910 1916 Ain't Misbehavin' Fats Waller, Harry Brooks, Andy Razaf (Fats Waller, Louis Armstrong, Ella Fitzgerald, 1920 1929 et al.) Ain't She Sweet Milton Ager, Jack Yellen 1920 1927 Charleston (The Original Charleston) Cecil Mack, Jimmy Johnson 1920 1923 Dein ist mein ganzes Herz Franz Lehár, Fritz Löhner-Beda, Ludwig Herzer 1920 1929 España Cañi Pascual Marquina 1920 1925 Fräulein Helen Fred Raymond, Fritz Grünbaum 1920 1926 Guantanamera -
Sidestep-Programm - Gesamt 1 - Nach Titel
Sidestep-Programm - Gesamt 1 - nach Titel Titel Komponist (Interpret) Jahr 24K Magic Bruno Mars, Philip Lawrence, Christopher Brody Brown (Bruno Mars) 2016 500 Miles (I'm Gonna Be) The Proclaimers 1988 After Dark Steve Huffsteter, Tito Larriva (Tito & Tarantula) 1987/1996 Água De Beber Antonio Carlos Jobim, Vincius De Moraes 1963 Ain't Misbehavin' Fats Waller, Harry Brooks, Andy Razaf (Fats Waller, Louis Armstrong, Ella Fitzgerald, et al.) 1929 Ain't Nobody David Wolinski "Hawk" (Chaka Khan & Rufus) 1983 Ain't No Mountain High Enough N.Ashford, V.Simpson (Marvin Gaye & Tammi Terrell, Diana Ross et al.) 1967 Ain't No Sunshine Bill Withers 1971 Ain't She Sweet Milton Ager, Jack Yellen 1927 Alf Theme Song Alf Clausen 1986 All Around the World Lisa Stansfield, Ian Devaney, Andy Morris (Lisa Stansfield) 1989 All I Have To Do Is Dream Felice & Boudleaux Bryant (The Everly Brothers) 1958 All I Need Nicolas Godin, Jean-Benoît Dunckel, Beth Hirsch (Air) 1998 All I Want For Christmas Is You Mariah Carey, Walter Afanasieff (Mariah Carey) 1994 All My Loving John Lennon, Paul McCartney (The Beatles) 1963 All Night Long Lionel Richie 1983 All Of Me Gerald Marks, Seymour Simons 1931 All Of Me (John) John Stephens, Tony Gad (John Legend) 2013 All Shook Up Otis Blackwell (Elivis Presley) 1957 All That She Wants Ace Of Base 1992 All The Things You Are Oscar Hammerstein II, Jerome Kern 1939 All You Need Is Love John Lennon, Paul McCartney (The Beatles) 1967 Alright Jason Kay, Toby Smith, Rob Harris (Jamiroquai) 1996 Altitude 7000 Russian Standard (Valeri -
Immigrants, Nativists, and the Making of Chicago, 1835-1893
Immigrants, Nativists, and the Making of Chicago, 1835-1893 Author: Mimi Cowan Persistent link: http://hdl.handle.net/2345/bc-ir:104929 This work is posted on eScholarship@BC, Boston College University Libraries. Boston College Electronic Thesis or Dissertation, 2015 Copyright is held by the author, with all rights reserved, unless otherwise noted. Boston College The Graduate School of Arts and Sciences Department of History IMMIGRANTS, NATIVISTS, AND THE MAKING OF CHICAGO, 1835-1893 a dissertation by MIMI COWAN Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy December 2015 ©copyright by MIMI I. COWAN 2015 Immigrants, Nativists, and the Making of Chicago, 1835-1893 Mimi Cowan Advisor, Dr. Kevin Kenny Between 1835 and 1893, the majority of immigrants who settled in Chicago were of Irish or German birth. Even though the city’s economic leaders’ plans to transform Chicago into a center of international trade required the labor of these immigrants, Irish and German Chicagoans were still the targets of nativism. They were not, however, merely objects of nativism; instead, they were able to challenge nativist-inspired policies and assumptions about the inability of immigrants to become loyal Americans. They demonstrated their allegiance to the U. S. through service in independent ethnic militias and challenged policies that they felt unfairly targeted them, such as temperance laws in the 1850s, militia laws in the 1870s, and educational policy in the 1880s. But after 1865, as Chicago industrialized, labor conflict grew. As a result, the success of immigrants’ efforts to demonstrate their allegiance or combat nativist-inspired policies relied on their willingness to distance themselves from radicalism. -
Haymarket: Whose Name the Few Still Say with Tears
