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Although many people live their lives happily tied with a bow of complacency and routine, for some, that bow starts to unravel; and circumstances get out of hand. These very circumstances take them places they never thought they would go, surrounded by strangers theyd never thought theyd meet. Welcome to Chicagos Chinatown, where whats below the surface of this bustling Asian community is a tightly guarded secret hidden from the thousands of tourist who visit each year. Chicago native Scott West often visited this South Side landmark along with his mother and sister and regularly toured the citys attractions, primarily to escape their fathers drunken outbursts. After graduation, Scott takes up residence in Chinatown, but this time, he becomes caught up in circumstances that quickly escalate into a tsunami of almost-crushing disaster. This is the third book in her Chicago Series, the other ones being The Accidental King of Clark Street and Double or Nothing on Foster Avenue.
More than a century ago, organized criminals were intrinsically involved with the political, social, and economic life of the Chinese American community. In the face of virulent racism and substantial linguistic and cultural differences, they also integrated themselves successfully into the extensive underworlds and corrupt urban politics of the Progressive Era United States. The process of organizing crime in Chinese American communities can be attributed in part to the larger politics that created opportunities for professional criminals. For example, the illegal traffic in women, laborers, and opium was an unintended consequence of "yellow peril" laws meant to provide social control over Chinese Americans. Despite this hostile climate, Chinese professional criminals were able to form extensive multiethnic social networks and purchase protection and some semblance of entrepreneurial equality from corrupt politicians, police officers, and bureaucrats. While other Chinese Americans worked diligently to remove racist laws and regulations, Chinatown gangsters saw opportunity for profit and power at the expense of their own community. Academics, the media, and the government have claimed that Chinese organized crime is a new and emerging threat to the United States. Focusing on events and personalities, and drawing on intensive archival research in newspapers, police and court documents, district attorney papers, and municipal reports, as well as from contemporary histories and sociological treatments, this study tests that claim against the historical record.
A vivid account of the Chinatown race riots in 1871 Los Angeles, now counted among the worst hate crimes in American history.
Revealing the untold stories of a pioneer generation of young Chinese Americans, this book places the children and families of early Chinatown in the middle of efforts to combat American policies of exclusion and segregation. Wendy Jorae challenges long-held notions of early Chinatown as a bachelor community by showing that families--and particularly children--played important roles in its daily life. She explores the wide-ranging images of Chinatown's youth created by competing interests with their own agendas--from anti-immigrant depictions of Chinese children as filthy and culturally inferior to exotic and Orientalized images that catered to the tourist's ideal of Chinatown. All of these representations, Jorae notes, tended to further isolate Chinatown at a time when American-born Chinese children were attempting to define themselves as Chinese American. Facing barriers of immigration exclusion, cultural dislocation, child labor, segregated schooling, crime, and violence, Chinese American children attempted to build a world for themselves on the margins of two cultures. Their story is part of the larger American story of the struggle to overcome racism and realize the ideal of equality.
Ethnicity issues fuel internal strife as a community faces change.
Chinese in America endured abuse and discrimination in the late nineteenth century, but they had a leader and a fighter in Wong Chin Foo (1847–1898), whose story is a forgotten chapter in the struggle for equal rights in America. The first to use the term “Chinese American,” Wong defended his compatriots against malicious scapegoating and urged them to become Americanized to win their rights. A trailblazer and a born showman who proclaimed himself China’s first Confucian missionary to the United States, he founded America’s first association of Chinese voters and testified before Congress to get laws that denied them citizenship repealed. Wong challenged Americans to live up to the principles they freely espoused but failed to apply to the Chinese in their midst. This evocative biography is the first book-length account of the life and times of one of America’s most famous Chinese—and one of its earliest campaigners for racial equality.
