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The story of a grassroots political movement that flourished throughout the 1970s and 1980s.
Simon P. Newman vividly evokes the celebrations of America's first national holidays in the years between the ratification of the Constitution and the inauguration of Thomas Jefferson. He demonstrates how, by taking part in the festive culture of the streets, ordinary American men and women were able to play a significant role in forging the political culture of the young nation. The creation of many of the patriotic holidays we still celebrate coincided with the emergence of the first two-party system. With the political songs they sang, the liberty poles they raised, and the partisan badges they wore, Americans of many walks of life helped shape a new national politics destined to replace the regional practices of the colonial era.
On June 12, 1962, 60 young activists drafted a manifesto for their generation--The Port Huron Statement--that ignited a decade of dissent. Miller brings to life the hopes and struggles, the triumphs and tragedies, of the students and organizers who took the political vision of The Port Huron Statement to heart--and to the streets.
Party in the Street explores the interaction between political parties and social movements in the United States. Examining the collapse of the post-9/11 antiwar movement against the wars in Iraq and Afghanistan, this book focuses on activism and protest in the United States. It argues that the electoral success of the Democratic Party and President Barack Obama, as well as antipathy toward President George W. Bush, played a greater role in this collapse than did changes in foreign policy. It shows that how people identify with social movements and political parties matters a great deal, and it considers the Tea Party and Occupy Wall Street as comparison cases.
An in-depth comparative analysis of the interplay of police, democracy, state, and civil society in Argentina and Brazil, with disturbing implications for the consolidation of democracy in Latin America as a whole.
It is common to hear talk of how music can inspire crowds, move individuals and mobilise movements. We know too of how governments can live in fear of its effects, censor its sounds and imprison its creators. At the same time, there are other governments that use music for propaganda or for torture. All of these examples speak to the idea of music's political importance. But while we may share these assumptions about music's power, we rarely stop to analyse what it is about organised sound - about notes and rhythms - that has the effects attributed to it. This is the first book to examine systematically music's political power. It shows how music has been at the heart of accounts of political order, at how musicians from Bono to Lily Allen have claimed to speak for peoples and political causes. It looks too at the emergence of music as an object of public policy, whether in the classroom or in the copyright courts, whether as focus of national pride or employment opportunities. The book brings together a vast array of ideas about music's political significance (from Aristotle to Rousseau, from Adorno to Deleuze) and new empirical data to tell a story of the extraordinary potency of music across time and space. At the heart of the book lies the argument that music and politics are inseparably linked, and that each animates the other.
In an age where film stars become presidents and politicians appear in pop videos, politics and popular culture have become inextricably interlinked. In this exciting new book, John Street provides a broad survey and analysis of this relationship.
Streets in Korea rarely go quiet without first having a public demonstration, and Korean citizens are known as seasoned protestors, charting the course of national politics. Between the Streets and the Assembly explores how protest movements have become the prominent mode of democratic politics in Korea, in contrast to political parties in the National Assembly that have lagged behind in partisan representation and accountability. To unpack this political dynamic, this book closely follows three groups of democracy activists who were born in their resistance to military dictatorships but who pursued different methods of democratic representation in postauthoritarian Korea (1987–2020). One group stayed in civil society and organized powerful protests outside formal institutions; another group chose to join existing parties with the aim of reforming legislative politics; and the third group was devoted to forming separate progressive parties to be the agent of transformative agenda. By analyzing the interactive evolution of these three modes of democratic representation, Yoonkyung Lee finds that social movement organizations have been more effective than activist-turned politicians in centrist or progressive parties in creating coordination infrastructures for collective action. Through the practice of organizing national solidarity networks, innovating the methods of mass street demonstrations, and drawing professional expertise to formulate policy alternatives, Korean civic groups have built the capacity to directly shape and alter the course of national politics, unlike activist-turned politicians who remained divided with no common political programs. This study asserts that social movement organizations and political parties develop variable capacities for democratic representation, depending on coevolutionary interactions with each other. The experience of Korean democracy shows social movement groups can be a powerful agent of national politics against the scholarly assumption that views civic associations as narrowly focused, transient organizations. Between the Streets and the Assembly suggests a different possibility of political process, one in which civic groups and participatory citizens, not political parties, are the primary drivers of democratic politics.
During the 1960s, the SNCC Freedom Singers, the Living Theatre, the Diggers, the Art Workers Coalition and the Guerrilla Art Action Group fused art and politics by staging unexpected and uninvited performances in public spaces. This text offers detailed portraits of each of these groups.