Podcasts about Jacob Riis

Fotografen Thilde Jensen skriver sig ind i en stolt tradition, når udstillingen med hendes billeder ' I'm not invisible' udstilles på Esbjerg Kunstmuseum. Her viser hun fotos af hjemløse i USA, og hun følger på den måde i sporene på både Jacob Riis og Jacob Holdt, der har taget turen rundt blandt socialt udfordrede i USA. Thilde Jensen bor i USA, og vi har en linje til hende i dag, hvor vi også ser på danske fotografers USA-tradition. Det var formodentlig en slags fimbulvinter for over 1500 år siden, der gjorde, at rug fandt vej til de danske marker. Og med det kom rugbrødet. Vi taler om den nyeste forskning, der viser rugens vej til danske marker - og så gnasker vi os gennem rugbrødets danske kulturhistorie. Værter: Chris Pedersen og Tony Scott

This is your 4 P.M. All Local update on June 22, 2024.

By Madeleine Cravens

In 1946, as part of a strike-ending agreement negotiated between the Department of the Interior and the United Mine Workers of America, photographer Russell Lee went into coal communities located in remote areas across the United States, documenting miners in 13 states. Photographs from this federal project have rarely been studied or exhibited—until now. "Power & Light: Russell Lee's Coal Survey" is on view now at the National Archives here in Washington, DC. On Friday, I toured the exhibit with photojournalist Earl Dotter, known as the “American Worker's Poet Laureate,” and sat down with him afterwards to get his thoughts and reflections. Later in the show, the R.J. Phillips Band pays tribute to another great social photographer, Jacob Riis, born on May 3, 1849. On this week's Labor History in Two: The Battle of Harlan. Questions, comments, or suggestions are welcome, and to find out how you can be a part of Labor History Today, email us at LaborHistoryToday@gmail.com Labor History Today is produced by the Labor Heritage Foundation and the Kalmanovitz Initiative for Labor and the Working Poor. #LaborRadioPod #History #WorkingClass #ClassStruggle @GeorgetownKILWP #LaborHistory @UMDMLA @ILLaborHistory @AFLCIO @StrikeHistory #LaborHistory @wrkclasshistory  

There is nothing worse than not being able to have a proper bowel movement everyday. Your doctor may have recommended that you “just take miralax” or “drink more water” but in this episode Dr. Heather is going to be sharing the 3 culprits of slow gut motility that contribute to constipation. If you feel like you have already tried everything including: magnesium, fiber, miralax, and prescription motility medications, this episode will give you 3 action steps you may have not thought of before. Today on Love Your Gut: -How the vagus nerve impacts gut motility-What does a “complete” bowel movement mean? -What does it mean when you are more bloated as the day goes on?-The top 3 causes of slow gut motility -How to address your slow gut motility  I would love to connect on Instagram or drheatherfinley.coKey Moments:  (blilyestrom@gmail.com will await new file before I run through otter)  Resources Mentioned:Take the FREE QUIZ “Why am I Bloated?”Free LMNT Sample PackEp. 2 with Lindsay Mitchell.Ep. 10 - Optimize your minerals.  Follow & leave a review on Apple Podcasts.If you're new here, I encourage you to follow the podcast today, so that you don't miss any future episodes!  Social Media: Are you struggling with slow gut motility? In this episode of the Love Your Gut Podcast, I talk about the common causes of slow gut motility, some of the missed signs of slow motility, and things you could do to treat symptoms. Tune in to hear more about some of the challenges people face when trying to treat their symptoms, and how you could overcome them. Quotes:“When nothing seems to help, I go look at the stonecutter hammering away at his rock perhaps a hundred times without as much as a crack showing in it. Yet at the hundred and first blow, it will split in two, and I know it was not that blow that did it, but all that had gone before.” - Jacob Riis.“Just because it's not working immediately, doesn't mean it's not working.”  Keyword(s) this episode can rank for:Gut Health, Motility, Food Poisoning, Stress, Stomach Acid, Treatment, Relief, Constipation, Bowels,

WWAR August 2023Show NotesIn our first episode together since vacation, we have 4 books that involve heat.Misty reviewed When She Gets Hot by Miriam Allenson. Tootsie Goldberg was never one to rockthe boat. Witnessing tragedy after a seemingly harmless protest taught the Jersey native tokeep her mouth shut, even when she's fuming. But when her elderly coworkers lose their radiostation jobs due to a shady business deal, this feisty fifty-year-old decides it's never too late touse her smart mouth for something other than talking in circles.Standing up for her friends lights a fire in her to confront injustice, starting with the questionablenew owners of the station. But being a sassy sleuth sometimes means tweaking the rules. Andas her fight for the little guy garners the delicious attention of a stoic and sexy cop, can Tootsietoe the line between what's right and what's legal?When She Gets Hot is the scorchingly witty first book in the Tootsie Goldberg amateur sleuthseBuy now to solve the mystery of what happens When She Gets Hot! fries. If you like strongJewish female leads, a dash of danger, and spicy heroines over fifty, then you'll love MiriamAllenson's later-in-life take on growing older and bolder.Tracey reviewed Hot Time by W. H. Flint. New York, August 1896. A “hot wave” has settled onthe city with no end in sight, leaving tempers short and the streets littered with dead horsesfelled by the heat. In this presidential election year, the gulf between rich and poor has politicalpassions flaring, while anti-immigrant sentiment has turned virulent. At Police Headquarters, thegruff, politically ambitious commissioner Theodore Roosevelt has been struggling to reform hisnotoriously corrupt department. Meanwhile, the yellow press is ready to pounce on thepeccadilloes of the Four Hundred, the city's social elite—the better to sell papers with luridstories and gossip or perhaps profit from a little blackmail on the side. When the body of TownTopics publisher William d'Alton Mann is found at the foot of the Brooklyn Bridge, any number ofhis ink-spattered victims may have a motive.Hot Time is an immensely entertaining, deeply researched, and richly textured historical novelset in a period that reflects our own, with cameos by figures ranging from financier J. P. Morganto muckraking journalist Jacob Riis. Our guides through New York's torrid, bustling streets areOtto “Rafe” Raphael from the Lower East Side, one of the first Jewish officers in the heavily Irishforce, who finds as many enemies within the department as outside it; Minnie Kelly, thedepartment's first female stenographer; Theodore Roosevelt himself; and the plucky orphanDutch, one of the city's thousands of newsboys, who may have seen too much. lder and bolder.Ann reviewed Sun Damage by Sabine Durrant. The heat is intense. The secrets are stifling.And there is no escape.In a tiny village in Provence, nine guests arrive at a luxury holiday home.The visitors know each other well, or at least they think they do.The only stranger among them is Lulu, the young woman catering their stay. But Lulu is notexactly the woman on the video the guests thought they'd hired. Turns out Lulu has plenty tohide—and nowhere to run as the heat rises.In this seemingly idyllic getaway, under the scorching sun, loyalties will be tested, secretsexposed, and tensions pushed to the brink . . .Dripping in intrigue, Sun Damage is a glamorous, witty, and totally riveting story chock full ofsecrets, lies and . . . more lies.Finally, Ann reviewed a second book called Death In the Sunshine by Stef Broadribb.After a long career as a police officer, Moira hopes a move to a luxury retirement community willmean she can finally leave the detective work to the youngsters and focus on a quieter life. Butit turns out The Homestead is far from paradise. When she discovers the body of a youngwoman floating in one of the pools, surrounded by thousands of dollar bills, her crime-fightinginstinct kicks back in and she joins up with fellow ex-cops—and new neighbours—Philip, Lizzieand Rick to investigate the murder.With the case officers dropping ball after ball, Moira and the gang take matters into their ownhands, turning into undercover homicide investigators. But the killer is desperate to destroy allthe evidence and Moira, Philip, Lizzie and Rick soon find themselves getting in the way—of themurderer and the police.Just when they think they can finally relax, they discover that someone has infiltrated their ‘safe'community. Can they hunt down the murderer and get back to retiring in peace? And after all theexcitement, will they want to?TRIVIA:Last week's question was:Which beloved author of children's literature also wrote songs that made the Top 100 Hits List?a. Raold Dahlb. Judy Blumec. Shel Silversteind. Dr, SeussThe answer is c. Shel Silverstein.This week's question is:Which author did not attend school full time until the age of 12?a. Margaret Atwoodb. Robin Cookc. Mary Robert Reinhartd. Charles ToddTune in next week for the answer.

WWAR August 2023Show NotesIn our first episode together since vacation, we have 4 books that involve heat.Misty reviewed When She Gets Hot by Miriam Allenson. Tootsie Goldberg was never one to rockthe boat. Witnessing tragedy after a seemingly harmless protest taught the Jersey native tokeep her mouth shut, even when she's fuming. But when her elderly coworkers lose their radiostation jobs due to a shady business deal, this feisty fifty-year-old decides it's never too late touse her smart mouth for something other than talking in circles.Standing up for her friends lights a fire in her to confront injustice, starting with the questionablenew owners of the station. But being a sassy sleuth sometimes means tweaking the rules. Andas her fight for the little guy garners the delicious attention of a stoic and sexy cop, can Tootsietoe the line between what's right and what's legal?When She Gets Hot is the scorchingly witty first book in the Tootsie Goldberg amateur sleuthseBuy now to solve the mystery of what happens When She Gets Hot! fries. If you like strongJewish female leads, a dash of danger, and spicy heroines over fifty, then you'll love MiriamAllenson's later-in-life take on growing older and bolder.Tracey reviewed Hot Time by W. H. Flint. New York, August 1896. A “hot wave” has settled onthe city with no end in sight, leaving tempers short and the streets littered with dead horsesfelled by the heat. In this presidential election year, the gulf between rich and poor has politicalpassions flaring, while anti-immigrant sentiment has turned virulent. At Police Headquarters, thegruff, politically ambitious commissioner Theodore Roosevelt has been struggling to reform hisnotoriously corrupt department. Meanwhile, the yellow press is ready to pounce on thepeccadilloes of the Four Hundred, the city's social elite—the better to sell papers with luridstories and gossip or perhaps profit from a little blackmail on the side. When the body of TownTopics publisher William d'Alton Mann is found at the foot of the Brooklyn Bridge, any number ofhis ink-spattered victims may have a motive.Hot Time is an immensely entertaining, deeply researched, and richly textured historical novelset in a period that reflects our own, with cameos by figures ranging from financier J. P. Morganto muckraking journalist Jacob Riis. Our guides through New York's torrid, bustling streets areOtto “Rafe” Raphael from the Lower East Side, one of the first Jewish officers in the heavily Irishforce, who finds as many enemies within the department as outside it; Minnie Kelly, thedepartment's first female stenographer; Theodore Roosevelt himself; and the plucky orphanDutch, one of the city's thousands of newsboys, who may have seen too much. lder and bolder.Ann reviewed Sun Damage by Sabine Durrant. The heat is intense. The secrets are stifling.And there is no escape.In a tiny village in Provence, nine guests arrive at a luxury holiday home.The visitors know each other well, or at least they think they do.The only stranger among them is Lulu, the young woman catering their stay. But Lulu is notexactly the woman on the video the guests thought they'd hired. Turns out Lulu has plenty tohide—and nowhere to run as the heat rises.In this seemingly idyllic getaway, under the scorching sun, loyalties will be tested, secretsexposed, and tensions pushed to the brink . . .Dripping in intrigue, Sun Damage is a glamorous, witty, and totally riveting story chock full ofsecrets, lies and . . . more lies.Finally, Ann reviewed a second book called Death In the Sunshine by Stef Broadribb.After a long career as a police officer, Moira hopes a move to a luxury retirement community willmean she can finally leave the detective work to the youngsters and focus on a quieter life. Butit turns out The Homestead is far from paradise. When she discovers the body of a youngwoman floating in one of the pools, surrounded by thousands of dollar bills, her crime-fightinginstinct kicks back in and she joins up with fellow ex-cops—and new neighbours—Philip, Lizzieand Rick to investigate the murder.With the case officers dropping ball after ball, Moira and the gang take matters into their ownhands, turning into undercover homicide investigators. But the killer is desperate to destroy allthe evidence and Moira, Philip, Lizzie and Rick soon find themselves getting in the way—of themurderer and the police.Just when they think they can finally relax, they discover that someone has infiltrated their ‘safe'community. Can they hunt down the murderer and get back to retiring in peace? And after all theexcitement, will they want to?TRIVIA:Last week's question was:Which beloved author of children's literature also wrote songs that made the Top 100 Hits List?a. Raold Dahlb. Judy Blumec. Shel Silversteind. Dr, SeussThe answer is c. Shel Silverstein.This week's question is:Which author did not attend school full time until the age of 12?a. Margaret Atwoodb. Robin Cookc. Mary Robert Reinhartd. Charles ToddTune in next week for the answer.

