Drawing on extensive archival and ethnographic research in New York City and San Francisco, Hanhardt traces the entwined histories of LGBT activism, urban development, and U.S. policy in relation to poverty and crime over the past fifty years. She highlights the formation of a mainstream LGBT movement, as well as the very different trajectories followed by radical LGBT and queer grassroots organizations. Placing LGBT activism in the context of shifting liberal and neoliberal policies, Safe Space is a groundbreaking exploration of the contradictory legacies of the LGBT struggle for safety in the city.
The Scandal of Reform pulls the curtain back on New York's reformers past and present, revealing the bonds they have always shared with the bosses they disdain, the policy failures they still refuse to recognize, and the transition they have made from nonpartisan outsiders to ideological insiders.
Francis S. Barry examines the evolution of political reform from the frontlines of New York City's recent reform wars. He offers an insider's account and analysis of the controversial 2003 referendum debate on nonpartisan elections, and he challenges reformersùand members of both partiesùto reconsider their faith in reforms that are no longer serving the public interest.
No American metropolis has intervened in its housing market quite as aggressively as New York since World War II—and yet none is as burdened by the scarcity, poor quality, uneven distribution, and high cost of its rental housing stock. Why, after half a century of rent control, public housing programs, tax abatement, and land use regulation, is it so difficult for thousands of New Yorkers to find, rent, and maintain decent apartments?
Addressing issues that are hotly debated in the Big Apple and other cities across the nation, Peter Salins and Gerard Mildner analyze New York's policies and assess their largely detrimental effects on housing quality and availability. They show how programs that were instituted for the benefit of both investors and the poor—by directly and indirectly subsidizing housing construction and by capping rents—have instead caused misallocation of housing, exacerbated tensions between tenants and landlords, progressively stifled private investment, and resulted in building deterioration and abandonment.
Scarcity by Design is an object lesson in what governments should not do if they wish to improve housing and maintain communities. It also makes a strong case for a highly controversial solution: arguing from a free-market perspective, Salins and Mildner clearly demonstrate how transition to a fully deregulated and subsidized housing market would alleviate the social and economic woes of New York's tenants. They present deregulation as the essential stimulus of housing production, fair pricing, and good maintenance. The authors' crisply written analysis of New York's housing problems and their proposed solutions will enlighten citizens, city managers, investors, builders, and urban planners, and should spark discussions in academic as well as professional circles.
Harlem’s nightclubs in the 1920s and ’30s were a crucible for testing society’s racial and sexual limits. Normally tacit divisions were there made spectacularly public in the vibrant, but often fraught, relationship between performer and audience. The cabaret scene, Shane Vogel contends, also played a key role in the Harlem Renaissance by offering an alternative to the politics of sexual respectability and racial uplift that sought to dictate the proper subject matter for black arts and letters. Individually and collectively, luminaries such as Duke Ellington, Lena Horne, Langston Hughes, Claude McKay, Wallace Thurman, and Ethel Waters expanded the possibilities of blackness and sexuality in America, resulting in a queer nightlife that flourished in music, in print, and on stage.
Deftly combining performance theory, literary criticism, historical research, and biographical study, The Scene of Harlem Cabaret brings this rich moment in history to life, while exploring the role of nightlife performance as a definitive touchstone for understanding the racial and sexual politics of the early twentieth century.
Since the 1700s, various ethnic and immigrant groups have been shifting and negotiating their place in New York City. Hope Cooke also struggled to find a "correlation of space" and "sense of belonging" when she returned to the city after spending her adult life living in a place in the Himalayas, the Queen of Sikkim (a tiny kingdom near Nepal). Abroad for so long, she returned with an urgent need to rediscover this city, to "find her way home."
It was not always a comfortable journey for Cooke: "On the days I felt secure, Manhattan's maelstrom was pure energy. On shaky days, the boundlessness made me yearn for limits, or, failing that, at least a vantage point." The book that has emerged is an entertaining and integrated account of New York City's social history, architecture, physical space, and culture. Starting with the American Indian settlements and the early days when the southern-most tip of Manhattan held little more than a bleak outpost of Dutch fur traders, Cooke tracks the economic development and journeys north, from the Village's beginnings as a refuge from dreaded summer fevers to the present day Dominican enclave of Washington Heights.