HAYMARKET: WHOSE NAME THE FEW STILL SAY WITH TEARS A DRAMATIZATION IN ELEVEN SCENES MICHAEL E. TIGARt BACKGROUND lawyer who defends the movement for social change. His attitudes toward his own work The dialogue in this play is taken from are made up of his hopes, a fighting faith the trial record of the Haymarket trial,' that keeps him going, and a more tempered writings of Darrow' and Altgeld,3 poems view based on his experiences. Lucy of Vachel Lindsay,4 speeches of the Parsons' writings show her to have formed defendants,' and an article by Judge Gary.6 the views that she expresses in the play quite I created other dialogue based upon the early. Indeed, there is evidence that she biographies and autobiographies of the greatly contributed to forming her husband's participants.' In some instances, I political and social outlook. combined several characters into one and Albert Parsons was a complex rearranged the order of events. However, character. He saw Civil War service for the the key speeches of each participant are Confederacy. After the war, he met and their actual words. married Lucy, a woman of color. They The bombing, trial, executions, and were driven out of Waco, Texas and settled pardon of the survivors were such a in Chicago in late 1873, where both became complex series of events that a simple leaders in the movement that led to the chronological retelling would lack dramatic Haymarket events. intensity. Therefore, I chose to tell this May 1, 1886 was an important day in story through a series of flashbacks, American labor history. -
Where to Go & Who to See Since 1982
December Hot House_Layout 1 11/23/2020 9:33 AM Page 1 The only jazz magazine in NY in print, online and on apps! December 2020 www.hothousejazz.com Deer Head Inn Page 2 Maureen’s Jazz Cellar Page 4 Sherrie Maricle Roni Ben-Hur Brian Charette Chip Shelton Livestream from Soapbox Gallery Page 6 Livestream Page 8 Where To Go & Who To See Since 1982 December Hot House_Layout 1 11/23/2020 9:33 AM Page 2 SHERRIE MARICLE’S Persistent Sound By Stephanie Jones WENTY MINUTES FROM PHILLY, Ton a two-acre plot where a dairy barn once flourished, Sherrie Maricle envi- sions a future for the music. In 2016, the drummer, band leader and consummate educator created a performance space in her former home studio just north of University of the Arts, where she serves as a master lecturer. Now, she seeks to offer a similar outlet away from the city. “At my space in Philadelphia, I was able to create an ‘alternative venue for jazz,’ as they say, and I’m intending to do the same thing here on this new property I have,” Sherrie says. “It has real potential. As soon 3D Jazz Trio as the world can get back to live music, I thing that comes to your mind, and making will attempt to share some as quickly as it excellent and unique. When you have possible.” longevity with players you work with, all From afternoons in grade school spent your players immediately play into the sitting behind her first kit, Sherrie has cul- arrangement that you’re writing.” tivated an artistry intrinsically linked to Sherrie regards the kit itself as another live sound. -
Adaptation As Anarchist
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2012 Adaptation as Anarchist: A Complexity Method for Ideology-Critique of American Crime Narratives Kristopher Mecholsky Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the English Language and Literature Commons Recommended Citation Mecholsky, Kristopher, "Adaptation as Anarchist: A Complexity Method for Ideology-Critique of American Crime Narratives" (2012). LSU Doctoral Dissertations. 3247. https://digitalcommons.lsu.edu/gradschool_dissertations/3247 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. ADAPTATION AS ANARCHIST: A COMPLEXITY METHOD FOR IDEOLOGY-CRITIQUE OF AMERICAN CRIME NARRATIVES A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of English by Kristopher Mecholsky B.A., The Catholic University of America, 2004 M.A., Marymount University, 2008 August 2012 Copyright © 2012 by Kristopher Mecholsky All rights reserved ii Perhaps the sentiments contained in the following pages, are not yet sufficiently fashionable to procure them general favour… Thomas Paine, Common Sense iii ACKNOWLEDGMENTS This section was originally a lot longer, a lot funnier, and a lot more grateful. Before I thank anyone, let me apologize to those I cannot list here. Know that deep in my computer, a file remains saved, inscribed with eloquent gratitude.