Jacob Riis Park, located in the Rockaways in Queens, New York, first established as a park in 1912, has a long history as an unofficial nudist beach. During the 1930s, the beach was informally known as "the people's bath," due to a historic art deco bath house that was first built there in 1932. In the 1950s and 1960s, the beach was a popular destination for members of the LGBTQ community, who faced discrimination and harassment at other beaches. As the decades went by and the beach became more mainstream, Jacob Riis Park became a site for tension of culture clashes.

When you hear the words “child labor,” your mind may go to the turn-of-the-century photographs taken by Jacob Riis and Lewis Hine of the grim lives of tiny laborers toiling in mines and urban sweatshops. But recent news reports have revealed that child labor is alive and well in the United States in 2023. Jack Hodgson, a visiting professor in history at the University of Roehampton, joins the Belabored podcast to discuss child labor throughout U.S. history and in the context of labor and civil rights struggles that continue to this day. Late last year, SAG-AFTRA introduced two new podcast contracts that make it easy for producers to be flexible and creative in covering their podcasts at all budgets. Sue-Anne Morrow, National Director/Contract Strategic Initiatives & Podcasts at SAG-AFTRA, walks us through the details of these new agreements on the SAG-AFTRA podcast. From On The Line: Stories of BC Workers a remarkable but relatively unknown chapter of working-class solidarity. While waves of sympathy strikes to support the 1919 Winnipeg General Strike took place across Canada, the most pronounced of these was in Vancouver, B.C. Even after workers returned to their jobs, 325 women telephone operators stayed out for another two weeks. Our final segment today is from Labor History Today. A few weeks in the little town of Windber, Pennsylvania, the Pennsylvania Labor History Society and The Battle of Homestead Foundation were holding their “Annual Commemoration of the History of Working People” a daylong program on the United Mine Workers' 1922-23 Windber strike for union recognition, discussions on “Women in Coal and Steel” and “John Brophy and Labor Education”. Please help us build sonic solidarity by clicking on the share button below. Highlights from labor radio and podcast shows around the country, part of the national Labor Radio Podcast Network of shows focusing on working people's issues and concerns. #LaborRadioPod @AFLCIO @WorkingPod @DissentMag @sagaftra @BC_LHC Edited by Patrick Dixon and Mel Smith, produced by Chris Garlock; social media guru Mr. Harold Phillips.

The All Local 4 p.m. update for April 12th, 2023.

The sisters conclude their death and spectacle series with further thoughts on the dead deprived of commemoration.  From the repository of graves on New York City's Hart Island to the erasure of historic Black cemeteries in the American South, they explore the ways in which human remains are stratified, relegated and discarded in ways that lay bare the injustice of life.Or, in the case of Body Worlds, forever plastinated and displayed for public view—without their owners' consent—in what Edward Rothstein described as an act of “aestheticized grotesqueness.”  What makes certain land and bodies sacred (or literally, saintly) while rendering others disposable? What can the living learn from the politics of remembering and forgetting remains? Sources cited include Joan Didion's South and West, Zora Neale Hurston's Their Eyes Were Watching God, Eliza Franklin's Lost Legacy Project for the UCLA Urban Humanities Initiative, Susan Sontag's "On Photography," the Equal Justice Initiative's Community Remembrance Project, Jacqueline Goldsby's A Spectacular Secret, Dorothea Lange's 1956 photographs of California's Berryessa Valley, Marita Sturkin's “The Aesthetics of Absence,” Seth Freed Wessler's 2022 ProPublica investigation “How Authorities Erased a Historical Black Cemetery in Virginia,” Robert McFarlane's 2019 New Yorker piece “The Invisible City Beneath Paris,” Melinda Hunt's Hart Island Project (www.hartisland.net), Nina Bernstein's 2016 New York Times piece “Unearthing the Secrets of New York's Mass Graves,” “Young Ruin” from 99% Invisible, and NPR's 2006 reporting on ethical concerns over Body Worlds.Cover photo of Hart Island's common trench burials is by Jacob Riis, 1890.

Antonio is solo this episode and he talks about the challenge of photographing the familiar.   Image gallery can be found here: http://streetshots.photography/2023/02/15/street-shots-ep-177-all-the-old-familiar-places/   Help out the show by buying us a coffee!  https://www.buymeacoffee.com/AntonioRosario   Show Links: The First Woman Ever Photographed: Light and Magic in Greenwich Village The story of Jacob Riis and ‘The Other Half' of Gilded Age New York Antonio M. Rosario's Website, Vero, Twitter and Facebook page Ward Rosin's Website, Vero, Instagram feed and Facebook page. Ornis Photo Website  The Unusual Collective Street Shots Instagram     Subscribe to us on: Apple Podcasts Google Podcasts Spotify Amazon Music iHeart Radio

Data have always been important to the work of journalists. from Jacob Riis is reporting on how the other half lived in late 1800s New York City, to stories about gun violence in 2022, journalists need numbers to tell their stories. But not every reporter is trained to find and work with data. For those who want to dive into investigative journalism which often depends on complicated data, learning the skills to clean and analyze statistical information is a crucial part of the job. That is the focus of this episode of Stats+Stories with guest Austin Fast. Fast is a journalist based in Phoenix with over a decade of radio, TV, print and web experience, currently focusing on data analysis and investigative work at National Public Radio. He specializes in data analysis on NPR's investigations team, often collaborating with reporters from NPR Member stations across the country. Before coming to NPR, Fast reported for KJZZ in Phoenix and covered the world's largest wild salmon fishery at KDLG in Dillingham, Alaska. He's also written breaking news at a Cincinnati TV station and taught English overseas with the Peace Corps.

“Now, how would you like to be a reporter, if you have got nothing better to do?” This is the story of a reporter–a muckraker–answering a boy who wants to know if Santa Clause actually exists. And somehow, it's an answer that manages to mention Theodore Roosevelt.  This is Jacob Riis' Is There a Santa Clause? ___ 4 Ways to dive deeper into History That Doesn't Suck Join our growing facebook community Get our weekly newsletter, The Revolution Become part of the HTDS Patreon family Subscribe to Greg's monthly newsletter, Connected History Learn more about your ad choices. Visit megaphone.fm/adchoices

In 1890 the Danish-American journalist Jacob Riis turned his eye-opening reporting and lecture series into a ground-breaking book called How The Other Half Lives, a best seller which awoke Americans to the plight of the poor and laid the groundwork for the Progressive Era.Riis exposed more than a humanitarian crisis. He laid bare the city's complacent Gilded Age divide in revolutionary ways, most notably with the use of a new tool -- documentary photography.For our 400th episode, following our tradition of exploring the legacies of urban planners in past centennial shows (#100 Robert Moses, #200 Jane Jacobs, #300 Andrew Haswell Green), we finally look at the life of the crusading police reporter and social reformer who forced upper and middle class New Yorker to examine the living conditions within the city's poorest neighborhoods.Riis was himself an immigrant who spent his first years in the United States drifting from place to place, living on the street, his only companion a faithful dog. Journalism quite literally saved Riis, providing him with both a stable living and a purpose, especially after he became a police reporter for the New York Tribune in 1877.But it was his fascination with visual media -- magic lantern shows and later flash photography -- which set him apart from other crusading writers of the period like Nellie Bly (who we only wish had a camera with her!)Jacob Riis' culminating work How The Other Half Lives made him one of America's most famous writers -- his friend Theodore Roosevelt called Riss "the model American citizen" -- but the book has an imperfect legacy today, with Riis' broad characterizations of the people he was writing about undercutting the book's noble purposes.PLUS: The legacy of Riis lives in a very popular Queens beach. And Robert Moses chimes in!Visit the website for more informationFURTHER READINGThe Battle with the Slum / Jacob RiisThe Children of the Poor / Jacob RiisHow The Other Half Lives / Jacob RiisThe Making Of An American / Jacob RiisThe Other Half: The Life of Jacob Riis and the World of Immigrant America / Tom Buk-SwientyJacob A. Riis and the American City / James B. LaneJacob Riis: Reporter and Reformer / Janet B. PascalRediscovering Jacob Riis: Exposure Journalism and Photography in Turn-of-the-Century New York / Bonnie Yochelson and Daniel CzitromAfter listening to this show, check out these past Bowery Boys episodes with similar themes:-- The First Ambulance-- Has Jack the Ripper Come to Town?-- Case Files of the New York Police Department 1800-1915-- Women of the Progressive EraStories from this website:"The original IMAX: Jacob Riis and His Magic Lantern""The harsh lives of New York City street kids, captured — in a flash — by Jacob Riis""Jacob Riis' Not-so-Rockin' ‘Sane' New Years Celebration""The legendary police headquarters at 300 Mulberry Street""Finding Pietro"   

It is a special episode of ‘Story time with Mr. Black' titled "Persistence".  Mr. Black will be sharing 2 poems.  The first poem is by Justin Farley and the second by Maya Angelou.  Both poems deal with Persistence.  In the ‘Stone cutter' credo by Jacob Riis it is persistence that shines through; “Look at a stone cutter hammering away at his rock, perhaps a hundred times without as much as a crack showing in it. Yet at the hundred-and-first blow it will split in two, and I know it was not the last blow that did it, but all that had gone before”.  We need persistence in the battle to become who we are.  We must focus on those things we can control and concern us, if we are to achieve any greatness in life.  The Proverbs tell us that a Righteous person will fall 7 times and get back up.  But the wicked will stumble into ruin.  When we realize we cannot control what happens to us, but we can control what happens to us- a freedom overtakes us that makes others want to be like us! Enjoy today's story called, Persistence! Tune into our new Podcasts every Monday and Thursday, and build the pattern for; Living Life Like It Matters. Check out our website www.LikeItMatters.Net. Be sure to Like and Follow us on our facebook page.  If you enjoy the show, please tell a friend or two, or three about it. If you are able to leave an honest rating and, or, review it would be appreciated.  See omnystudio.com/listener for privacy information.

All Local Morning for 09/23/22

WCBS Reporter Steve Burns has the details on the investigation, as well as the latest on New York City's economic recovery

All Local morning for 9.10.22.

The 4:00pm All Local update.

Greg Smith rejoins the pod to explain how he found out about the city tests showing arsenic in the water at NYCHA's Jacob Riis houses before anyone informed Mayor Adams or the tenants about them, and to break down everything we still don't know about what happened here—starting with why the city decided to look for heavy metals in the first place. It's a mess that says a lot about how the other half (still) lives.

This is the All Local Morning for Wednesday, September 7th 2022

All Local Morning for 09/06/22

The All Local afternoon update for September 6th, 2022.

This is the All Local Morning for Monday, September 5th 2022

To learn more, please visit the website for Scientific Analysis of Fine Art, LLC.Show Notes:0:01 use of scientific methods in London and Berlin to understand and preserve cultural heritage since 19th Century 2:30 history of cultural heritage science 4:00 founding Scientific Analysis of Fine Art LLC (SAFA) 5:40 Yves Tanguy's Fraud in the Garden5:50 catalogue raisonné prepared by art historians Charles Stuckey and Stephen Mack6:10 fascist attack during screening of Luis Bunuel's satiric “L'Age d'Oro” 7:00 use of multi-spectral imaging on Fraud in the Garden included ultraviolet light and infrared radiation, and x-rays to view slash pattern on painting7:45 multiple restorations on Fraud in the Garden dated through the pigments and paint binders9:00 value of artwork as historical documents versus restoration of the artwork 9:45 cultural heritage as historical documents example of Victoria & Albert Museum10:45 display of the Rothko Murals at Harvard by projecting original color on faded paintings11:45 analysis for attribution questions varies between antiquities, paintings, decorative art objects13:20 non-destructive drive for protocols for elemental and molecular analysis14:00 changes to work by Van Gogh and Met's Irises and Roses exhibit on this14:30 geranium lake known as Eosin red15:00 paints like cadmium yellows and chromium yellows created during the Industrial Revolution are also very sensitive to light and relative humidity15:15 changes in Matisse's 4 versions of Joy of Life – yellows fading to ivory white15:30 mechanism of degradation 16:20 Picasso's 1901 The Blue Room 17:30 Cezanne18:15 analysis of over 900 tubes of paint from Munch19:30 paints standardized in 1920s 21:00 flaking of zinc white: reaction of zinc oxide with oil creates crystalized molecules - zinc soaps21:25 titanium white 23:00 heavy metal pigment paints that strongly absorb x-rays like lead white or vermillion (a mercury sulfide red) prevent seeing under-painting24:45 head of the scientific vetting committee for TEFAF New York 27:15 Court of Arbitration for Art 28:35 trusting science to conduct due diligence 30:30 stigma  attached to use of science 33:00 Bard Graduate Center34:00 wooden polychrome sculpture analysis: dendrochronology and radiocarbon dating36:00  dirty dozen paint list36:45 mixing drying oil paints (linseed) with non-drying oil paints (sunflower)37:50 Eosin red, emerald green, cadmium yellow, chromium yellow, vermillion, copper blues  38:50 favorite paintings 39:10 Modigliani Collection at the Barnes 39:45 Modigliani's palette 40:35 The Burlington Magazine 41:10  Klimt's Faculty Paintings 42:30 computational technologies to bring lost work back to life43:00 facilitating justice43:45 invention of photography enabled Jacob Riis to document New York slums 44:00 20th Century photographer and sociologist Lewis Hine44:20 BLM movement44:30 environmental justice issues 45:40 recommendations to pursue cultural heritage science 46:55 legacy to create scientific literacy for art conservators and historiansTo view rewards for supporting the podcast, please visit Warfare's Patreon page.To leave questions or comments about this or other episodes of the podcast, please call 1.929.260.4942 or email Stephanie@warfareofartandlaw.com. © Stephanie Drawdy [2022]

