A transnational social history of immigrant-group involvement in radical activities in nineteenth- and twentieth-century America that provides missing links between the immigration experience, the neighborhood, the workplace, politics, and culture.This book investigates the role immigrant radicals have played in U.S. society from the mid-nineteenth century to the present. A valuable contribution to the history of the American Left, it makes use of a wealth of material from immigrants whose everyday speech and intellectual discourse were not in the English language.The social-history scholarship that informs the essays is innovative in method and purpose. Articles on Mexican-American, German, Jewish, Polish, Japanese, Chinese, Filipino, Italian, Ukrainian, Greek, Arab, and Haitian immigrants supply missing conceptual links between the immigration experience, the neighborhood and the workplace, and political, labor, and cultural institutions. Taken together, they offer a model study in transnational history, one of the most important new fields of historical inquiry. Included are essays by Douglas Monroy, Stan Nadel, Michael Topp, Mary E. Cygan, Maria Woroby, Michael W. Suleiman, Robert G. Lee, Carole Charles, Van Gosse, and the editors.

Roger Ebert wrote the foreword to this collection of 35 in-depth interviews with the world's leading filmmakers and critics, from Fonda to Fassbinder, from Canby to Costa-Gavras, from Sarris to Sayles.Cineaste, America's leading magazine on the art and politics of the cinema, has become known for its in-depth interviews with filmmakers and film critics of international stature. The best of these interviews are now collected in this volume.The interviews: Constantin Costa-Gavras, Glauber Rocha, Miguel Littin, Bernardo Bertolucci, Ousmane Sembene, Elio Petri, Dusan Makavejev; Gillo Pontecorvo; Alain Tanner, Jane Fonda, Francesco Rosi, Lina Wertmuller, Roberto Rossellini, Tomas Gutierrez Alea, Gordon Parks, Rainer Werner Fassbinder, John Howard Lawson, Paul Schrader, Agnes Varda, Bertrand Tavernier, Andrew Sarris, Bruce Gilbert, Jorge Semprun, Vincent Canby, John Berger, Andrzej Wajda, John Sayles, Krzysztof Zanussi, Molly Haskell, Budd Schulberg, Satyajit Ray.The unique value of these interviews will be the comments by the filmmakers on the crucial artistic and political decisions confronted in the making of their films, many of which have become classics of their kind. The filmmakers and critics talk about their own development, films which influenced their work, and the continuing controversies and alternative approaches in filmmaking. They take on their critics and their own previous positions with a clarity and forcefulness to be expected from some of the leading practitioners of their art.The interviews are introduced with a foreword by Roger Ebert, television commentator and critic for the Chicago Sun-Times. Mr. Ebert discusses the relation of art and politics and some of the common perspectives which unite filmmakers of different cultures and of diverse artistic and political temperaments.Among the subjects of these wide-ranging talks are: the choice between popular and experimental forms of narrative; the filmmaker's responsibility to society; blacks and women in the movies; the rise of third world filmmaking; Hollywood's left and progressives; the conditions of filmmaking in different societies; the challenges of independent production; different forms of censorship, from the U.S. to Poland; trends in criticism and auteur theory to feminism; the power of the reviewer.

Millions of Americans enjoy liberties off and on the job that were pioneered by a working class organization that few of them are familiar with—the Industrial Workers of the World (IWW).The standard of living for most working Americans was grim when the IWW was founded in 1905. Wages were low, housing squalid, civil liberties limited, safety regulations nonexistent, and job security tenuous. Employers routinely denied their workers the right to unionize, much less to strike or picket. Few major labor disputes ended without death playing a hand.In Solidarity Forever, a score of IWWs tell how they fought against these injustices while advocating a new economic system in which production would be geared for the public good rather than for private profit.They speak at length of the life and culture of a modern working class during its formative years, often touching on historic labor struggles as well as more humble local conflicts. Told with vigor and humor, these first-hand accounts attest to the IWW passion for mass education, popular culture, and grass roots democracy, and they reveal an IWW far more ideologically sophisticated than is generally acknowledged.Historical essays preface these personal stories and place them in the context of the IWW commitment to civil liberties, women's rights, organizing the unorganized, and racial equality.An oral history based on interviews done for the award-winning documentary, The Wobblies, by filmmakers Stewart Bird and academy-award-winning director Deborah Shaffer, with historical introductions to each section of interviews by labor historian Dan Georgakas, co-editor of the monumental Encyclopedia of the American Left.

My Detroit is a unique blend of traditional ethnic memoir and a historian's account of the decline and fall of America's most populous industrial city. The interaction of American culture and ethnic consciousness is evident on almost every page. Archbishop Iakovos marches with Martin Luther King, Maria Callas becomes as famous as Marilyn Monroe. Greek diners become neighborhood hangouts. The reader is taken in ever widening circles from the particulars of Greek American culture to the core of an embattled Motor City awash in racism and corruption.

Since its original publication in 1975, Detroit: I Do Mind Dying has been widely recognized as one of the most important books on the Black liberation movement and labor struggles in the United States.The book tells the remarkable story of the Dodge Revolutionary Union Movement, based in Detroit, and the League of Revolutionary Black Workers, two of the most important, and underappreciated, Black radical organizations of the 1960s and 1970s. This new edition features an introduction by Austin McCoy and a foreword by Manning Marable.

Since its original publication in 1975, Detroit: I Do Mind Dying has been widely recognized as one of the most important books on the Black liberation movement and labor struggles in the United States.The book tells the remarkable story of the Dodge Revolutionary Union Movement, based in Detroit, and the League of Revolutionary Black Workers, two of the most important, and underappreciated, Black radical organizations of the 1960s and 1970s. This new edition features an introduction by Austin McCoy and a foreword by Manning Marable.

