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"For many, the appearance of Occupy Wall Street seemed so sudden and so surprising it seemed to have come out of nowhere. But Occupy Wall Street was in some sense not unusual: it was part and parcel of a long history of riot, revolt, uprising, and sometimes even revolution that has shaped the city and the larger histories and geographies of which it is part. The history of New York is, in significant part, a history of revolt. Many citizens, activists, and scholars know pieces of that history, but nowhere has it been put together in something close to its entirety. The effect is that each revolt or uprising seems almost sui generis, always surprising, disconnected from both its long- and near-term history and social geography. Revolting New York brings together the historical geography of revolt in New York in its fullness, from the earliest uprisings of the Munsee against Dutch occupation of Manhattan to Occupy. All in a style accessible to a broad as well as academic audience The book will show that there is a continuous, if varied and punctuated, history of rebellion in New York that is at least as vital as the more standard histories of formal politics, planning, economic growth and restructuring that largely define our consciousness of New York's evolution and the structuring of life within it" --
The masterfully told story of twelve volatile days in the life of Chicago, when an aviation disaster, a race riot, a crippling transit strike, and a sensational child murder transfixed and roiled a city already on the brink of collapse. When 1919 began, the city of Chicago seemed on the verge of transformation. Modernizers had an audacious, expensive plan to turn the city from a brawling, unglamorous place into "the Metropolis of the World." But just as the dream seemed within reach, pandemonium broke loose and the city's highest ambitions were suddenly under attack by the same unbridled energies that had given birth to them in the first place. It began on a balmy Monday afternoon when a blimp in flames crashed through the roof of a busy downtown bank, incinerating those inside. Within days, a racial incident at a hot, crowded South Side beach spiraled into one of the worst urban riots in American history, followed by a transit strike that paralyzed the city. Then, when it seemed as if things could get no worse, police searching for a six-year-old girl discovered her body in a dark North Side basement. Meticulously researched and expertly paced, City of Scoundrels captures the tumultuous birth of the modern American city, with all of its light and dark aspects in vivid relief.
In this rich, imaginative survey of variety musical theater, Gillian M. Rodger masterfully chronicles the social history and class dynamics of the robust, nineteenth-century American theatrical phenomenon that gave way to twentieth-century entertainment forms such as vaudeville and comedy on radio and television. Fresh, bawdy, and unabashedly aimed at the working class, variety honed in on its audience's fascinations, emerging in the 1840s as a vehicle to accentuate class divisions and stoke curiosity about gender and sexuality. Cross-dressing acts were a regular feature of these entertainments, and Rodger profiles key male impersonators Annie Hindle and Ella Wesner while examining how both gender and sexuality gave shape to variety. By the last two decades of the nineteenth century, variety theater developed into a platform for ideas about race and whiteness. As some in the working class moved up into the middling classes, they took their affinity for variety with them, transforming and broadening middle-class values. Champagne Charlie and Pretty Jemima places the saloon keepers, managers, male impersonators, minstrels, acrobats, singers, and dancers of the variety era within economic and social contexts by examining the business models of variety shows and their primarily white, working-class urban audiences. Rodger traces the transformation of variety from sexualized entertainment to more family-friendly fare, a domestication that mirrored efforts to regulate the industry, as well as the adoption of aspects of middle-class culture and values by the shows' performers, managers, and consumers.
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