Stephen Ira is a writer and performer. Favorite appearances, in various roles, include Poetry (Chicago), Fence, tagvverk, the Poetry Project Newsletter, La Mama Etc, the Sundance Film Festival, and the Philly Trans Wellness Conference. Copyright © 2022 by Stephen Ira. Originally published in Chasers (New Michigan Press, 2022). Text of today's poem and more details about our program can be found at: deerfieldlibrary.org/queerpoemaday/ Find books from participating poets in our library's catalog.  Queer Poem-a-Day is directed by poet and teacher Lisa Hiton and Dylan Zavagno, Adult Services Coordinator at the Deerfield Public Library. Music for this second year of our series is the first movement, Schéhérazade, from Masques, Op. 34, by Karol Szymanowski, performed by pianist Daniel Baer. Queer Poem-a-Day is supported by generous donations from the Friends of the Deerfield Public Library and the Deerfield Fine Arts Commission. Queer Poem-a-Day is a program from the Adult Services Department at the Library and may include adult language. 

Dr. Shannon Jung has a longtime interest in housing, both academically and personally. Academically he was interested enough to explore federal responsibility for housing people with lower incomes (who could not afford housing) and wrote a dissertation on that topic. He explored the moral tradition on housing policy highlighted by Jane Addams, Jacob Riis, Walter Rauschenbush, Wendell Berry, and James Cone. During his graduate years at Vanderbilt, the University there was actively engaged in demolishing lower-income housing. Personally Shannon volunteers at Turning Points in Bradenton, Florida. There he takes food stamp (SNAP) applications and often hears stories of people who have become homeless. Some of these stories are devastating and leave him bewildered as to how people can survive in the absence of shelter. Shannon is a pastor in the Presbyterian Church (USA) and has served churches in Minnesota, Tennessee, and Florida. He has taught at colleges and seminaries in Tennessee, Virginia, Minnesota. Iowa, and Missouri. He is a Team Leader in STREAM and does research on affordable housing in Manatee County. He was a refugee for a brief period and has continued his interest in the consequences of being homeless. Among several books, he wrote one on Building the Good Life for All: Transforming Income Inequality focused on successful work in the Manasota area.

A study of the Progressive Era including the achievements of Teddy Roosevelt in trust-busting, conservation, and running the country as a whole. Taft and Wilson's Progressive achievements as well. Different levels of government information from municipal to state to federal. The 16, 17, 18, and 19 Amendments are discussed in detail. Also the muckrakers like Upton Sinclair and Jacob Riis and others and their impact on this era. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/jason-kufs/support

This podcast begins our coverage of The Progressive Era. Jeananne has been mentioning "The Progressive Era" in several podcasts, and now...here it is! Learn how society is transformed during the Progressive Era and some of the public and private sector individuals who had a role in the transformation.  In part one we touch on Jacob Riis, Ida Tarbell, and settlement houses. We are joined by Katie Vogel, the Public Historian of the Henry Street Settlement in NYC.  We also will discuss Jane Addams, and Florence Kelley.  As usual, I do not want to give up too much in the description, but I do want to add the link and promo code I introduce in the podcast. If you want to move at the speed of leisure, get 10% off of your Sweatsedo with the promo code "history10". You can thank me later!   There is always more to learn!

-- By Jacob Riis -- Born on May 3, 1849 in Ribe, Denmark, Jacob Riis would eventually work right alongside President Theodore Roosevelt. Jacob Riis emigrated to The United States in 1870, at the age of 21. At the time of his arrival the U.S. was in turmoil; the whole country reeling from the damage, loss, and displacement caused by the civil war. Riis struggled to find work for many years and bounced around the country. Yet, he eventually fell into journalism; chronicling the lives of immigrants, both rich and poor. In 1895, Riis worked alongside Theodore Roosevelt. At that time, the young Roosevelt was President to the New York City Police Commissioner Board. The two became friends for life on account of their shared sense of justice; Riis had a reputation for "muckraker" journalism. --- Support this podcast: https://anchor.fm/patrick-fennell6/support

John shares a powerful reminder of a teachers impact thru perseverance, a short reading from Jacob Riis, and he gives some encouragement as we live, teach & work during this season.

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View our full collection of podcasts at our website: https://www.solgood.org/ or YouTube channel: www.solgood.org/subscribe

It's autumn and we're exactly where we want to be — New York City! We kick it off with the HARRY S. SINCLAIR HOUSE which is located on FIFTH AVENUE. Its growth as the main artery for the wealthy in New York City is fascinating! After learning about the rich we move downtown to ST. PATRICK'S OLD CATHEDRAL SCHOOL. Did you know Martin Scordcese went to school there? And he's Italian just like LITTLE ITALY former home to New York's Italian immigrants and now home to New York's tourists. We move on from LITTLE ITALY and learn about JACOB RIIS who was instrumental in the creation of flash photography. He was a champion of the impoverished residents of NYC using his photography to raise awareness about squalid living conditions. From the mansions on the Upper East Side to the Tenement Slums of downtown Episode 110 is one for the native New Yorker. -------------------------------------------------------------------- Follow WikiFreakz IG and Twitter @wikifreakzz ————————————————————————————————————- Follow Jill Weiner on IG and Twitter @jill_lives www.jilllives.com Venmo @jill-weiner-1 -------------------------------------------------------------------- Follow Connor Creagan on IG and Twitter @connorcreagan www.connorcreagan.info Venmo @connor-creagan

Episode: 2137 Tenement Houses: Trying to keep a roof over the poor.  Today, we look for affordable housing.

Historian Keith Greenwood shares the story of muckraker Jacob Riis and his famous photography examining How the Other Half Lives. Show transcripts are available at https://journalism-history.org/podcast/

College Football Episode Notes - This is our first episode recorded with a live audience. 00:16 – Intro 3:55 – Two-word check-in (Two episodes in a row) 11:55 – Mascot talk Ethan Bauer Article - https://www.deseret.com/indepth/2020/1/10/21052358/clemson-lsu-tigersnicknames-mascots-college-tribal 25:46 – Digm #1 – What are you doing to enhance the traits of your “ingroup”? Social Identify Theory - https://onlinelibrary.wiley.com/doi/10.1002/9781119011071.iemp0153 https://esrc.ukri.org/about-us/50-years-of-esrc/50-achievements/social-identity-us-and-them/ 37:28 – Digm #2 – Be mindful of the outside pressures that people face. Name, Image, and Likeness discussion 54:40 – Digm #3 – Find your mantra that allows you to do big things. "My thoughts just before the first real college game of my life: The honor of my race, family and self-are at stake, "Everyone is expecting me to do big things. I will! "My whole body and soul are to be thrown recklessly about on the field tomorrow. Every time the ball is snapped, I will be trying to do more than my part. … Be on your toes every minute if you expect to make good. Jack." ~ Jack Trice https://www.youtube.com/watch?v=HO79kCNOhT4 https://aaregistry.org/story/jack-trice-isu-football-legend/ 1:08:00 – Digm #4 – How do you respond when you fall from grace? (Be a Billy Napier) 1:18:06 – Digm #5 – The level of commitment required of you to reach your dreams is insane. So…..”Are you willing to sprint when the distance is unknown?” Lewis Caralla https://www.youtube.com/watch?v=ExAkkAbwLHY “When nothing seems to help, I go and look at a stonecutter hammering away at his rock perhaps a hundred times without as much as a crack showing in it. Yet at the hundred and first blow it will split in two, and I know it was not that blow that did it, but all that had gone before.” ~ Jacob Riis

If you were a corrupt or incompetent official in 19th century New York City, Philip Merkle was your worst nightmare: an idealistic German immigrant with subpoena power. As city coroner from 1881-1885, he investigated murders, suicides, and gruesome accidents, seeking to right every wrong and improve every aspect of the system he encountered. He was also a champion for social order and progress, founding aid organizations dedicated to advancing his fellow immigrants. Implacable foe of Tammany Hall and Boss Tweed, friend to Teddy Roosevelt and Jacob Riis, Merkle's story is ripe for dramatization and greater renown. We are talking today with Suffolk County Community College librarian Bruce Seger, the man who is shining a light on Merkle and compelling us to take an episode away from Long Island to investigate. Bruce's new book, Matters of Life and Death: The Remarkable Journey of Dr. Philip Merkle, is a fictionalized retelling of the five years of research Bruce put into uncovering this eventful life. Merkle is a distant relative along the Seger family tree and once he started looking, Bruce couldn't believe what he found. Further Research Matters of Life and Death: The Remarkable Journey of Dr. Philip Merkle Bruce Seger New York City Research NYS Historic Newspapers database Brooklyn Daily Eagle New York Municipal Archives collections Related New York City-themed shows The Knick The Alienist Copper Jacob Riis: Revealing "How the Other Half Lives" exhibition from the Library of Congress Dan Sickles Trial: 1859 Freinsheim, Germany

Eileen & Lauren chat with gorgeous and hilarious East Coast Exclusive comedian Nonye Brown-West!! They talk about how Tinder is not the MIT dick machine it used to be, going nude at Jacob Riis beach, how to pronounce Jacob Riis, being a paralegal, people from Boston getting mad and flipping your car, sunburning your boobies, and getting your prom dress stolen by USPS. Follow Nonye on IG @noneefizzle and get tix to see her ONLY on the east coast!!!

Welcome to Episode 66! Topics: Live Aid, Jacob Riis beach, parks in Red Hook, Oliver learning how to ride a bike, TWA Hotel at JFK, school year ending, road trip to Pittsburgh and Cincinnati, Putz's Creamy Whip, Cincinnati Art Museum, Metamodern Music, Madtree Brewing, Reds game at Great American Ballpark, birthday party, Pirates game at PNC Park, Klavon's Ice Cream, Grist House Brewery, Heinz History Center, running in Pittsburgh, I GET WILD at the Good Life Garden in Bushwick, Skippy at Henry Public, Euro final at Pig Beach, Can Live In Stuttgart 1975, The Ministry For The Future by Kim Stanley Robinson, Nothin' But A Good Time by Richard Bienstock and Tom Beajour.

On Today's Podcast of Living Life Like It Matters, it is ‘Story time with Mr. Black’. Today Mr. Black will be sharing 2 poems. The first poem is by Justin Farley and the second by Maya Angelou. Both poems deal with Persistence. In the ‘Stone cutter’ credo by Jacob Riis it is persistence that shines through; “Look at a stonecutter hammering away at his rock, perhaps a hundred times without as much as a crack showing in it. Yet at the hundred-and-first blow it will split in two, and I know it was not the last blow that did it, but all that had gone before”. We need persistence in the battle to become who we are. We must focus on those things we can control and concern us, if we are to achieve any greatness in life. The Proverbs tell us that a Righteous person will fall 7 times and get back up. But the wicked will stumble into ruin. When we realize we cannot control what happens to us, but we can control what happens to us- a freedom overtakes us that makes others want to be like us! Enjoy today's story called, Persistence! Tune into our new Podcasts every Monday and Thursday, and build the pattern for; Living Life Like It Matters. See omnystudio.com/listener for privacy information.

Jacob Riis was famous for his work “How the Other Half Lives.” It exposed the gritty and impoverished underbelly of New York City during the height of the “Gilded Age”.  He has an interesting quote, “It is a dreary old truth that those who would fight for the poor must fight the poor to do it.” In this episode, Drew and Alex dive into the more broad concept that sometimes the disadvantaged vote against their own interests and preservation. They look at how layers like populism, messaging, identity politics, culture, and fear, all can cause people to elect leaders that aren’t in their own interest. They talk about issues like gun deaths, health care, the New Deal, the Southern Strategy, and more. Can ideology or group dynamics be more important to some than self preservation? 