Written for armchair enthusiasts and walkabout adventurers, this book travels fourteen of the city's distinct and significant neighborhoods. Cooke's guide will make a historical sleuth out of local residents and tourists alike. Her off-the-beaten-path insights and witty observations help decode the urban landscape and reveal how social changes have reworked the city's terrain. Enhancing the narrative are 140 illustrations, including old engravings, maps, and current photographs.
Tracks the shifting views of the Lower East Side from ghetto to desirable urban niche.
The Lower East Side of Manhattan is rich in stories-of poor immigrants who flocked there in the late nineteenth and early twentieth centuries; of beatniks, hippies, and artists who peopled it mid-century; and of the real estate developers and politicians who have always shaped what is now termed the "East Village." Today, the musical Rent plays on Broadway to a mostly white and suburban audience, MTV exploits the neighborhood’s newly trendy squalor in a film promotion, and on the Internet a cyber soap opera and travel-related Web pages lure members of the middle class to enjoy a commodified and sanitized version of the neighborhood.
In this sweeping account, Christopher Mele analyzes the political and cultural forces that have influenced the development of this distinctive community. He describes late nineteenth-century notions of the Lower East Side as a place of entrenched poverty, ethnic plurality, political activism, and "low" culture that elicited feelings of revulsion and fear among the city’s elite and middle classes. The resulting-and ongoing-struggle between government and residents over affordable and decent housing has in turn affected real estate practices and urban development policies. Selling the Lower East Side recounts the resistance tactics used by community residents, as well as the impulse on the part of some to perpetuate the image of the neighborhood as dangerous, romantic, and bohemian, clinging to the marginality that has been central to the identity of the East Village and subverting attempts to portray it as "new and improved." Ironically, this very image of urban grittiness has been appropriated by a cultural marketplace hungry for new fodder. Mele explores the ways that developers, media executives, and others have coopted the area’s characteristics-analyzing the East Village as a "style provider" where what is being marketed is "difference." The result is a visionary look at how political and economic actions transform neighborhoods and at what happens when a neighborhood is what is being "consumed."A comprehensive web site for Selling the Lower East Side can be found at www.upress.umn.edu/sles.On July 31, 1997, a six-man Emergency Service team from the NYPD raided a terrorist cell in Brooklyn and narrowly prevented a suicide bombing of the New York subway that would have cost hundreds, possibly thousands of lives.
Seven Shots tells the dramatic story of that raid, the painstaking police work involved, and its paradoxical aftermath, which drew the officers into a conflict with other rank-and-file police and publicity-hungry top brass. Jennifer C. Hunt draws on her personal knowledge of the NYPD and a network of police contacts extending from cop to four-star chief, to trace the experience of three officers on the Emergency Service entry team and the two bomb squad detectives who dismantled the live device. She follows their lives for five years, from that near-fatal day in 1997, through their encounters inside the brutal world of departmental politics, and on to 9/11, when they once again put their lives at risk in the fight against terrorism, racing inside the burning towers and sorting through the ash, debris, and body parts. Throughout this fast paced narrative, Hunt maintains a strikingly fine-grained, street-level view, allowing us to understand the cops on their own terms—and often in their own words. The result is a compelling insider’s picture of the human beings who work in two elite units in the NYPD and the moral and physical danger and courage involved.
As gripping as an Ed McBain novel—and just as steeped in New York cop culture and personalities—Seven Shots takes readers on an unforgettable journey behind the shield and into the hearts of New York City police.
The first edition of Shadowed Dreams was a groundbreaking anthology that brought to light the contributions of women poets to the Harlem Renaissance. This revised and expanded version contains twice the number of poems found in the original, many of them never before reprinted, and adds eighteen new voices to the collection to once again strike new ground in African American literary history. Also new to this edition are nine period illustrations and updated biographical introductions for each poet.
Shadowed Dreams features new poems by Gwendolyn Bennett, Anita Scott Coleman, Mae Cowdery, Blanche Taylor Dickinson, Alice Dunbar-Nelson, Jessie Fauset, Angelina Weld Grimké, Gladys Casely Hayford (a k a Aquah Laluah), Virginia Houston, Georgia Douglas Johnson, Helene Johnson, Effie Lee Newsome, Esther Popel, and Anne Spencer, as well as writings from newly discovered poets Carrie Williams Clifford, Edythe Mae Gordon, Alvira Hazzard, Gertrude Parthenia McBrown, Beatrice Murphy, Lucia Mae Pitts, Grace Vera Postles, Ida Rowland, and Lucy Mae Turner, among others.
