Libraries in the late 19th century were seen by their founders as instruments of social and cultural uplift, meant to raise the working class out their ignorance and teach them how to be middle class. But men like Oscar Ameringer, who immigrated to the United States from Germany when he was 15 and later became a socialist organizer, humorist, and editor, took away different lessons. In this selection from his 1940 autobiography, Ameringer described his discovery of American history books, translated into German, at the local public library.

During World War I, government at all levels subjected the Industrial Workers of the World (IWW), a radical labor union, to repression in the name of wartime security. IWW organizers were repeatedly arrested, and strikers were beaten or shot by police and hired thugs. In September, 1917, federal agents raided every IWW office in the country, arresting some 300 leaders on charges of espionage and sedition. Within six months, two thousand IWW members, known as Wobblies, were in jail and awaiting trial. Most were eventually convicted of violating wartime statutes and sentenced to long prison terms. The organization never recovered from these wartime setbacks. This 1917 cartoon from the New York Globe newspaper uses the acronym IWW" in place of the features of Kaiser Wilhelm of Germany

In colonial America, apprenticeship was the usual means by which young men entered a trade and master craftsmen obtained the labor necessary to staff their workshops. A young man's guardian signed an indenture (contract) for a period of time and the apprentice in turn was to receive food, lodging, and knowledge of "the mysteries of the trade," or traditional craft practices. For young John Fitch of Connecticut in the 1760s, anxious "to learn a trade" and "subsist myself in a genteel way when I came for myself," that exchange was no simple matter. The Cheney brothers, Connecticut clockmakers who were innovated in making moving wooden clocks that were far cheaper than the usual brass ones, were not eager to share either their dinner or their knowledge of clockmaking with Fitch. He found himself caught between his father's and his master's patriarchal expectations of receiving his labor, while he had to worry about how he would support himself when he came of age.

Urban artisans experienced dramatic changes in the second quarter of the 19th century. New York and other cities were destinations of choice for many rural mechanics as well as those coming from overseas. Upon arrival they found workshops in great flux as traditional social relations among master, journeyman, and apprentice were being transformed into an employer-employee relationship. In some crafts, such as cabinetmaking, change came more slowly because of the complexities of fashioning large case furniture. In other trades, such as tailoring, tiny sweatshops started to dot the city streets. A new working class was coming into being, often with a variety of religions and backgrounds, and they organized to contest these and other changes in work conditions and compensation. This anonymous account from a British periodical in 1845 related the experience of a British cabinetmaker in New York in the 1830s; he eventually returned home.

While most working-class autobiographers followed the example of Benjamin Franklin and portrayed the "industrious apprentice," William Otter showed another side of plebian life. Otter took his readers into the world of heavy drinking and nativist violence of antebellum urban life. Cities increasingly became unruly places to govern in the decades before the Civil War with their rapid population growth and jostling of immigrant and native born. Competition for jobs and just plain scapegoating led to brawls between native-born, foreign, and African-Americans workers. Otter participated in the urban diversions made possible by the new commercial culture such as boxing, baseball and other sports, or games at local taverns, along with the competitions between rival militia companies and neighborhood street gangs. All of these boisterous activities could turn violent. Otter was born in England and impressed into the British navy. He jumped ship and came to New York in 1831. While apprenticed as a plasterer, he entered a world of masculine culture that he colorfully displayed in his History of My Own Times (1835).

Farm households depended heavily on the work of women and children. At first children were assigned simple tasks; later they learned chores that were differentiated according to gender roles. In the 1790s, young unmarried women such as Elizabeth Fuller pursued work in the dairy or in home manufacturing along with their housework and garden tasks. Fuller lived in the central Massachusetts town of Princeton; her diary recorded her health, social activities, and any unusual events in her life. Mostly, she faced a regular round of household tasks such as making cheese or baking pies. She often washed, carded, and spun wool, since her most significant labor was the household textile production that provided most farm families with their clothing.