Chinatown, New York, in 1890 was described by photo-journalist Jacob Riis as "disappointing." He focused only on images of opium dens and gambling and complained about the people living there being "secretive". But could withholding your emotions be a deliberate tactic rather than a crass stereotype of inscrutability? Xine Yao has been reading short stories from the collection Mrs. Spring Fragrance, published in 1912 by Sui Sin Far and her Essay looks at what links the Asian American Exclusion Act of 1882, the first American federal law to exclude people on the basis of national or ethnic origin, to writings by the Martinican philosopher Édouard Glissant. Producer: Caitlin Benedict. Xine Yao researches early and nineteenth-century American literature and teaches at University College London. She hosts a podcast PhDivas and you can hear her in Free Thinking discussions about Darwin's Descent of Man, Mould-breaking Writing and in a programme with Ian Rankin and Tahmima Anam where she talks about science fiction. New Generation Thinkers is a scheme run by BBC Radio 3 and the Arts and Humanities Research Council to choose ten academics each year to turn their research into radio programmes. You can find more in this playlist on the Free Thinking website featuring discussions, essays and features from 10 years of the New Generation Thinkers scheme https://www.bbc.co.uk/programmes/p08zhs35

Chinatown, New York, in 1890 was described by photo-journalist Jacob Riis as "disappointing." He focused only on images of opium dens and gambling and complained about the people living there being "secretive". But could withholding your emotions be a deliberate tactic rather than a crass stereotype of inscrutability? Xine Yao has been reading short stories from the collection Mrs. Spring Fragrance, published in 1912 by Sui Sin Far and her Essay looks at what links the Asian American Exclusion Act of 1882, the first American federal law to exclude people on the basis of national or ethnic origin, to writings by the Martinican philosopher Édouard Glissant. Producer: Caitlin Benedict. Xine Yao researches early and nineteenth-century American literature and teaches at University College London. She hosts a podcast PhDivas and you can hear her in Free Thinking discussions about Darwin's Descent of Man, Mould-breaking Writing and in a programme with Ian Rankin and Tahmima Anam where she talks about science fiction. New Generation Thinkers is a scheme run by BBC Radio 3 and the Arts and Humanities Research Council to choose ten academics each year to turn their research into radio programmes.

Lincoln Steffens foi possivelmente o maior repórter investigativo americano da história. Sua autobiografia registra como ele e seu principal concorrente, iniciaram uma onda de crimes quando Theodore Roosevelt era presidente da Comissão de Polícia de Nova York. Uma tarde, Steffens estava no porão do quartel-general da polícia, onde os policiais jogavam pôquer. Pensando que ele estava dormindo, os detetives contaram uma história sobre como um jovem policial ingênuo ajudou alguns homens a carregar uma carroça porque suas coisas estavam bagunçando a rua. E depois descobriu que os homens eram ladrões que haviam limpado a casa. Steffens escreveu a história para o New York Post. Seu principal concorrente, Jacob Riis do The Evening Sun, foi repreendido por seus editores por ter sido furado, e então apareceu com uma história de crime que Steffens não tinha. Entrando numa competição pelo maior furo, os dois repórteres policiais redobraram seus esforços e logo os jornais de Nova York estavam cheios de histórias de crime, espalhando o pânico entre os moradores da cidade. Isso foi constrangedor para Roosevelt, que deveria ser um reformador. Roosevelt chamou os dois repórteres em seu escritório. Riis confessou que teve acesso não autorizado aos relatórios da polícia porque eles foram colocados em uma determinada mesa. Steffens contou sobre seus cochilos. Eles combinaram uma trégua e a “onda de crimes” cessou. Veja bem, não é que os crimes tenham parado, mas o relato massivo sobre os crimes parou. E a impressão de uma onda crescente de crimes desapareceu e a vida da população de Nova Iorque voltou ao normal. Isso aconteceu por volta do ano 1900. Notícias são as coisas importantes e interessantes que acontecem ao longo do dia. Mas quem define o que é importante e o que é interessante? Quem vai contar os fatos. Essa história mostra bem como “notícia” é tudo aquilo que o jornalista ou editor quiser que seja. Em outras palavras: notícias são fabricadas. E a intensidade que o jornalista ou editor der a ela determina como sua cabeça será feita. ______________________________________ O mundo está caótico, as fontes de informação deixaram de ser confiáveis e você é forçado a tomar decisões nesse cenário. Muitas pessoas não acreditam mais nas fontes tradicionais de informações que as guiaram até aqui. Outras estão completamente afogadas pelo tsunami de dados e informações que chegam pela internet sem qualquer ordem, priorização ou filtragem. Esse cenário é irreversível. É dentro dele que temos de encontrar o alimento intelectual para guiar nossas escolhas. E é natural que, em meio ao caos e à histeria, você se sinta inseguro e angustiado. Meu, para que lado eu vou? Quem conseguir se livrar dessa insegurança que tira o sono, saberá com inteligência julgar e fazer as escolhas certas para sua vida pessoal e profissional. Simples não é, mas existem métodos. Saiba mais em http://mlacafebrasil.com _________________________ Versão no Youtube:  https://youtu.be/l-pTQWzuy4I   Este cafezinho chega a você com apoio do Cafebrasilpremium.com.br, conteúdo extraforte para seu crescimento profissional. See omnystudio.com/listener for privacy information.

Lincoln Steffens foi possivelmente o maior repórter investigativo americano da história. Sua autobiografia registra como ele e seu principal concorrente, iniciaram uma onda de crimes quando Theodore Roosevelt era presidente da Comissão de Polícia de Nova York. Uma tarde, Steffens estava no porão do quartel-general da polícia, onde os policiais jogavam pôquer. Pensando que ele estava dormindo, os detetives contaram uma história sobre como um jovem policial ingênuo ajudou alguns homens a carregar uma carroça porque suas coisas estavam bagunçando a rua. E depois descobriu que os homens eram ladrões que haviam limpado a casa. Steffens escreveu a história para o New York Post. Seu principal concorrente, Jacob Riis do The Evening Sun, foi repreendido por seus editores por ter sido furado, e então apareceu com uma história de crime que Steffens não tinha. Entrando numa competição pelo maior furo, os dois repórteres policiais redobraram seus esforços e logo os jornais de Nova York estavam cheios de histórias de crime, espalhando o pânico entre os moradores da cidade. Isso foi constrangedor para Roosevelt, que deveria ser um reformador. Roosevelt chamou os dois repórteres em seu escritório. Riis confessou que teve acesso não autorizado aos relatórios da polícia porque eles foram colocados em uma determinada mesa. Steffens contou sobre seus cochilos. Eles combinaram uma trégua e a “onda de crimes” cessou. Veja bem, não é que os crimes tenham parado, mas o relato massivo sobre os crimes parou. E a impressão de uma onda crescente de crimes desapareceu e a vida da população de Nova Iorque voltou ao normal. Isso aconteceu por volta do ano 1900. Notícias são as coisas importantes e interessantes que acontecem ao longo do dia. Mas quem define o que é importante e o que é interessante? Quem vai contar os fatos. Essa história mostra bem como “notícia” é tudo aquilo que o jornalista ou editor quiser que seja. Em outras palavras: notícias são fabricadas. E a intensidade que o jornalista ou editor der a ela determina como sua cabeça será feita. ______________________________________ O mundo está caótico, as fontes de informação deixaram de ser confiáveis e você é forçado a tomar decisões nesse cenário. Muitas pessoas não acreditam mais nas fontes tradicionais de informações que as guiaram até aqui. Outras estão completamente afogadas pelo tsunami de dados e informações que chegam pela internet sem qualquer ordem, priorização ou filtragem. Esse cenário é irreversível. É dentro dele que temos de encontrar o alimento intelectual para guiar nossas escolhas. E é natural que, em meio ao caos e à histeria, você se sinta inseguro e angustiado. Meu, para que lado eu vou? Quem conseguir se livrar dessa insegurança que tira o sono, saberá com inteligência julgar e fazer as escolhas certas para sua vida pessoal e profissional. Simples não é, mas existem métodos. Saiba mais em http://mlacafebrasil.com _________________________ Versão no Youtube:  https://youtu.be/l-pTQWzuy4I   Este cafezinho chega a você com apoio do Cafebrasilpremium.com.br, conteúdo extraforte para seu crescimento profissional. See omnystudio.com/listener for privacy information.

ON THIS EDITION IT'S THE FINALE OF THE BEACH NAMED AFTER THE MAN WHO WAS A MUCRAKER JOURNALIST: https://en.wikipedia.org/wiki/Jacob_Riis_Park#Acquisition_of_Neponsit_Hospital_property PICTURE BY: By David Shankbone - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=28677387 BITCHUTE: https://www.bitchute.com/channel/Y5hKsLhBTFZD/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/thequeensnewyorker/message Support this podcast: https://anchor.fm/thequeensnewyorker/support

ON THIS EDITION IT'S PART 2 OF THE FAMOUS PARK NOW UNDER THE GUIDANCE OF ROBERT MOSES: https://en.wikipedia.org/wiki/Jacob_Riis_Park#Expansion_under_Robert_Moses PICTURE BY: By Boucher, Jack E.Related names:Price, Virginia Barrett, transmitterMason, Anne, transmitter - https://www.loc.gov/pictures/item/ny2042.photos.361413p, Public Domain, https://commons.wikimedia.org/w/index.php?curid=34327524 LOOK FOR US ON BITCHUTE: https://www.bitchute.com/channel/Y5hKsLhBTFZD/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/thequeensnewyorker/message Support this podcast: https://anchor.fm/thequeensnewyorker/support

ON THIS EDITION, IT'S A LOOK AT THE PARK THAT BECAME A LEGEND FOR IT'S CREATOR AND SET THE TONE FOR THE HOSPITALS THAT SOON WOULD BE DEVELOPED ON THE PROPERTIES AND LAND: https://en.wikipedia.org/wiki/Jacob_Riis_Park#History PICTURE BY: By I, Padraic Ryan, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=2414501 FIND US ON BITCHUTE FOR ARCHIVED VIDEO EPISODES: https://www.bitchute.com/channel/Y5hKsLhBTFZD/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/thequeensnewyorker/message Support this podcast: https://anchor.fm/thequeensnewyorker/support

Together with American Songwriter, we had the pleasure of interviewing Kashaka over Zoom video! Kashaka teamed up with NY-based director Patricia Gloum, who has created and directed videos for artists such as Blu De Tiger and commercials for Louis Vuitton, Uniqlo and more. Together they rounded up some of NYC's best and brightest creatives, such as musician Siimba Selassiie, dancer/model Arron Ricks, and more, to create a stunning visual. The video was shot at the beloved (and now sadly closed) Williamsburg club, Output (where Kashaka used to run/host the Everyday Afrique parties), an industrial site in Bushwick and Jacob Riis beach in Queens. Kashaka a.k.a. Eli Evnen is an American recording artist, record producer, songwriter, engineer and composer. Originally from Lincoln Nebraska, Evnen has lived in New York City, Ghana, & Los Angeles. He’s produced for artists like Topaz Jones, Ski Mask, the Slump God, Chynna, A$AP Ferg, Zebra Katz and more. He’s composed for brands like Tiffany & Co. & Capitol One and has scored music for shows on Showtime, Netflix, & Hulu. His first album as a solo artist, Van Pelt Farm, was made on a family farm near his hometown and released in August of 2020.We want to hear from you! Please email Tera@BringinitBackwards.com.www.BringinitBackwards.com#podcast #interview #bringinbackpod  #foryou #foryoupage #stayhome #togetherathome #zoom #aspn #americansongwriter #americansongwriterpodcastnetworkListen & Subscribe to BiBFollow our podcast on Instagram and Twitter!

John shares a powerful reminder of a teachers impact thru perseverance, a short reading from Jacob Riis, and he gives some encouragement as we live, teach & work during this season.

On this edition of our show, we listen back to an interview from 2018 about a book called "Nomadland: Surviving America in the Twenty-First Century." This book is the basis for a forthcoming feature-film starring Frances McDormand. Our guest is the author of the book, Jessica Bruder. As was noted of "Nomadland" in a starred review in Booklist: "What photographer Jacob Riis did for the tenement poor in 'How the Other Half Lives' (1890) and what novelist Upton Sinclair did for stockyard workers in 'The Jungle' (1906), journalist Bruder now does for a segment of today's older Americans forced to eke out a living as migrant workers.... [A] powerhouse of a book.... In the best immersive-journalism tradition, Bruder records her misadventures driving and living in a van.... Visceral and haunting reporting."