Covering the years 1918 through 1939 and ranging across the period’s major and minor journals, as well as its anthologies and collections, Shadowed Dreams provides a treasure trove of poetry from which to mine deeply buried jewels of black female visions in the early twentieth century.
Upon the death of his father Morris at age 82, Lennard Davis found among his effects a trove of letters, kept in careful chronological order, that dated from 1936. The letters ended in 1938, when Eva Weintrobe came to America to marry Morris, and they provide the core of Shall I Say A Kiss?, their courtship by correspondence. In his framing comments, Davis speculates that his parents met perhaps four or five times before they wed, a fact that heightens the importance of these letters to their fate. Davis illustrates vast contrasts between Morris and Eva, both to each other (Morris was 38; Eva was 26), and to themselves in later life as witnessed by their son. Where Davis saw his father brimming with confidence and a sense of superior intellect while his mother acted as the reserved, dutiful wife, he was startled to learn through their letters that she could be the shrewd questioning correspondent even as his father wrote as an unsure, imploring suitor.
Shall I Say A Kiss? opens a window into the lives of two working-class, Jewish, British, Deaf people in the 1930s. This striking book reveals a consistent, journal-like account of the “lived” experience of Deaf people during the tumultuous times just prior to World War II. Because the correspondence is mainly composed of Eva’s letters, the focus sharpens even further as a record of the life and opinions of a young, working-class, Deaf woman about to embark upon marriage and life in a new country. The challenges she faced, including de facto racial barriers for both deaf and Jewish immigrants, and the prospect of uniting with a man she knew mostly through his letters alone, make for a compelling and emotional trip through her life. Shall I Say A Kiss? serves as a singular social document and also as an engaging and often moving narrative that will win audiences among academics and romantics alike.
The only child of deaf Puerto Rican immigrants, Andrés Torres grew up in New York City in a large, extended family that included several deaf aunts and uncles. In Signing in Puerto Rican: A Hearing Son and His Deaf Family, he opens a window into the little known culture of Deaf Latinos chasing the immigrant American dream. Like many children of deaf adults (codas), Torres loved his parents deeply but also longed to be free from being their interpreter to the hearing world. Torres’s story is unique in that his family communicated in three languages. The gatherings of his family reverberated with “deaf talk,” in sign, Spanish, and English. What might have struck outsiders as a strange chaos of gestures and mixed spoken languages was just normal for his family.
Torres describes his early life as one of conflicting influences in his search for identity. His parents’ deep involvement in the Puerto Rican Society for the Catholic Deaf led him to study for the priesthood. He later left the seminary as his own ambitions took hold. Torres became very active in the Puerto Rico independence party against the backdrop of the Civil Rights movement and protest against the Vietnam War. Throughout these defining events, Torres’s journey never took him too far from his Deaf Puerto Rican family roots and the passion of arms, hands, and fingers filling the air with simultaneous translation and understanding.
In recent years there has been an explosion of interest in the art and culture of the Harlem Renaissance. Yet this significant collection is the first definitive edition of Harlem Renaissance stories by women. The writers include Gwendolyn Bennett, Jessie Redmon Fauset, Angelina Weld Grimké, Zora Neale Hurston, Nella Larsen, Alice Dunbar-Nelson, and Dorothy West.
Published originally in periodicals such as The Crisis, Fire!!, and Opportunity, these twenty-seven stories have until now been virtually unavailable to readers. These stories are as compelling today as they were in the 1920s and 1930s. In them, we find the themes of black and white racial tension and misunderstanding, economic deprivation, passing, love across and within racial lines, and the attempt to maintain community and uplift the race.
Marcy Knopf's introduction surveys the history of the Harlem Renaissance, the periodicals and books it generated, and describes the rise to prominence of these women writers and their later fall from fame. She also includes a brief biography of each of the writers. Nellie Y. McKay's foreword analyzes the themes and concerns of the stories.
In recent years there has been an explosion of interest in the art and culture of the Harlem Renaissance. Yet this significant collection is the first definitive edition of Harlem Renaissance stories by women. The writers include Gwendolyn Bennett, Jessie Redmon Fauset, Angelina Weld Grimké, Zora Neale Hurston, Nella Larsen, Alice Dunbar-Nelson, and Dorothy West.