The Democratic party arrived at its 1968 convention in Chicago torn apart by the Vietnam war and the assassinations of Robert Kennedy and Martin Luther King, Jr. As delegates and protestors arrived in Chicago in late August 1968, the Chicago American newspaper published a guide to the cast of characters" converging on the city. Illustrating student supporters of Eugene McCarthy

Hundreds of writers and artists lived in Harlem in the 1920s and 1930s and were part of a vibrant, creative community that found its voice in what came to be called the "Harlem Renaissance." Alain Locke's 1925 collection The New Negro --a compilation of literature by and essays about "New Negro" artists and black culture--became a "manifesto" of the movement. Some of black America's foremost writers contributed stories and poems to the volume. The work of these artists drew upon the African-American experience and expressed a new pride in black racial identity and heritage. Several factors accounted for the birth of the movement and propelled it forward. By 1920 the once white ethnic neighborhood of Harlem in upper Manhattan overflowed with recent African-American migrants from the South and the Caribbean. Black soldiers returning from World War I shared a new sense of pride, militancy, and entitlement, as expressed in Claude McKay's 1919 protest poem "If We Must Die."

For centuries pirates, known as the Barbary pirates, operated out of the North African states of Morocco, Algiers, Tunis, and Tripoli. European states paid tribute to them to ensure their people's safe passage. Without British protection and with few financial or diplomatic resources, the new American nation's ships and citizens were vulnerable on the high seas. Between 1785 and 1820, more than 700 Americans were taken hostage and often enslaved. The American public was fascinated by these captives' stories; their tales of desert cities, caravans, and harems bridged the previously popular Puritan captivity narratives and emerging slave narratives. The most influential of all these American Barbary narratives was James Riley's Loss of the American Brig Commerce. A Connecticut sea captain, Riley ran aground in 1815 and was captured by wandering Arabs. He used his enslavement to call into question the enslavement of Africans and express a common humanity with the desert people he encountered.

Davy Crockett was a frontiersmen, soldier, and politician who used his autobiography to help create an image of himself as a larger-than-life American hero. The description of frontier politics presented here is based on his campaign for a seat in the Tennessee legislature in 1821. In the early decades of the 19th century, property qualifications for voting were lifted and more white men gained access to the vote. With this greater access came new and more democratic styles of political activity. To recruit support at elections, office seekers made public meetings and popular entertainments part of political life. Crockett's account reflected these changes, suggesting that humor, hunting skills, and male camaraderie were as important to electoral success as a clear stance on the issues of the day.

Immigrants and African Americans decisively shaped a multiethnic urban popular culture in the late 19th century, built in large measure on the emergence of vaudeville. Vaudeville blended slapstick comedy, blackface minstrelsy, and sentimental songs into a rich and highly popular cultural stew. Among the most successful vaudeville practitioners were two Jewish singers and comics from the mean streets of Manhattan's Lower East Side, Joe Weber and Lew Fields. Weber and Fields' routines usually featured broad stereotypes of German immigrants: Fields played "Meyer," the shrewd German slickster who wanted to "put one over" on Weber's "Mike," the dumb "Dutch" newcomer. At the peak of their popularity in 1904, Weber and Fields recorded this popular routine, "The Hypnotist," for commercial sale. Ironically, just a few months after recording this routine, the Weber and Fields team broke up, ending nearly three decades of public performances, the longest of any team in American popular theater.

On July 1, 1946, less than a year after dropping atom bombs on Hiroshima and Nagasaki to end World War II, the U.S. embarked on its first postwar atomic weapons test at the Bikini Atoll in the Marshall Islands. David Bradley, a physician and member of the Radiological Safety Unit at Bikini, voiced concern over dangers from radioactivity in his 1948 best-seller, No Place to Hide. In response to Bradley and other critics, the Atomic Energy Commission, the military, and other government agencies attempted to diffuse growing fears about radioactivity. The following Collier's article by a military officer--using the same eyewitness-account format as in Bradley's book--tried to persuade its readers that fears about "lingering radiation" were unfounded by documenting a test in the Nevada desert in which the military deliberately sent soldiers close to "ground zero" soon after an explosion. Some readers remained unconvinced; their published letters can be found following the article. In 1963, the U.S. and Soviet Union signed a treaty to halt atmospheric tests of nuclear weapons. By that time, some 300,000 U.S. military personnel and an unknown number of civilians in areas downwind from the test sites had been exposed to radiation. In subsequent years, studies revealed higher rates of leukemia, cancer, respiratory ailments, and other health problems among these groups. Underground atomic weapons tests continued at the Nevada Test Site until a moratorium was declared in 1992, after 928 nuclear tests.