A transnational social history of immigrant-group involvement in radical activities in nineteenth- and twentieth-century America that provides missing links between the immigration experience, the neighborhood, the workplace, politics, and culture.This book investigates the role immigrant radicals have played in U.S. society from the mid-nineteenth century to the present. A valuable contribution to the history of the American Left, it makes use of a wealth of material from immigrants whose everyday speech and intellectual discourse were not in the English language.The social-history scholarship that informs the essays is innovative in method and purpose. Articles on Mexican-American, German, Jewish, Polish, Japanese, Chinese, Filipino, Italian, Ukrainian, Greek, Arab, and Haitian immigrants supply missing conceptual links between the immigration experience, the neighborhood and the workplace, and political, labor, and cultural institutions. Taken together, they offer a model study in transnational history, one of the most important new fields of historical inquiry. Included are essays by Douglas Monroy, Stan Nadel, Michael Topp, Mary E. Cygan, Maria Woroby, Michael W. Suleiman, Robert G. Lee, Carole Charles, Van Gosse, and the editors.

Roger Ebert wrote the foreword to this collection of 35 in-depth interviews with the world's leading filmmakers and critics, from Fonda to Fassbinder, from Canby to Costa-Gavras, from Sarris to Sayles.Cineaste, America's leading magazine on the art and politics of the cinema, has become known for its in-depth interviews with filmmakers and film critics of international stature. The best of these interviews are now collected in this volume.The interviews: Constantin Costa-Gavras, Glauber Rocha, Miguel Littin, Bernardo Bertolucci, Ousmane Sembene, Elio Petri, Dusan Makavejev; Gillo Pontecorvo; Alain Tanner, Jane Fonda, Francesco Rosi, Lina Wertmuller, Roberto Rossellini, Tomas Gutierrez Alea, Gordon Parks, Rainer Werner Fassbinder, John Howard Lawson, Paul Schrader, Agnes Varda, Bertrand Tavernier, Andrew Sarris, Bruce Gilbert, Jorge Semprun, Vincent Canby, John Berger, Andrzej Wajda, John Sayles, Krzysztof Zanussi, Molly Haskell, Budd Schulberg, Satyajit Ray.The unique value of these interviews will be the comments by the filmmakers on the crucial artistic and political decisions confronted in the making of their films, many of which have become classics of their kind. The filmmakers and critics talk about their own development, films which influenced their work, and the continuing controversies and alternative approaches in filmmaking. They take on their critics and their own previous positions with a clarity and forcefulness to be expected from some of the leading practitioners of their art.The interviews are introduced with a foreword by Roger Ebert, television commentator and critic for the Chicago Sun-Times. Mr. Ebert discusses the relation of art and politics and some of the common perspectives which unite filmmakers of different cultures and of diverse artistic and political temperaments.Among the subjects of these wide-ranging talks are: the choice between popular and experimental forms of narrative; the filmmaker's responsibility to society; blacks and women in the movies; the rise of third world filmmaking; Hollywood's left and progressives; the conditions of filmmaking in different societies; the challenges of independent production; different forms of censorship, from the U.S. to Poland; trends in criticism and auteur theory to feminism; the power of the reviewer.

Millions of Americans enjoy liberties off and on the job that were pioneered by a working class organization that few of them are familiar with—the Industrial Workers of the World (IWW).The standard of living for most working Americans was grim when the IWW was founded in 1905. Wages were low, housing squalid, civil liberties limited, safety regulations nonexistent, and job security tenuous. Employers routinely denied their workers the right to unionize, much less to strike or picket. Few major labor disputes ended without death playing a hand.In Solidarity Forever, a score of IWWs tell how they fought against these injustices while advocating a new economic system in which production would be geared for the public good rather than for private profit.They speak at length of the life and culture of a modern working class during its formative years, often touching on historic labor struggles as well as more humble local conflicts. Told with vigor and humor, these first-hand accounts attest to the IWW passion for mass education, popular culture, and grass roots democracy, and they reveal an IWW far more ideologically sophisticated than is generally acknowledged.Historical essays preface these personal stories and place them in the context of the IWW commitment to civil liberties, women's rights, organizing the unorganized, and racial equality.An oral history based on interviews done for the award-winning documentary, The Wobblies, by filmmakers Stewart Bird and academy-award-winning director Deborah Shaffer, with historical introductions to each section of interviews by labor historian Dan Georgakas, co-editor of the monumental Encyclopedia of the American Left.

My Detroit is a unique blend of traditional ethnic memoir and a historian's account of the decline and fall of America's most populous industrial city. The interaction of American culture and ethnic consciousness is evident on almost every page. Archbishop Iakovos marches with Martin Luther King, Maria Callas becomes as famous as Marilyn Monroe. Greek diners become neighborhood hangouts. The reader is taken in ever widening circles from the particulars of Greek American culture to the core of an embattled Motor City awash in racism and corruption.

Since its original publication in 1975, Detroit: I Do Mind Dying has been widely recognized as one of the most important books on the Black liberation movement and labor struggles in the United States.The book tells the remarkable story of the Dodge Revolutionary Union Movement, based in Detroit, and the League of Revolutionary Black Workers, two of the most important, and underappreciated, Black radical organizations of the 1960s and 1970s. This new edition features an introduction by Austin McCoy and a foreword by Manning Marable.

Since its original publication in 1975, Detroit: I Do Mind Dying has been widely recognized as one of the most important books on the Black liberation movement and labor struggles in the United States.The book tells the remarkable story of the Dodge Revolutionary Union Movement, based in Detroit, and the League of Revolutionary Black Workers, two of the most important, and underappreciated, Black radical organizations of the 1960s and 1970s. This new edition features an introduction by Austin McCoy and a foreword by Manning Marable.