Published originally in periodicals such as The Crisis, Fire!!, and Opportunity, these twenty-seven stories have until now been virtually unavailable to readers. These stories are as compelling today as they were in the 1920s and 1930s. In them, we find the themes of black and white racial tension and misunderstanding, economic deprivation, passing, love across and within racial lines, and the attempt to maintain community and uplift the race.
Marcy Knopf's introduction surveys the history of the Harlem Renaissance, the periodicals and books it generated, and describes the rise to prominence of these women writers and their later fall from fame. She also includes a brief biography of each of the writers. Nellie Y. McKay's foreword analyzes the themes and concerns of the stories.
Using the methods of ethnicity theory, black studies, regional studies, literary studies, and popular culture, Robert M. Dowling reveals the way in which "outsider" authors helped alleviate New York's mounting social anxieties by popularizing "insider" voices from neighborhoods as distinctive as the East Side waterfront, the Bowery, the Tenderloin's "black Bohemia," the Jewish Lower East Side, and mythic Harlem.
Musicals, it is often said, burst into song and dance when mere words can no longer convey the emotion. This book argues that musicals burst into song and dance when one body can no longer convey the emotion. Rogers shows how the musical’s episodes of burlesque and minstrelsy model the kinds of radical relationships that the genre works to create across the different bodies of its performers, spectators, and creators every time the musical bursts into song. These radical relationships—borne of the musical’s obsessions with “bad” performances of gender and race—are the root of the genre’s progressive play with identity, and thus the source of its subcultural power. However, this leads to an ethical dilemma: Are the musical’s progressive politics thus rooted in its embrace of regressive entertainments like burlesque and minstrelsy?
The Song Is You shows how musicals return again and again to this question, and grapple with a guilt that its joyous pleasures are based on exploiting the laboring bodies of its performers. Rogers argues that the discourse of “integration”—which claims that songs should advance the plot—has functioned to deny the radical work that the musical undertakes every time it transitions into song and dance. Looking at musicals from The Black Crook to Hamilton, Rogers confronts the gendered and racial dynamics that have always under-girded the genre, and asks how we move forward.
First published in 1902, and illustrated by Jacob Epstein, this evocation of the spiritual and cultural life of Yiddish New York remains fresh and relevant, and an invaluable commentary on one aspect of the formation of modern America.
To an extent unequaled by any outsider before him, Hutchins Hapgood, a descendant of generations of New England Yankees, succeeded in penetrating the inner life of an American immigrant community. Hapgood did not set out to reform and cleanse the ghetto. His aim was to understand and interpret it, to find and know its poets, scholars, dramatists, actors, and artists, as well as its merchants and businessmen. He presents real people, individually identified and described, working out their destiny as part of a vital Jewish world. The sensibility and intentions of this book, as the editor points out, “anticipated a period of unexampled American artistic and intellectual gusto and creativity.” Moses Rischin’s discerning and affectionate introduction places Hapgood’s neglected classic squarely in the mainstream of American cultural development.
Popular music was in a creative upheaval in the late 1970s. As the singer-songwriter and producer Chris Stamey remembers, “the old guard had become bloated, cartoonish, and widely co-opted by a search for maximum corporate profits, and we wanted none of it.” In A Spy in the House of Loud, he takes us back to the auteur explosion happening in New York clubs such as the Bowery’s CBGB as Television, Talking Heads, R.E.M., and other innovative bands were rewriting the rules. Just twenty-two years old and newly arrived from North Carolina, Stamey immersed himself in the action, playing a year with Alex Chilton before forming the dB’s and recording the albums Stands for deciBels and Repercussion, which still have an enthusiastic following.
A Spy in the House of Loud vividly captures the energy that drove the music scene as arena rock gave way to punk and other new streams of electric music. Stamey tells engrossing backstories about creating in the recording studio, describing both the inspiration and the harmonic decisions behind many of his compositions, as well as providing insights into other people’s music and the process of songwriting. Photos, mixer-channel and track assignment notes, and other inside-the-studio materials illustrate the stories. Revealing another side of the CBGB era, which has been stereotyped as punk rock, safety pins, and provocation, A Spy in the House of Loud portrays a southern artist’s coming-of-age in New York’s frontier abandon as he searches for new ways to break the rules and make some noise.