In the 10th episode of Planet A, Dan Jørgensen talks with Barack Obama's former Secretary of Energy, Dr. Ernest Moniz. Dr. Moniz holds a doctoral degree in theoretical nuclear physics and made his first foray into Washington-politics as President Bill Clinton’s Under Secretary of Energy (1997-2001).He is widely recognized as one of the most knowledgeable people on the planet, when it comes to energy, science and politics. Thus, it should be no surprise that POLITICO ranks him as a leading contender to be President-elect Joe Biden’s next Secretary of EnergyDuring the conversation, Dr. Moniz shares his view on the future of American climate and energy politics, in the wake of the recent elections. He also speaks on the promise and pitfalls of specific technologies, including:Carbon capture, usage and storageTechnology enhanced natural processes such as “advanced mineralization”Advanced nuclearHydrogenRenewablesDr. Moniz also talks about his experience with directing governmental energy technology research and development. Furthermore, he speaks about the need for social equity in energy politics. Finally, he explains how his knowledge about politics and science came in handy as he negotiated both the Iran Nuclear Agreement and the Paris Agreement.He started his illustrious academic career at Massachusetts Institute of Technology (perhaps best known as the MIT) in 1973 and is currently serving as Director of their Energy Initiative, working to develop no-carbon and low-carbon solutions. A brief note on this episode: During the interview, Moniz and Jørgensen touch upon President Theodore Roosevelt’s friendship with the Danish immigrant, Jacob Riis. Riis became a prominent activist, documenting the deplorable social conditions of the poor in New York City and calling for social equity.You can learn more about Jacob Riis at the US Library of Congress homepage or at the homepage of the Danish “Jacob A. Riis Museum”.

Today, I’m taking you back in time in the Big Apple and discussing tenement life for German immigrants in the 1880s through the eyes of 12 year old Olga Gumpertz. It's a bit of a twist on the usual Jacob Riis narrative. Apologies ahead for some of the audio inconsistencies, recording was just a little crazy today! Enjoy! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Welcome to Episode 48! Conrad Life Report is a podcast about life, including digital media, music, books, food, drink, New York City, and more. Episode 48 topics: stoop hangs, birthday, Bar Great Harry, building collapse in the neighborhood, new dog, Jacob Riis beach, neighborhood report, buying a car, general mood, 'America' by Sufjan Stevens, The Waterfall II by My Morning Jacket, All The Good Times by Gillian Welch and David Rawlings, That's How Rumors Get Started by Margo Price, 'For Sure' by Future Islands, Good Ol' Grateful Deadcast, Alchemist, Great Notion, Trillium, Other Half, Five Boroughs, Folksbier, Tree House.

This week at In The Past Lane, the American History podcast, we take a look at the origins of Earth Day 50 years ago this week, and the two high profile environmental disasters in 1969 that helped to inspire it, the Santa Barbara, CA oil spill and the an oil fire on the Cuyahoga River in Cleveland, OH. Environmental activists took advantage of the media coverage of the events to form organizations like Greenpeace and start an annual conscience raising event called Earth Day. In the years that followed, the US enacted landmark environmental legislation ranging from the Clean Air Act to the Endangered Species Act. But contemporary efforts to roll back these regulations imperil the environment and public health.   Feature Story: The Birth of Earth Day - 50th anniversary On April 22, 1970 – 50 years ago this week – 20 million Americans gathered in places all across the nation to commemorate the first Earth Day. This event was inspired by two high profile environmental disasters that took place the year before in 1969. But before we dive into those stories, let’s first step back to do a quick, History of Environmentalism 101. While there were earlier environmentalist moments in US history, what we would recognize as environmentalism began to emerge in the late 19th century. And as it did, it represented the beginnings of a major shift in how Americans viewed private property rights. So, what do I mean by that? Well, from the colonial period through to the late 19th century, most Americans shared the belief that private property rights were almost sacred. A person could do anything they wanted with their property and no government should have any say in the matter. And that was fine so long as the nation remained rural and its economy based in agriculture. But it didn’t. A little thing called the Industrial Revolution happened and that raised all sorts of questions about property rights. Some Americans began to develop a critique of the absolute sanctity of private property rights. And they did so in response to mounting evidence that unfettered private property rights in a modern industrial capitalist setting had seriously negative consequences for society. They noted, for example, that complete and total freedom from regulation left property owners free to engage in strip mining of mountain ranges for coal, or clearcutting forests for lumber, or hunting various animals into extinction. Unrestrained private property rights also left them free to dump their toxic waste into the waterways that ran through their private property or into the air that hovered above their private property—even when this meant the waste would ultimately end up on someone else’s private property.  These critics were not anti-capitalist radicals. Rather, to make their case, they invoked a key republican ideal: the common good. They argued that societies and governments needed to protect other things besides individual private property rights. They noted the uncomfortable fact that one person’s freedom to use their private property any way they wanted could easily threaten another person’s freedom to live free of poisons.  Or, put another way, they noted that individualism and the common good often came into conflict. And so they developed a philosophy that emphasized what has become a key idea in environmentalism – the idea of connectivity, that people are connected to each other and to the larger ecosystem. That one person’s actions, therefore, have consequences for others, and this fact needs to be taken into account as societies develop their laws and public policy regarding the economy and environment. The first attempts to protect the environment mainly took the form of conservation—essentially saving the wilderness from economic development.  People like Theodore Roosevelt believed it was essential to preserve large tracts of wilderness to allow future generations of Americans to enjoy it by hiking, camping, and hunting. Few people in the late-19th and early 20th century raised concerns over water pollution, air pollution, or endangered species.  By the mid-20th century a few concerns over the environment emerged—things like smog and roadside trash—but these were rare. The first significant change in public attitudes concerning the environment, the shift from merely supporting the idea of conserving nature in wildlife reserves and national parks, came in 1962 when Rachel Carson published her book, Silent Spring that revealed the devastating environmental effects of the widely used pesticide DDT, especially on birds. Carson’s book became a bestseller and it led to the introduction of more than 40 bills to control pesticide use in state legislatures across the country. Another impact of Silent Spring was that it inspired many Americans to become environmentalists or to use the term more in vogue in the 1960s, ecologists.  But it’s important to point out that environmentalism in the mid 1960s was still a fringe movement, one associated with hippies and tree huggers. But Silent Spring had planted a seed that would later blossom with the events of 1969. Now let’s turn to the story of the two environmental disasters of 1969 that helped officially launch the modern environmental movement: the Santa Barbara oil spill and a fire on the Cuyahoga River in Cleveland, OH. Let’s start with the oil spill off the coast of Santa Barbara, CA.  It began on Jan 28, 1969 when workers on an oil rig forcefully extracted a drilling tube that had become stuck in the ocean floor. In so doing, they inadvertently created five gashes in the ocean floor. Over the next few weeks, more than 200,000 gallons of crude oil spilled into Santa Barbara channel.  It took weeks to stop the gusher, and in that time, the incident drew significant television and newspaper coverage.  Americans began to see for the first time what are now familiar scenes to us: oil-soaked birds, dead fish, and miles of blackened beaches. What’s interesting is that this spill was not especially large, even for that time. And it’s absolutely tiny in comparison to the 2010 BP oil spill in the Gulf of Mexico. But even though it wasn’t that big, the Santa Barbara oil spill of 1969 sparked widespread public outrage. Significantly, the anger focused on the lax government oversight of the oil rig, and on the callous attitude of the executives of the company involved, Union Oil. The President of Union Oil, for example, told a TV news reporter. “I am amazed at the publicity for the loss of a few birds” This statement not only reveals the mentality of oil executives at this time, but also the power of imagery in social reform movements. Think about how abolitionists used illustrations of auctions and whippings of enslaved people to draw supporters to their cause. Or how pioneering photographers Jacob Riis and Lewis Hine used their cameras to draw attention to horrific slum housing and child labor. History is clear on this point: social reform movements need pictures. And in 1969 the fledgling environmental movement got their first compelling images. Out of this controversy arose a number of groups committed to environmental activism, including Greenpeace. It also prompted a group of citizens in Santa Barbara to write and issue “The Santa Barbara Declaration of Environmental Rights,” an environmental manifesto modeled on the Declaration of Independence. It began, “All men have the right to an environment capable of sustaining life and promoting happiness.” That same year Americans witnessed another environmental disaster.  This time it was a fire on the Cuyahoga River in Cleveland, Ohio. Cleveland was one of the main oil refining centers in America and its waterways showed it.  In fact, the Cuyahoga River had caught fire many times, but these fires were treated as little more than curious incidents. That finally changed when the river caught fire on June 22, 1969. It lasted only 30 minutes. But as with the Santa Barbara oil spill five months earlier, this fire came with photographs and video. It captured the attention of the national media. Time magazine ran a story in its August 1, 1969 issue - “Some River!  Chocolate-brown, oily, bubbling with subsurface gases, it oozes rather than flows.” The coverage of the fire and the subsequent attention it drew to the dreadful condition of the river led to a famous photo of reporter Richard Ellers holding up his hand after having dunked it in the river.  It looked like he’d dipped it in black paint. The Santa Barbara oil spill and the Cuyahoga River fire helped launch the modern environmental movement, beginning a process that would move environmentalism from the fringes to the center of American society and political discourse. They inspired a small number of environmental activists to stage what they called conscience-raising events, which in turn inspired a major one they decided to call Earth Day. It had many “fathers,” but most people agree that Senator Gaylord Nelson of Wisconsin got the ball rolling when he proposed the first nationwide environmental protest to, in his words, “to shake up the political establishment and force this issue onto the national agenda.” The idea caught on and on April 22, 1970 some 20 million people participated in the first Earth Day, which was marked by large rallies, cleanup efforts, and teach-ins. Earth Day became an annual event and one of its most important effects was that it brought together lots of disparate groups that shared concerns about the health of the environment. These included people concerned about air pollution in cities, wildlife and endangered species, protection of wetlands and forests, and cleaning up toxic landfills. Earth Day also raised public awareness of environmental concerns and slowly began to make them mainstream political issues. As with so many social reform movements, over time these environmental activists managed to transform their goal from a radical idea to mainstream one. And some of the most important results occurred relatively quickly. The period from the late 1960s to the early 1970s saw the most environmental legislation passed in the nation’s history. Everything from the establishment of the Environmental Protection Agency and the National Oceanic and Atmospheric Administration, to the Clean Air Act, Clean Water Act, and the Endangered Species Act. These and other laws have had an extraordinary impact over the past 50 years, leading to a more healthy environment and the saving of many endangered species, including most famously, the Bald Eagle. But American businesses and property owners have never liked these laws. They claim they hurt business and infringe upon the liberties of property owners. And they’ve waged an unrelenting war on environmental regulations. They achieved some success in the 1980s with the presidency of Ronald Reagan, and in the 20-oughts with George W. Bush. But the most serious and successful efforts to roll back 50 years of environmental protection have occurred under the presidency of Donald Trump. Nearly 100 environmental rules on everything from toxic chemical emissions to fracking have been revoked or seriously limited. These moves all but guarantee that we will have greater environmental damage and harm to human health in the coming years. And because this administration has been mired in controversy from Day 1, few people seem to have noticed. The story of environmentalism and Earth Day remind us that history does not move in a straight line of progress. One generation’s achievements can be undone by a later one.  That’s why it’s never enough to just win a victory for voting rights, or equality before the law, or a healthy environment. Those victories must be maintained and protected by constant vigilance. Otherwise they can be rolled back. So what else of note happened this week in US history? April 20, 1914 – The Ludlow Massacre takes place in Ludlow, CO. Hundreds of Colorado national guard soldiers and a private security force employed by the Colorado Fuel and Iron Company - a company owned by the richest man in America, John D Rockefeller - attacked an encampment of 1,200 striking miners and their families. More than 20 people, including wives and children of the minders, were killed. This massacre set off a spiral or violence that left somewhere between 69 and 200 people dead in what came to be called the Colorado Coalfield War. April 21, 1980 – 40 years ago this week – an unknown runner named Rosie Ruiz stunned the world by winning the Boston Marathon and doing so in record time. That is until it was revealed that she ran only the last half mile of the 26.2 mile course. Ruiz was stripped of her medal 8 days after the race. April 22, 1864 - The U.S. Mint issued a 2-cent coin which was the first US currency featuring the slogan, “In God We Trust.” And what notable people were born this week in American history?   April 21, 1838 - Environmental activist and conservationist John Muir April 23, 1791 – President James Buchanan April 26, 1822 – landscape architect Frederick Law Olmstead April 26, 1900 - seismologist and physicist Charles F. Richter The Last Word Let’s give it to the pioneering conservationist and environmental activist John Muir, who was born 182 years ago this week: Here’s a passage he wrote that seems remarkably in sync with the idea behind Earth Day: “Man must be made conscious of his origin as a child of Nature. Brought into right relationship with the wilderness he would see that he was not a separate entity endowed with a divine right to subdue his fellow creatures and destroy the common heritage, but rather an integral part of a harmonious whole. He would see that his appropriation of earth's resources beyond his personal needs would only bring imbalance and beget ultimate loss and poverty for all.” For more information about the In The Past Lane podcast, head to our website, www.InThePastLane.com  Music for This Episode Jay Graham, ITPL Intro (JayGMusic.com) The Joy Drops, “Track 23,” Not Drunk (Free Music Archive) Sergey Cheremisinov, “Gray Drops” (Free Music Archive) Pictures of the Flow, “Horses” (Free Music Archive) Ondrosik, “Tribute to Louis Braille” (Free Music Archive) Alex Mason, “Cast Away” (Free Music Archive) Ketsa, “Multiverse” (Free Music Archive) Ketsa, “Memories Renewed” (Free Music Archive) Dana Boule, “Collective Calm” (Free Music Archive) Blue Dot Sessions, "Pat Dog" (Free Music Archive) Jon Luc Hefferman, “Winter Trek” (Free Music Archive) The Bell, “I Am History” (Free Music Archive) Production Credits Executive Producer: Lulu Spencer Graphic Designer: Maggie Cellucci Website by: ERI Design Legal services: Tippecanoe and Tyler Too Social Media management: The Pony Express Risk Assessment: Little Big Horn Associates Growth strategies: 54 40 or Fight © In The Past Lane, 2020 Recommended History Podcasts Ben Franklin’s World with Liz Covart @LizCovart The Age of Jackson Podcast @AgeofJacksonPod Backstory podcast – the history behind today’s headlines @BackstoryRadio Past Present podcast with Nicole Hemmer, Neil J. Young, and Natalia Petrzela @PastPresentPod 99 Percent Invisible with Roman Mars @99piorg Slow Burn podcast about Watergate with @leoncrawl The Memory Palace – with Nate DiMeo, story teller extraordinaire @thememorypalace The Conspirators – creepy true crime stories from the American past @Conspiratorcast The History Chicks podcast @Thehistorychix My History Can Beat Up Your Politics @myhist Professor Buzzkill podcast – Prof B takes on myths about the past @buzzkillprof Footnoting History podcast @HistoryFootnote The History Author Show podcast @HistoryDean More Perfect podcast - the history of key US Supreme Court cases @Radiolab Revisionist History with Malcolm Gladwell @Gladwell Radio Diaries with Joe Richman @RadioDiaries DIG history podcast @dig_history The Story Behind – the hidden histories of everyday things @StoryBehindPod Studio 360 with Kurt Andersen – specifically its American Icons series @Studio360show Uncivil podcast – fascinating takes on the legacy of the Civil War in contemporary US @uncivilshow Stuff You Missed in History Class @MissedinHistory The Whiskey Rebellion – two historians discuss topics from today’s news @WhiskeyRebelPod American History Tellers ‏@ahtellers The Way of Improvement Leads Home with historian John Fea @JohnFea1 The Bowery Boys podcast – all things NYC history @BoweryBoys Ridiculous History @RidiculousHSW The Rogue Historian podcast with historian @MKeithHarris The Road To Now podcast @Road_To_Now Retropod with @mikerosenwald © In The Past Lane 2020

