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From the author of On New Terrain, a historical examination of why American workers never organized in early industrial America and what it means today. Why has there been no viable, independent labor party in the United States? Many people assert “American exceptionalist” arguments, which state a lack of class-consciousness and union tradition among American workers is to blame. While the racial, ethnic, and gender divisions within the American working class have created organizational challenges for the working class, Moody uses archival research to argue that despite their divisions, workers of all ethnic and racial groups in the Gilded Age often displayed high levels of class consciousness and political radicalism. In place of “American exceptionalism,” Moody contends that high levels of internal migration during the late 1800s created instability in the union and political organizations of workers. Because of the tumultuous conditions brought on by the uneven industrialization of early American capitalism, millions of workers became migrants, moving from state to state and city to city. The organizational weakness that resulted undermined efforts by American workers to build independent labor-based parties in the 1880s and 1890s. Using detailed research and primary sources, Moody traces how it was that “pure-and-simple” unionism would triumph by the end of the century despite the existence of a significant socialist minority in organized labor at that time. “Terrific . . . An entirely original take on . . . why American labor was virtually unique in failing to build its own political party. But there’s much more: in investigating labor migration and the ‘tramp’ phenomenon in the Gilded Age, he discovers fascinating parallels with today's struggles of immigrant workers.” —Mike Davis, author of Prisoners of the American Dream
"Carrying a union journeyman’s card, a few basic tools, and little else, these 'itinerant' or 'tourist' typographers criss-crossed the continent for more than a century, train-hopping from newspaper to newspaper, following the railroad tracks.... The tramps helped each other over the hard places and spread the craft of printing along the way. And by standing strong in solidarity, journeymen printers fought for the eight-hour day — and won." -- Publisher website.
Experience the tale of a hapless young artist, Yasmine the pick-up, and an extraordinary journey across the world.
Edited by Brozek, "Space Tramps" is a collection of 16 stories about tramps and vagabonds in outer space by Nathan Crowder, Ivan Ewert, Andrew S. Fuller, David Lee Summers, Shannon Page, Mark J. Ferrari, Rick Silva, Nayad A. Monroe, Kay T. Holt, Erik Scott de Bie, Tyler Hayes, Dylan Birtolo, Danielle Ackley-McPhail, Warren Schultz, Brandie Tarvin, Matthew Marovich, and Ryan Macklin.
One day in 1974 John Free took his white dog Casper and his black Nikon camera to the Los Angeles Freight yards on an invite from a stranger to meet under a bridge to see "how a real tramp lives."Under that bridge he found the "Home Guard of the Taylor Yard", at the End Of The Line, as far west as one could travel on trains and the best place for an old railroad tramp like Shorty, old man Peewee or Bobbi K, to live out their days. It's a part of Los Angeles that is now gone."They thought I was interested in the trains but it was their stories, their smiles and my respect for them that kept me coming back."End of the Line: Railroad Tramps of the Los Angeles Freight Yards is a collection of John's black and white, candid, full frame, available light photographs. These rare historical photographs document a place and culture that no longer exists. The book also includes the unique and moving stories told to John by the tramps as well as John's approach to getting to know these unique people and his photographic techniques.The Foreword by his son describes what it was like growing up as a street photographer's son.Also included are an historical perspective by Kevin Keefe, former editor of Trains magazine, a glossary of tramp terminology and technical details on the photography.The book is printed in duotone, using high resolution scans from John's negatives. Printed on heavy 100 lb. coated stock the photographs faithfully capture all the beauty found in John's original silver gelatin prints.