Through every era of American history, New York City has been a battleground for international espionage, where secrets are created, stolen, and passed through clandestine meetings and covert communications. Some spies do their work and escape, while others are compromised, imprisoned, and—a few—executed. Spy Sites of New York City takes you inside this shadowy world and reveals the places where it all happened.
In 233 main entries as well as listings for scores more spy sites, H. Keith Melton and Robert Wallace weave incredible true stories of derring-do and double-crosses that put even the best spy fiction to shame. The cases and sites follow espionage history from the Revolutionary War and Civil War, to the rise of communism and fascism in the twentieth century, to Russian sleeper agents in the twenty-first century. The spy sites are not only in Manhattan, Brooklyn, Queens, and the Bronx but also on Long Island and in New Jersey. Maps and 380 photographs allow readers to follow in the footsteps of spies and spy-hunters to explore the city, tradecraft, and operations that influenced wars hot and cold. Informing and entertaining, Spy Sites of New York City is a must-have guidebook to the espionage history of the Big Apple.
In 1935, a group of journalists and theater artists embarked on an unusual collaboration. With funds from the Federal Theatre Project (FTP), a Depression-era employment initiative established by President Roosevelt’s New Deal, they set out to produce news for the theatrical stage. Over the next four years, the New York–based team created six productions, known as the Living Newspapers. Covering a variety of public issues that included affordable housing, the plight of Dust Bowl farmers, the Tennessee Valley Authority, and labor law, Living Newspaper productions would reach hundreds of thousands of spectators and inspire adaptations across the country.
Staged News interprets the Living Newspaper’s process and repertoire amid journalists’ changing conceptions of their profession. Jordana Cox spotlights marginalized “newsmakers,” particularly Black artists, who challenged the parameters of public knowledge and assumptions surrounding newsworthiness. This timely analysis reveals how a vital theatrical form sprouted from a changing news landscape and reimagined what journalism could do for people seeking democratic change.
In Stateless Commerce, Barak Richman uses the colorful case study of the diamond industry to explore how ethnic trading networks operate and why they persist in the twenty-first century. How, for example, does the 47th Street diamond district in midtown Manhattan—surrounded by skyscrapers and sophisticated financial institutions—continue to thrive as an ethnic marketplace that operates like a traditional bazaar? Conventional models of economic and technological progress suggest that such primitive commercial networks would be displaced by new trading paradigms, yet in the heart of New York City the old world persists. Richman’s explanation is deceptively simple. Far from being an anachronism, 47th Street’s ethnic enclave is an adaptive response to the unique pressures of the diamond industry.
Ethnic trading networks survive because they better fulfill many functions usually performed by state institutions. While the modern world rests heavily on lawyers, courts, and state coercion, ethnic merchants regularly sell goods and services by relying solely on familiarity, trust, and community enforcement—what economists call “relational exchange.” These commercial networks insulate themselves from the outside world because the outside world cannot provide those assurances.
Extending the framework of transactional cost and organizational economics, Stateless Commerce draws on rare insider interviews to explain why personal exchange succeeds, even as most global trade succumbs to the forces of modernization, and what it reveals about the limitations of the modern state in governing the economy.
Still the Promised City? addresses the question of why African-Americans have fared so poorly in securing unskilled jobs in the postwar era and why new immigrants have done so well. Does the increase in immigration bear some responsibility for the failure of more blacks to rise, for their disappearance from many occupations, and for their failure to establish a presence in business?
The two most popular explanations for the condition of blacks invoke the decline of manufacturing in New York and other major American cities: one claims that this decline has closed off job opportunities for blacks that were available for earlier immigrants who lacked skills and education; the other emphasizes "globalization"--the movement of manufacturing jobs offshore to areas with lower labor costs. But Roger Waldinger shows that these explanations do not fit the facts. Instead, he points out that a previously overlooked factor--population change--and the rapid exodus of white New Yorkers created vacancies for minority workers up and down the job ladder. Ethnic succession generated openings both in declining industries, where the outward seepage of whites outpaced the rate of job erosion, and in growth industries, where whites poured out of bottom-level positions even as demand for low-level workers increased. But this process yielded few dividends for blacks, who saw their share of the many low-skilled jobs steadily decline. Instead, advantage went to the immigrants, who exploited these opportunities by expanding their economic base.
