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The labor movement is once again in daily battles to organize, to defend gains won, and help advance the well-being of our people. Here is a drama from labor's past. A vivid account, told mainly through the experiences of Bill McKie, Ford worker and rank and file leader. Bonosky makes the reader an "insider" of the long, tough work to unify and organize Ford workers, who faced Ford guns, thugs, blacklists, spies and speed-up on the job. If you have ever been for the underdog, you will be inspired by Brother Bill McKie and the fight to win the union at Ford. The author was not long out of the shop himself when he first wrote this book, and he pours into it the drama and emotion of a fine novel, while providing many insights for today's struggles.
In the 1920s, Henry Ford hired thousands of African American men for his open-shop system of auto manufacturing. This move was a rejection of the notion that better jobs were for white men only. In The Making of Black Detroit in the Age of Henry Ford, Beth Tompkins Bates explains how black Detroiters, newly arrived from the South, seized the economic opportunities offered by Ford in the hope of gaining greater economic security. As these workers came to realize that Ford's anti-union "American Plan" did not allow them full access to the American Dream, their loyalty eroded, and they sought empowerment by pursuing a broad activist agenda. This, in turn, led them to play a pivotal role in the United Auto Workers' challenge to Ford's interests. In order to fully understand this complex shift, Bates traces allegiances among Detroit's African American community as reflected in its opposition to the Ku Klux Klan, challenges to unfair housing practices, and demands for increased and effective political participation. This groundbreaking history demonstrates how by World War II Henry Ford and his company had helped kindle the civil rights movement in Detroit without intending to do so.
A vibrant chronicle of the life and work of a prolific painter and bohemian eccentric.
Members of the United Auto Workers Ford Local 600 tell about their activism as they experienced it.
This book explores how aging men struggled to sustain identities as workers, breadwinners, and patriarchs--the core ideals of twentieth-century masculinity--in the midst of increasing employer demands for the speed and stamina of youth in workplaces and the expansion of mandatory retirement policies in the age of Social Security.
The Sister Chapel (1974-78) was an important collaborative installation that materialized at the height of the women?s art movement. Conceived as a nonhierarchical, secular commemoration of female role models, The Sister Chapel consisted of an eighteen-foot abstract ceiling that hung above a circular arrangement of eleven monumental canvases, each depicting the standing figure of a heroic woman. The choice of subject was left entirely to the creator of each work. As a result, the paintings formed a visually cohesive group without compromising the individuality of the artists. Contemporary and historical women, deities, and conceptual figures were portrayed by distinguished New York painters-Alice Neel, May Stevens, and Sylvia Sleigh-as well as their accomplished but less prominent colleagues. Among the role models depicted were Artemisia Gentileschi, Frida Kahlo, Betty Friedan, Joan of Arc, and a female incarnation of God. Although last exhibited in 1980, The Sister Chapel has lingered in the minds of art historians who continue to note its significance as an exemplar of feminist collaboration. Based on previously-unpublished archival materials and featuring dozens of rarely-seen works of art, this comprehensive study details the fascinating history of The Sister Chapel, its constituent paintings, and its ambitious creators.
"For me, people come first," Alice Neel (1900–1984) declared in 1950. "I have tried to assert the dignity and eternal importance of the human being." This ambitious publication surveys Neel's nearly 70-year career through the lens of her radical humanism. Remarkable portraits of victims of the Great Depression, fellow residents of Spanish Harlem, leaders of political organizations, queer artists, visibly pregnant women, and members of New York's global diaspora reveal that Neel viewed humanism as both a political and philosophical ideal. In addition to these paintings of famous and unknown sitters, the more than 100 works highlighted include Neel's emotionally charged cityscapes and still lifes as well as the artist’s erotic pastels and watercolors. Essays tackle Neel's portrayal of LGBTQ subjects; her unique aesthetic language, which merged abstraction and figuration; and her commitment to progressive politics, civil rights, feminism, and racial diversity. The authors also explore Neel's highly personal preoccupations with death, illness, and motherhood while reasserting her place in the broader cultural history of the 20th century.
Originally published in 1953, Burning Valley tells the story of Benedict Bulmanis, son of a Lithuanian immigrant steelworker in western Pennsylvania. Determined to become a priest, Benedict faces great inner conflict as he witnesses the steelworkers' struggle against the destruction of their homes as well as the separation of classes that even the church cannot escape. As the story unfolds, Benedict discovers his beliefs and values changing and becomes more sympathetic with the workers and union organizers. Alan Wald's introduction focuses on the semi-autobiographical aspect of Burning Valley as well as its "multifaceted dramatization of ethnicity and race".