In this episode 12 I have Jacob Riis and Teddy Florea. Jacob is the organiser, CCO, and Host, Nordic Game Conference + Nordic Game Discovery Contest at Nordic Game Resources AB. Teddy is Director of Business Development at Nordic Game Resources AB. They explain me everything you need to know about Nordic Game. Fun interview it was. Finaly it is here! Cris Reed made his first esports item, which is a weekly item; Reed Thinks! Cris is a Esports Tech Startup Advisor, investor, Content Creator and watch his Level Up Experience on Linkedin, great interviews! And of course, the latest game news from PocketGamer.biz, GamesIndustry.biz and Gamesbeat.com. If you have some time, listen to my other episodes on PodcastGameConsultant.com.

In this episode of the Better Golf Academy, I discuss how the motivation works and why after a certain point, or when it gets too hard, or when we start losing steam, drive, and motivation...we slowly fade out and even quit. But what keeps us motivated to continue to pursue our goals? Dr. Tali Sharot, a neuroscientist with her research focusing on how motivation influences our decisions. And She talks about these 3 foundational principles that help motivate us.  Progress Monitoring. The brain does a good job processing positive effects. And as you progress, it helps you to stay focused and going after your goal. As you know, I always talk about my Engineering days...and the famous quote “If you can’t measure it, you can’t improve it”. There’s definitely some truth in that. Social Incentive. We are social people. We really care what other people are doing. We want to do the same and we want to do it better. Example: 9 out of 10 people pay their taxes in time enhanced compliance in that group by 15% bringing in 5.6 billion pounds. Highlighting what other people are doing is a very strong incentive. I truly believe this, one of the most effective results-driven workout concepts out there is still CrossFit. Because of their philosophy of this Social Incentive. It’s brilliant creating a small community of people to encourage each other, compete with one another and keep each other accountable. Social Incentive.  Immediate Rewards. True that! We are impatient, some of us have ADD (me) and we need immediate feedback, immediate incentive and lots of immediate rewards...in whatever form that we can get it in. I think we can all agree that improving our golf game is a long, and ambitious goal. We need more inspiration than hey, you suck, you need to go practice and get better. We need to intentionally put steps in place to guide us day to day and keep us motivated to get there.  And, I think this is a great science that is backed up by research.  Here are the 3 action steps for you: #1, set specific goals, remember to go to bettergolfacademy.com/9 to download the performance report to help you set your specific goals.  #2, Don’t be a loner. Play together, bet, create competitive situations to push you, care about each other’s performances and improvements. This will create an incentive to work harder and improve. And... #3, Make turn your goals into tiny habits. Reward yourself often and see your simple progress and celebrate. I am still so still inspired by the quote by Jacob Riis “...I go and look at a stonecutter hammering away at his rock, perhaps a hundred times without as much as a crack showing in it. Yet at the hundred and first blow, it will split in two, and I know it was not that last blow that did it—but all that had gone before.”  Let’s keep hammering away. Hundred, thousand, 10 thousand, 100 thousand balls hit, putts hit, chips hit, every club in your bag hit, pursuing excellence, setting goals, achieving them and celebrating the small victories!! I am here celebrating it with you. And hoping for a huge breakthrough in your game, the rock splitting in two moments in your golf journey. In the meantime, thank you so much for listening to Better Golf Academy, let’s get better together. Yeah? Cool. Love you guys, bye for now.

Here ya go Mr Rodriguez

For this episode of the Planet MicroCap Podcast, I spoke with Adam Wilk, Portfolio Manager at Greystone Capital Management and Editor of Pound the Rock Investing investor blog. I reached out to Adam after reading his blog post, “Basketball and Investing: A Match Made in Heaven”, where he documents his experience working for the San Antonio Spurs. In the post, and you will soon hear, his time working with the Spurs and general manager, R.C. Buford, yielded lessons that he was able to incorporate into his passion for investing. Adam’s blog, “Pound the Rock Investing”, is even inspired by the Stonecutter’s Creedo, a quote made famous by Jacob Riis, and is at the core of the Spurs’ culture. I’m a huge sports fan, and love when investing podcasts bring on people who have worked in the sports world. There are so many parallels, and if you’re a fan like me, you’ll enjoy my upcoming chat with Adam. Planet MicroCap Podcast is on YouTube! All archived episodes and each new episode will be posted on the SNN Network YouTube channel. I’ve provided the link in the description if you’d like to subscribe. You’ll also get the chance to watch all our Video Interviews with management teams, educational panels from the conference, as well as expert commentary from some familiar guests on the podcast. Subscribe here: http://bit.ly/1Q5Yfym  Click here to rate and review the Planet MicroCap Podcast The Planet MicroCap Podcast is brought to you by SNN Incorporated, publishers of StockNewsNow.com, The Official MicroCap News Source, and the MicroCap Review Magazine, the leading magazine in the MicroCap market - check out the latest issue here: MicroCap Review Spring 2019 You can follow the Planet MicroCap Podcast on Twitter @BobbyKKraft, and you can also listen to this interview on StockNewsNow.com For more information about Adam Wilk, Pound the Rock Investing and Greystone Capital management, please visit: https://poundtherockinvesting.wordpress.com/ You can Follow Adam Wilk on Twitter @AKWilk

CMO favorites Johnathan Aaron Baker and Chris Hudson are back! In this episode they discuss Urbanism, Suburbanism, and Ruralism in works of fiction. Books discussed: The Adventures of Huckleberry Finn by Mark Twain, The City in History by Lewis Mumford, The Swimmer by John Cheever, How the Other Half Lives by Jacob Riis

In 2017, writer, photographer, and reformed-Wall-Streeter-turned-social-critic Chris Arnade appeared as a guest on the Strong Towns Podcast, in an episode that has been one of our most popular and was featured in our Greatest Hits series (listen to it here). Today we've brought him back for another conversation. Arnade became a journalist by accident—the culmination of a journey that began as a series of long walks in his city of New York to “the places they tell you not to go,” talking to anyone who would talk to him. Since then, through photographic essays that approximate a 21st-century version of Jacob Riis’s How the Other Half Lives, he has become possibly the most powerful chronicler working today of what he calls “back row America”—those dealing with poverty, addiction, homelessness, unemployment, social disintegration in communities that are rarely heard from and even more rarely really heard. Dignity, Arnade’s new book about the people in the “back row” (as opposed to the front row of the college-educated elite) has rapidly become one of the most talked-about releases of 2019. Combining photos, interviews, and narrative segments, Dignity intentionally foregrounds the voices of the people that Arnade interviews, rather than Arnade’s own interpretation of their situations or needs. Why “Just Move” Isn’t an Answer A central theme of Arnade’s work is the differences in value system and priorities that make policies promulgated by Front Row experts with elite credentials often a poor fit for the challenges of Back Row America. For example, to America’s educated and mobile elite, it might seem intuitive that the best solution to the lack of jobs or upward mobility in a place like Appalachia or inner-city Baltimore is, “Just move.” And policies might be designed to help people acquire the means to move—providing institutional social services, or lowering the barriers (such as housing cost) to living in places with booming job markets and good schools. Many of Arnade’s subjects see it differently, and he wants his reader to understand why. Maybe they’re helping a family member stay sober. Maybe they’re supporting a friend or relative or don’t want to be far from their children. Maybe it’s something more intangible than that: “Often, place—and the value of place—and it can be as simple as the metaphysical greatness you get from the lakes or hills or trees in your yard. Those things are free to people. The idea of continuity, of being in a place and knowing it values you and you value it: that doesn’t cost anything…. It’s very hard to measure the importance of staying in a community all your life, the network of connections you have, the fact that you wake up every morning and you look out and you see the same lake, and you know every nook and cranny of the lake, or you know the people around the lake. That’s hard to put a price tag on, so we tend to think about it as, “Oh, that’s not very important. People can just find another lake.” Arnade’s subjects span the full spectrum of the American “back row” experience, from rural whites to inner-city people of color. And he doesn’t shy away from the uglier sides of this experience—the vicious cycle of addiction, or the resurgence of overt racism—but he does urge us to avoid platitudes and facile moral judgments, in favor of understanding the systemic reasons that a community is in disarray. Listen to this week’s episode of the Strong Towns Podcast for more about Dignity, the overlap of Arnade’s themes with the Strong Towns movement, and what kind of policy-making process might be more responsive to the needs of all Americans and not just the preferences of elites. (Hint: it sounds a lot like the Strong Towns approach!)

I femte afsnit af Jacobs slum går vi med Jacob Riis ind i de berygtede lodging houses. Lodging houses tilbød hjemløse en overnatning for et beløb så lille, at selv de fattigste kunne skrabe pengene sammen. De billige lodging houses var, ifølge Jacob A. Riis, en af hovedkilderne til byens kriminalitet og de var en del af New York, som Jacob A. Riis kendte personligt. I sine tidlige år som hjemløs havde han overnattet i de billige lodging houses, og hans nætter i dets hårde køjer havde sat så dybe spor, at han var af den overbevisning, at det var et af byens allerværste steder. I slutningen af 1800-tallet havde New York City gjort sig fortjent til titlen “De hjemløses by”. Behovet for at skabe boliger var enormt, og længslen efter hjem lige så stort. De modsætninger handler afsnit fem om.   Tilrettelæggelse: Kasper Jacek. Klip, lyddesign og mix: Maiken Vibe Bauer.  Jacob Holdt lægger stemme til Jacob A. Riis' dagbogscitater.  Indspilning af trommer: Lasse Smidt. Emma Bess fortæller om Jacob Riis' fotografi. Manushjælp: Niels Bjørn.   Tak til Arkitektforeningen for lån af lydstudier. Jacobs slum er blevet til i et samarbejde mellem Bylyd og Netudgaven. 