From the New York Times bestselling author of Fifth Avenue, Five A.M. and Fosse comes the revelatory account of the making of a modern American masterpiece Chinatown is the Holy Grail of 1970s cinema. Its twist ending is the most notorious in American film and its closing line of dialogue the most haunting. Here for the first time is the incredible true story of its making. In Sam Wasson's telling, it becomes the defining story of the most colorful characters in the most colorful period of Hollywood history. Here is Jack Nicholson at the height of his powers, as compelling a movie star as there has ever been, embarking on his great, doomed love affair with Anjelica Huston. Here is director Roman Polanski, both predator and prey, haunted by the savage death of his wife, returning to Los Angeles, the scene of the crime, where the seeds of his own self-destruction are quickly planted. Here is the fevered dealmaking of "The Kid" Robert Evans, the most consummate of producers. Here too is Robert Towne's fabled script, widely considered the greatest original screenplay ever written. Wasson for the first time peels off layers of myth to provide the true account of its creation. Looming over the story of this classic movie is the imminent eclipse of the '70s filmmaker-friendly studios as they gave way to the corporate Hollywood we know today. In telling that larger story, The Big Goodbye will take its place alongside classics like Easy Riders, Raging Bulls and The Devil's Candy as one of the great movie-world books ever written. Praise for Sam Wasson: "Wasson is a canny chronicler of old Hollywood and its outsize personalities...More than that, he understands that style matters, and, like his subjects, he has a flair for it." - The New Yorker "Sam Wasson is a fabulous social historian because he finds meaning in situations and stories that would otherwise be forgotten if he didn't sleuth them out, lovingly." - Hilton Als
Beginning with the immigrants who left poverty-ridden villages in China to try for a better livelihood in America, the narratives and extensive interviews of Longtime Californ’ tell the true story of the Chinese in America. A young Chinese girl tells of being sold into slavery, brought to America, and rescued by a missionary; men of Chinatown recall the awful conditions and long waits on Angel Island before being allowed into the country, and remember the backbreaking experience of building the railroads that opened the West. The young Chinese are also here: some are angry and frustrated, spending their time on street corners and in gang fights; other are Marxist radicals trying to create social, political, and economic change in Chinatown ghetto. And there are the workers who go back and forth each day to the garment factories and the shops, each with his or her own story to tell, each contributing his or her share to the country that is San Francisco Chinatown. Throughout these and other stories the intricate patterns of Chinese life emerge as Chinese traditions and American customs combine to create the unique experience of Chinese-Americas, Longtime Californ’ goes beyond the hand laundries and restaurants with which Americans often associate the Chinese and unveils the secret societies, the powerful family associations, and the daily lives of the people of Chinatown.
Coming to America : illegal Chinese migration to the United States -- Becoming a snakehead -- Recruitment, preparation, and departure -- Smuggling activities in transit -- Arrival and payment collection -- Making money from human smuggling -- Organizational and operational characteristics -- The dyadic cartwheel network -- Human smuggling and traditional Chinese organized crime -- Women and Chinese human smuggling -- Future of Chinese human smuggling
Awards: Irving Lowens Award, Society for American Music (SAM), 2019 Music in American Culture Award, American Musicological Society (AMS), 2018 Certificate of Merit for Best Historical Research in Recorded Country, Folk, Roots, or World Music, Association for Recorded Sound Collections (ARSC), 2018 Outstanding Achievement in Humanities and Cultural Studies: Media, Visual, and Performance Studies, Association for Asian American Studies (AAAS), 2019 The Chinatown opera house provided Chinese immigrants with an essential source of entertainment during the pre–World War II era. But its stories of loyalty, obligation, passion, and duty also attracted diverse patrons into Chinese American communities Drawing on a wealth of new Chinese- and English-language research, Nancy Yunhwa Rao tells the story of iconic theater companies and the networks and migrations that made Chinese opera a part of North American cultures. Rao unmasks a backstage world of performers, performance, and repertoire and sets readers in the spellbound audiences beyond the footlights. But she also braids a captivating and complex history from elements outside the opera house walls: the impact of government immigration policy; how a theater influenced a Chinatown's sense of cultural self; the dissemination of Chinese opera music via recording and print materials; and the role of Chinese American business in sustaining theatrical institutions. The result is a work that strips the veneer of exoticism from Chinese opera, placing it firmly within the bounds of American music and a profoundly American experience.