Waldinger explains these disturbing facts by viewing employment as a queuing process, with the good jobs at the top of the job ladder and the poor ones at the bottom. As economic growth pulls the topmost ethnic group up the ladder, lower-ranking groups seize the chance to fill the niches left vacant. Immigrants, remembering conditions in the societies they just left, are eager to take up the lower-level jobs that natives will no longer do. By contrast, African-Americans, who came to the city a generation ago, have job aspirations similar to those of whites. But the niches they have carved out, primarily in the public sector, require skills that the least educated members of their community do not have. Black networks no longer provide connections to the lower-level jobs, and relative to the newcomers, employers find unskilled blacks to be much less satisfactory recruits. The result is that a certain number of well-educated blacks have good middle-class jobs, but many of the less educated have fallen back into an underclass. Grim as this analysis is, it points to a deeper understanding of America's most serious social problem and offers fresh approaches to attacking it.
Stories of Freedom in Black New York recreates the experience of black New Yorkers as they moved from slavery to freedom. In the early decades of the nineteenth century, New York City's black community strove to realize what freedom meant, to find a new sense of itself, and, in the process, created a vibrant urban culture. Through exhaustive research, Shane White imaginatively recovers the raucous world of the street, the elegance of the city's African American balls, and the grubbiness of the Police Office. It allows us to observe the style of black men and women, to watch their public behavior, and to hear the cries of black hawkers, the strident music of black parades, and the sly stories of black conmen.
Taking center stage in this story is the African Company, a black theater troupe that exemplified the new spirit of experimentation that accompanied slavery's demise. For a few short years in the 1820s, a group of black New Yorkers, many of them ex-slaves, challenged pervasive prejudice and performed plays, including Shakespearean productions, before mixed race audiences. Their audacity provoked feelings of excitement and hope among blacks, but often of disgust by many whites for whom the theater's existence epitomized the horrors of emancipation.
Stories of Freedom in Black New York brilliantly intertwines black theater and urban life into a powerful interpretation of what the end of slavery meant for blacks, whites, and New York City itself. White's story of the emergence of free black culture offers a unique understanding of emancipation's impact on everyday life, and on the many forms freedom can take.
Detectives work the streets--an arena of action, vice, lust, greed, aggression, and violence--to gather shards of information about who did what to whom. They also work the cumbersome machinery of the justice system--semi-military police hierarchies with their endless jockeying for prestige, procedure-driven district attorney offices, and backlogged courts--transforming hard-won street knowledge into public narratives of responsibility for crime. Street Stories, based on years of fieldwork with the New York City Police Department and the District Attorney of New York, examines the moral ambiguities of the detectives' world as they shuttle between the streets and a bureaucratic behemoth.
In piecing together street stories to solve intriguing puzzles of agency and motive, detectives crisscross the checkerboard of urban life. Their interactions in social strata high and low foster cosmopolitan habits of mind and easy conversational skills. And they become incomparable storytellers. This book brims with the truth-is-stranger-than-fiction violence of the underworld and tells about a justice apparatus that splinters knowledge, reduces life-and-death issues to arcane hair-splitting, and makes rationality a bedfellow of absurdity.
Detectives' stories lay bare their occupational consciousness--the cunning and trickery of their investigative craft, their self-images, moral rules-in-use, and judgments about the players in their world--as well as their personal ambitions, sensibilities, resentments, hopes, and fears. When detectives do make cases, they take satisfaction in removing predators from the streets and helping to ensure public safety. But their stories also illuminate dark corners of a troubled social order.
None of the world's great cities is as closely identified with its subway as New York. Its trains provide much more than just rapid transit. They give New Yorkers a powerful symbol of their metropolis, one that they use to express both their hopes and their fears for the urban future.
Subway City explores New York's transit system as both fact and metaphor. Brooks traces the development of the subway from its inception as the newest and most efficient public transportation system to its decline as an overcrowded and dangerous part of city life. The crowded cars gave Harold Lloyd material for comedy, fueled William Randolph Hearst's crusade against the Traction Trust, and convinced Lewis Mumford that the subway was a futile effort to solve the city's problems. Brooks explores films which have dramatized the dangers lurking below ground, and examines the infamous Bernhard Goetz shooting that made the subway a symbol of urban decay. More hopefully, he describes the Metropolitan Transportation Authority's station improvements and ambitious programs for Music Underground, Poetry in Transit, and Arts-in-Transit, as keys to the city's renewal.
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