For 16. år i træk lægger Nordic Game konferencen hus til spiludviklernes årlige Roskildefestival! Programmet er fuld af gode vibes, talks, workshops, fester og det allernyeste shit! Gæst: Jacob Riis

I en ny udstilling på Statens Museum for Kunst udforsker kunstnerduoen Elmgreen & Dragset forestillinger om ”hjemmet” med udgangspunkt i en af duoens store forbilleder: den danske maler Vilhelm Hammershøi. I denne anledning genudgiver jeg podcasten ‘Hjemme hos Hammershøi’. Kurator på Ordrugaard, Jacob Riis, fortæller om udstillingen, der inviterede dig ind i de stille stuer i Strandgade 30. Lejligheden på Christianshavn, hvor Hammershøi levede og malede i en årrække, og hvor nogle af hans bedste værker blev til. Vilhelm Hammershøi (1864-1916) anses for at være et af sin samtids mest originale talenter, og hans værk appellerer i høj grad til den nutidige betragter. Han er især kendt for sine poetiske, stemningsfulde og underspillede interiørmalerier, hvor lys og tid synes at stå stille.

Depuis #MeToo, ils frémissent: les hommes. Bouleversés, chamboulés, décontenancés, certains avouent désormais ne plus savoir comment se comporter dans la société face à celles qui ont entraîné cette déconstruction fatale. Mais est-ce le cas pour les près de 4 milliards d’hommes sur la planète ? Existe-t-il des “hommes féministes” ? Si oui, qu’est-ce que cela signifie ? Que pensent-ils de tout cela ? Cette semaine, vous l’aurez compris Clémentine et Kiyémis se sont questionnées sur la place des hommes dans le mouvement féministe. Références entendues dans l’épisode : Le photographe de rue Jacob Riis et son essai intitulé “Comment l’autre moitié vit” publié en 1890 La chanteuse suédoise Robyn Le festival itinérant “Les Femmes s’en mêlent” La Une du magazine “Marianne” du numéro du 12 au 18 avril 2019 Le philosophe féministe François Poullain de la BarreLe sociologue Alban Jacquemart et sa thèse intitulée : “Les hommes dans les mouvements féministes français : Socio-histoire d’un engagement improbable” aux éditions PU Rennes soutenu en 2011 à l’EHESS Léon Richer et son journal intitulé “l’Avenir des femmes” L’avocate féministe Maria Deraismes La philosophe, romancière, moraliste et essayiste féministe Simone de Beauvoir Le capitaine et soldat burkinabé Thomas Sankara Sociologue et politiste, Alban Jacquemart est Maître de conférences à l’Université Paris-Dauphine et chercheur à l’Institut de recherche interdisciplinaire en sciences sociales Le MLF est le Mouvement de libération des femmes est un mouvement féministe autonome et non-mixte qui revendique la libre disposition du corps des femmes, remet en question la société patriarcaleL’écrivain et professeur québécois Francis Dupuis-Déri et son essai sur la crise de la masculinité Le Mouvement de Libération des Hommes créé en 1972 Le livre: Some Men: Feminist Allies in the Movement to End Violence against Women de Michael A. Messnet, Max A. Greenberg et Tal Peretz aux éditions Oxford University PressLe groupe Men Against Sexist Violence créé en 1978 à San Francisco La militante féministe et femme politique française Caroline de Haas Les tribunes d’hommes en soutien à #MeToo dans Le Nouveau Magazine Littéraire Le sociologue Samuel Lequette, auteur de “Cours petite fille”, aux éditions des Femmes Les articles relatant les enquêtes liées à #MeToo L’épisode du podcast Mansplaining sur les hommes proféministes ayant été harcelés par la Ligue du LOL Le tennisman Andy Murray Le premier ministre canadien Justin Trudeau L’écrivain, critique d’art et journaliste français Octave Mirbeau Le collectif Georgette Sand et sa fausse campagne de publicité pour un parfum “L’homme féministe” en 2016 L’association française “Jamais sans elles”L’association américaine “Men against rape” L’ancien conseiller de Najat Valleau-Belkacem et co-créateur de la fondation des femmes hommes féministesL’association française Zéromacho Le designer, entrepreneur et militant politique français Elliot Lepers, et son projet MachoLandLa campagne HeForShe des Nations Unies Le compte Instagram “Tu bandes” Les sociologues Eric Fassin, Francis Dupuis-Déri et Raphaël Liogier Les histoires de harcèlement et de sexisme ordinaire mises en BDs dans “Le projet crocodile” de Thomas Mathieu et Juliette Boutant Le compte Instagram “Award for good boys” L’article de la journaliste américaine Rukmi Callimachi sur ses ex soi-disant “féministes” L’avocat Eric Schneiderman qui a lutté contre Harvey Weinstein, mais abusé des femmes à plusieurs reprises L’épisode du podcast Extimité avec Miguel L’écrivain Paul B. Preciado qui a récemment sorti son livre intitulé “Un appartement sur Uranus” aux éditions GrassetLe sketch de l’émission américaine Saturday Night Live sur le consentement et la drague La réalisatrice de films pornogrphiques féministes Erika Lust Le journaliste freelance Thomas Messias La série de Netflix, “Sex Education” créée par Laurie NunnLe spectacle de Laurent Sciamma La série “Queer Eye”, disponible sur Netflix Le roman de Christine Orban “Le silence des hommes” aux éditions des livres de PocheL’humoriste, acteur, producteur, réalisateur et héros de sa propre série “Master of None”, Aziz Ansari Joss Whedon, le créateur de la série “Buffy contre les vampires” L’épisode “Je suis féministe” de la série Bojack Horseman disponible sur Netflix Le film “Une femme d’exception” avec Felicity Jones, réalisé par Mimi Leder La série anglaise “Pure” diffusée sur Channel4, dans la continuité de la série “Girls” Le podcast “Ecosse Toujours” créé par deux françaises qui habitent en Ecosse Le livre “Une culture du viol à la française” de Valérie Rey Robert aux éditions Libertalia

Estudios de Derecho + experiencia en Big Four = ¿Sector de videojuegos? ¿No te parece una combinación un tanto extraña? ¿Pero a quién no le gustaría conocer más sobre el sector de los videojuegos? Tanto si te gustan o no, este es un sector sumamente boyante para el futuro, pues cada año está batiendo records de facturación. Por lo tanto, si quieres saber como adentrarte en este mundo, ¡este es tu podcast! Hoy en este episodio entrevistaremos a Carlos Vidal,  Business Development Manager para la LVP, la liga de Videojuegos Profesional (perteneciente al grupo Mediapro) Carlos tiene un perfil muy interesante: comenzó a trabajar como abogado de fusiones y adquisiciones para PriceWaterhouse Cooper, posteriormente ocupó un cargo de consultor financiero entre Madrid y  Andorra para la misma compañía y tras este periplo de cerca de 3 años y medio, fue contratado por Deloitte para la figura de Senior Risk Consultant. Visto su historial laboral, parecía que su carrera iba a estar ligada al entorno de  las archiconocidas Big Four. Sin embargo, en menos de un año fue contratado por la Liga de Videojuegos Profesionales para dirigir la expansión del negocio de esta marca en países como México, Chile, Perú, Argentina y Colombia. En estos dos últimos países ha residido en esta reciente etapa profesional. Hoy nos va a contar cómo lo hizo para labrarse una carrera en PriceWaterhouse Cooper y Deloitte, pero especialmente nos contará cómo pivotó su carrera profesional hacia el sector de los videojuegos, un sector que estoy seguro que le apasiona. Pero antes de nada, recuerda, www.linkacv.com, la web desde la que ayudo a profesionales con un perfil como el de Carlos a conseguir las máximas entrevistas de trabajo a través de la redacción de un currículum vitae, carta de presentación y perfil de LinkedIn  totalmente optimizados con las mejores prácticas para tu sector concreto. No te la juegues con un Currículum cualquiera. Tu curriculum vitae representa todos tus logros y es la clave para acceder a un trabajo mejor. >>Haz click aquí para revisar tu CV gratuitamente

Bestselling author and Harvard professor Robert Putnam speaks with Ned about the growing opportunity gap between the rich and poor, how it affects all of us, and what we can do about it.  Links mentioned in this episode: http://robertdputnam.com/about-our-kids/ https://www.theopportunitygap.com/ Jacob Riis, How The Other Half Lives: http://www.authentichistory.com/1898-1913/2-progressivism/2-riis/index.html This episode was originally released in September 2016.  Season 3 is debuting later this month! Do you have a suggestion or show idea for the Distraction team? Email us at connect@distractionpodcast.com or leave a voice message at 844-55-CONNECT!  

“When nothing seems to help I go look at a stone cutter hammering away at his rock, perhaps 100 times without so much as a crack showing in it, yet at the 101st blow it will split in two and I know that it was not the last blow that did it, but all that had gone before’’ Jacob Riis Welcome to the Outerfocus Podcast!Joining us for this episode we have Australian photographer Gina Milicia. Well-known and respected for her work both in the studio and on location, Gina has photographed many high profile people in both the fashion and entertainment world including Danni Minogue. We find out how Gina went from wanting to be sculptor, to getting her first break into photography after a mishap during a work experience placement saw her given cleaning duties to being offered an assistant job at the end. We also talk with Gina about the importance of understanding light; equipment when starting out; confidence in your art; progression in your own photography; her work and much more. History of photography this week (very briefly) looks back at Jacob Riis. Born in 1849, Jacob is known for being a Danish-American social documentary photographer who used his skills in journalism and photography to help the poorer population of New York. We take a look a his early life as well his work.Links, Gina:WebsiteInstagramSo you want to be a Photographer, PodcastHost Links:https://www.outerfocuspodcast.cominfo@outerfocuspodcast.comhttps://www.instagram.com/f8kym/Bradley Hansonhttps://www.bradleyhanson.comhttps://www.facebook.com/bradleyhansonphotographyhttps://www.instagram.com/bradleyhansonphotography/https://twitter.com/bradleyhansonIan Weldonhttp://ianweldon.comhttps://www.instagram.com/not_wedding_photography/https://www.facebook.com/Ian-Weldon-Photography-124854627581367/Music - James William Nicholson Thank you for listening, see you two weeks!Ian & BradleySupport the show (https://www.patreon.com/outerfocuspodcast)

The buzz: “The strategic and financial importance of Corporate Real Estate is growing” (www.pwc.de) $10+T of the $25T in U.S. real estate assets is owned by non-real estate companies, municipalities, and institutions. Corporate real estate is often their second largest balance sheet item and operating cost. But it is not getting the respect it deserves in the C-Suite as enterprises overlook the earnings and optimization potential of capital dedicated to real estate. The experts speak. David Wilk, Colliers: “When nothing seems to help, I go and look at a stonecutter hammering away at his rock … without as much as a crack showing...” (Jacob Riis). Kay Sargent, HOK: “It's important to live it, to experience things and to see things from a different perspective...also important that we move…” (John Le Carre). John Chapman, SAP: “When did Noah build the Ark? Before the rain, before the rain” (Spy Game, 2001 film). Join us for Real Estate and Your Workforce: Optimizing Space Management.

The buzz: “The strategic and financial importance of Corporate Real Estate is growing” (www.pwc.de) $10+T of the $25T in U.S. real estate assets is owned by non-real estate companies, municipalities, and institutions. Corporate real estate is often their second largest balance sheet item and operating cost. But it is not getting the respect it deserves in the C-Suite as enterprises overlook the earnings and optimization potential of capital dedicated to real estate. The experts speak. David Wilk, Colliers: “When nothing seems to help, I go and look at a stonecutter hammering away at his rock … without as much as a crack showing...” (Jacob Riis). Kay Sargent, HOK: “It's important to live it, to experience things and to see things from a different perspective...also important that we move…” (John Le Carre). John Chapman, SAP: “When did Noah build the Ark? Before the rain, before the rain” (Spy Game, 2001 film). Join us for Real Estate and Your Workforce: Optimizing Space Management.