The interwar peace movement was arguably the largest mass movement of the 1920s and 1930s, a mobilization often overlooked in the wake of the broad popular consensus that ultimately supported the U.S. involvement in World War II. The destruction wrought in World War I (known in the 1920s and 1930s as the "Great War") and the cynical nationalist politics of the Versailles Treaty had left Americans disillusioned with the Wilsonian crusade to save the world for democracy. Senate investigations of war profiteering and shady dealings in the World War I munitions industry both expressed and deepened widespread skepticism about wars of ideals. On the right wing of the antiwar movement, Charles A. Lindbergh, popular hero of American aviation, was a champion of diehard isolationism and a prominent member of the America-First Committee, organized in September 1940. In this 1941 speech, he drew on a time-honored theme of American exceptionalism as he urged his listeners to avoid entanglements with Europe.

This December, 1930, edition of the League for Industrial Democracy's The Unemployed satirizes three common business perspectives on the unemployment problem." Diagnoses of the causes of the Great Depression varied

In 1852-53, the popular British writer William Makepeace Thackeray toured the United States. While he lectured to enthralled American audiences, his secretary Eyre Crowe meticulously recorded the trip in words and pictures. Crowe, who studied painting in France, later published an illustrated memoir of the U.S. trip called With Thackeray in America. Crowe included in his account a visit to the Richmond, Virginia, slave market where he witnessed and sketched a slave auction. As this excerpt demonstrates, his simple act of drawing the harsh circumstances of the slave trade was viewed by the auctioneer and planters as a threat. After his return to England, Crowe turned his sketches into a series of paintings that starkly depicted the auction and the subsequent forced separation of family members and friends.

This course examines major social and political trends, events, debates and personalities which help place aspects of contemporary French culture in their historical perspective through fiction, films, essays, newspaper articles, and television. Topics include the heritage of the French Revolution, the growth and consequences of colonialism, the role of intellectuals in public debates, the impact of the Occupation, the modernization of the economy and of social structures. The sources and meanings of national symbols, monuments, myths and manifestoes are also studied. Recommended for students planning to study abroad. Taught in French.

This course is a global-oriented survey of the history of architecture, from the prehistoric to the sixteenth century. It treats buildings and environments, including cities, in the context of the cultural and civilizational history. It offers an introduction to design principles and analysis. Being global, it aims to give the student perspective on the larger pushes and pulls that influence architecture and its meanings, whether these be economic, political, religious or climatic.

Ragtime music, with its syncopated, polyrhythmic style, was born, according to cultural historian Robert Snyder, in the 1890s in the black saloons and brothels of southern and Midwestern cities like Baltimore and St. Louis. By the end of the 19th century ragtime had assumed a place at the center of American popular music and remained there until the 1920s. Ragtime meant a tinkling piano and no one played the ragtime piano any better or longer than Eubie Blake, born in Baltimore in 1887. In this selection from an interview performance conducted in 1970 for public television by musician Max Morath, Blake recalled how he began playing ragtime as a young man at the turn of the century.

Part of the New Deal's Works Progress Administration (WPA), the Federal Theatre Project (FTP) was one indication of the breadth of that program. Governments, including that of the United States, had long been important patrons of the arts, but New Deal support for art was unprecedented in American political life. Like the other New Deal arts projects, the FTP treated creative endeavors as work; it used government funds to hire unemployed actors, stage hands, and playwrights Perhaps best known for its trenchant political satire and innovative presentations, the FTP actually represented a much broader range of activity. Its productions included classics of the dramatic repertoire by such playwrights as Euripides and Shakespeare; foreign-language plays; and contemporary dramas. In an interview done in 1978 by Elizabeth C. Stevens, Milton Meltzer remembered the vibrant, creative energy along with the political controversies that he witnessed during his stint as a publicist for the New York unit of the FTP.

Spirituals and work songs, rooted in both the slavery era and the West African societies from which most African-American slaves were originally taken, provided cultural sustenance to African Americans in the midst of intense racial oppression. They first came to be valued by northern white audiences in the late-19th century. Later, folklorists began collecting (and eventually recording) traditional southern music. John and Alan Lomax recorded southern musicians (African-American, white, and Mexican-American) for the Library of Congress. They recorded "Long John," a work song, sung by a man identified as "Lightning" and a group of his fellow black convicts at Darrington State Prison Farm in Texas in 1934. Black prisoners working in gangs to break rocks and clear swamps relied on the repeated rhythms and chants of work songs (originating in the forced gang labor of slavery) to set the pace for their collective labor. "Long John" mixed religious and secular concerns, including the notion of successful escape from bondage, a deeply felt desire of both slaves and prisoners.