John will talk about his days in Wall Street (he always says he heard enough stories there to fill dozens of books), or his experience working his way up from welfare, or the research he did for Drive (it was a lot!). Plus he used to host his own radio program, so he’s a natural on air. In this crime thriller, history and current events unite through a New York secret society, established in the late 1800s by the country’s elite. The purpose of The Volunteers is to intercede when typical rules of justice cannot. NYPD officer Annie Falcone becomes the latest key component in the ongoing work of The Volunteers. Et Omnia Recta—to make things right. In the late 1800s, a secret society is formed by a captain from Teddy Roosevelt’s Rough Riders with the support of the nation’s leading industrialists and bankers. Over a century later, the tradition continues, in the same saloons and boardrooms of New York City, where it all began. In this crime thriller, where history and current events unite, Woodbury Kane, Jacob Riis, and Roosevelt himself fight the tyranny of Tammany Hall in the first mission of the Volunteers during the turn of the last century. In today’s New York, the descendants of the Volunteers recruit Annie Falcone, a New York police officer, who takes the oath: Et Omnia Recta. She is to provide protection to one man, America’s top technological mind, from his longtime adversary, Sheng, China’s most brutal hacker. Annie is unaware that she’s merely a decoy to draw Sheng out for the hit squad that was sent ahead of her. Her instincts alone will be the force behind the success or failure of the mission. Like so many other Volunteers before her, Annie’s survival depends upon her courage, her skill, and her DRIVE. Tags: computer hackers, crime thriller, hi-tech, historical thriller, justice, Martha's Vineyard, New York City, secret society, white collar crime

 (00:57) Danmarks største virksomhed, AP. Møller-Mærsk, står midt i den største transformation i dansk erhvervslivs historie. Den adm. direktør Søren Skou, der overtog chefposten i 2016, har sat sig for at slanke det enorme konglomerat og fokusere på shippingforretningen. Men indtil videre går intet rigtigt som planlagt. Og investorerne er skuffede.(08:00) Ny boss, nyt katastroferegnskab. Det er bundlinjen i Falck-koncernen, der er faldet dybt fra tinderne. Den adm. direktør Jacob Riis har netop afleveret et blodrødt regnskab med en lussing på 3,6 mia. kr. I flere år har Falck knap tjent penge. Men kan Riis vende skibet, efter at den fyrede direktør, Allan Søgaard Larsen, nærmest opbyggede en personkult om sig selv?(14:00) En rådden bonuskultur sniger sig frem i det offentlige djøfokrati. I det skrantende statlige selskab, Banedanmark, får hele direktionen bonusser. På Christiansborg belønner man i forvejen højtlønnede spindoktorer. Og i Region Hovedstaden har man givet 100.000 kr. til chefen, der var ansvarlig for at implementere den måske værste offentlige it-skandale i nyere tid, Sundhedsplatformen. En beskæmmende mangel på respekt for andre folks penge, lyder det i studiet.I studiet kommentator Anders Heide Mortensen og virksomhedsredaktør Søren Linding. Vært: Debatredaktør Magnus Barsøe.  

The old saloons and dance halls of the Bowery are familiar to anyone with a love of New York City history, their debauched and surly reputations appealing in a prurient way, a reminder of a time of great abandon. The Bowery bars and lounges of today often try to emulate the past in demeanor and decor. (Although nobody was drinking expensive bespoke cocktails back in the day.) But the dance hall at 295 Bowery, the loathsome establishment owned by John McGurk, was not a place to admire. It was the worst of the worst, a dive where criminal activity thrived alongside bawdy can-can dancers and endless pours of putrid booze. In early March of 1899, a woman named Bess Levery climbed to one of the top floors of McGurk's -- floors given over to illegal behavior -- and killed herself by drinking carbolic acid. Within a week, two more women had ventured to McGurk's, attempting the same dire deed. By the end of 1899, the dance hall had received a truly grim reputation, and its proprietor, capitalizing on its reputation, began calling his joint McGurk's Suicide Hall. What happened to the Bowery, once the location of fashionable homes and theaters, that such a despicable place could thrive -- mere blocks from police headquarters? This is the history of a truly dark place and the forces of reform that managed to finally shut it down. FEATURING: Theodore Roosevelt, Jacob Riis, Charles Parkhurst and some disreputable fellows by the names of Eat Em Up McManus and Short Change Charley. This episode is sponsored by TNT’s new limited series The Alienist. https://thealienist.com/ Support the show.

In this everyday hero episode of Humdaddy History, a man named Jacob Riis will be the focus.  As a journalist living in New York City in the late 1800’s, Riis will shed light on the deplorable living conditions many immigrants suffered in while trying to make new lives in a new country.  Riis, himself an immigrant to America in 1870, is a person with a true rags to riches story and a great example of how America offers the opportunity for people to do great things.

"Virkeligheden er vokset Falck over hovedet. Der har været nul synergier for Falck i at samle ambulanceselskaber. Nul.” Sådan lød ordene fra topchefen i det skrantede Falck, Jacob Riis i Berlingske forleden. Det var en syngende lussing til opkøbsmanien hos den tidligere direktør, Allan Søgaard Larsen, der blev smidt på porten i slutningen af 2016. Det er reelt sidste udkald for Falck, lyder dommen.Regeringen vil udskille og lave en delvis privatisering af de københavnske S-tog. Men risikerer regeringen at lave en ny Post Nord ved at privatisere DSBs mest lukrative ben? Der ligger en klar skatteaftale i skuffen. Nej, der gør ikke. Det politiske slagsmål om den ventede skattereform ligner et absurd teater. Hvis det havde været en virksomhed, var der faldet et par fyresedler. Spørgsmålet er, om statsministeren ikke snart bør gøre netop det: skære regeringen til.Deltagere: Virksomhedsredaktør, Søren Linding og kommentator Anders Heide Mortensen. Vært: Debatredaktør Magnus Barsøe.

Nomadland: Surviving America in the Twenty-First Century (W.W. Norton & Company) In recent years, many Americans have had to face tough new realities in the midst of massive changes in the economy and a widening wealth gap. One particularly hard-hit demographic is senior citizens, a proportion of whom saw their stable middle-class lives disappear in the wake of the Great Recession and suddenly, in their retirement years, found themselves in need of a job in a new economy low on steady manufacturing and retail jobs and high on short-term seasonal labor. As a result, to survive they join an expanding group of modern nomads: men and women who have given up the stability—and costs—of a home life and have hit the road in RVs, campervans, and trailers. In Nomadland: Surviving America in the Twenty-First Century, award-winning journalist Jessica Bruder delivers a comprehensive and compelling portrait of this set of fighters, idealists, and adventurers trying to carve out a peripatetic existence. “Millions of Americans are wrestling with the impossibility of a traditional middle-class existence,” writes Bruder. “In the widening gap between credits and debits hangs a question: What parts of this life are you willing to give up, so you can keep on living?” The answer, Bruder finds, can vary tremendously, but for those who abdicate thecomforts of home for life on the road, there is both risk and reward in the undertaking, as well as an affirming side effect: an eclectic community that comes together both online and in person to commiserate over the struggles of living on the road, to tell jokes and share puns (their vans get names like “Vansion,” “Van Go,” “DonoVan,” and “Vantucket”), and to support one another in their alternative lifestyles. They work for employers seeking them out for low-wage seasonal gigs, from picking fruit to staffing roadside stalls that sell Halloween pumpkins, Christmas trees, or Fourth of July fireworks; scrubbing toilets in National Forest campgrounds; guarding the gates of Texas oil fields and running the rides at theme parks. (Adventureland in Altoona, Iowa, made headlines last year after one workamper, a former pastor in his sixties, was killed in an on-the- job accident.) And some serve the community, by blogging or by arranging places to gather, organizing teach-ins and potluck meals. To write this affecting book, Bruder immersed herself in this diverse community, buying a van she dubbed “Halen” and driving more than 15,000 miles over the course of two years, meeting modern nomads. She worked alongside them in Amazon’s CamperForce team of low-wage, seasonal workers at the company’s fulfillment centers and at the grueling annual sugar beet harvest in North Dakota. And she followed them through stints of precarious employment in national parks, where they served as campground custodians in exchange for a place to park their houses-on- wheels and a near-minimum wage. As Bruder discovers, much of the population of Nomadland is made up of resourceful Americans with a strong spirit of independence, and many of them are single women, as well as senior citizens, reflecting some of the hardest-hit members of the middle class. They gather in places like Quartzsite, Arizona, where the land is vast and available, and the local authorities are generally tolerant of long-term campers and their vehicles. But these modern nomads can also be found living in Walmart parking lots, and even on city streets, hoping that no police officer will come knocking. On her travels Bruder meets a fascinating collective of colorful itinerants, people like Linda, a 65-year- old grandmother who lives in a trailer called “the Squeeze Inn,” and LaVonne, a 67-year- old former journalist who “found her people” among the nomads, “a ragtag bunch of misfits who surrounded me with love and acceptance.” They all have a story, a clear reason for their transition from middle-class lives to the open road, for living out of a traveling box, for driving and working and persevering in a permanent state of flux in a world where homelessness is frowned upon, if not actually considered criminal behavior. Elegantly crafted and compassionate in its approach, Nomadland is a singular work of in-depth narrative journalism, a view from the inside of the new American heartland—a land without a physical center, scattered across the country, in nearly constant motion. Praise for Nomadland “What photographer Jacob Riis did for the tenement poor in How the Other Half Lives (1890) and what novelist Upton Sinclair did for stockyard workers in The Jungle (1906), journalist Bruder now does for a segment of today’s older Americans forced to eke out a living as migrant workers. . . . [A] powerhouse of a book. . . . Visceral and haunting reporting.”—Booklist, STARRED review “Excellent. . . . Engaging, highly relevant immersion journalism.”—Kirkus Reviews, STARRED review “A must-read that is simultaneously hopeless and uplifting and certainly unforgettable.”—Library Journal, STARRED review “Tracing individuals throughout their journeys from coast to coast, Bruder conveys the phenomenon’s human element, making this sociological study intimate, personal, and entertaining, even as the author critiques the economic factors behind the trend.”—Publishers Weekly “People who thought the 2008 financial collapse was over a long time ago need to meet the people Jessica Bruder got to know in this scorching, beautifully written, vivid, disturbing (and occasionally wryly funny) book. Nomadland is a testament both to the generosity and creativity of the victims of our modern-medieval economy, hidden in plain sight, and to the blunt-end brutality that put them there. Is this the best the wealthiest nation on earth can do for those who’ve already done so much?”—Rebecca Solnit, author of The Mother of All Questions “In the early twentieth century, men used to ride the rails in search of work, sharing camps at night. Today, as Bruder brilliantly reports, we have a new class of nomadic workers who travel in their RVs from one short-term job to another. There’s a lot to cringe at here—from low pay and physically exhausting work to constant insecurity. But surprisingly, Nomadland also offers its residents much-needed camaraderie and adventure, which makes this book a joy to read.”—Barbara Ehrenreich, author of Nickel and Dimed “The campsite as the home of last resort, the RV used not for vacation but for survival: these are the makings of a new dystopia. Nomadland is a smart road book for the new economy, full of conviviality and dark portent.”—Ted Conover, author of Rolling Nowhere and Immersion Jessica Bruder is an award-winning journalist whose work focuses on subcultures and the dark corners of the economy. She teaches at the Columbia School of Journalism and is the author of Burning Book.

, please? All feedback greatly appreciated. Thank you.  Here 's speaks with Jessica Bruder  about her book, . In this, tells the stories of these nomadic laborers navigating a changing economic landscape for America’s retirees. A new labor force is growing across the country: “workampers,” older Americans who have turned to short-term transient work when Social Security and their retirement cushions have fallen short.  In its review, Kirkus stated that "What photographer Jacob Riis did for the tenement poor in How the Other Half Lives (1890) and what novelist Upton Sinclair did for stockyard workers in The Jungle (1906), journalist Bruder now does for a segment of today’s older Americans forced to eke out a living as migrant workers." Jessica Bruder is an award-winning journalist whose work focuses on subcultures and the dark corners of the economy. She has written for Harper’s, the New York Times and the Washington Post. Bruder teaches narrative writing at the Columbia School of Journalism.

This week on StoryWeb: Theodore Dreiser’s novel Sister Carrie. In 1899, as the soon-to-be-novelist Theodore Dreiser was starting work on Sister Carrie, he was also working on two articles about America’s up-and-coming photographer Alfred Stieglitz. Impressed by Stieglitz’s realistic photography, Dreiser used similar techniques in Sister Carrie, creating “word pictures” to describe city scenes in both Chicago and New York. Relying on photographic elements in these passages, Dreiser emphasized the weather, qualities of light and darkness, and the spectacle aspect of the scenes, thus underlining the stark reality being presented. Born in 1871 in Terre Haute, Indiana, Dreiser worked until 1899 as a newspaper reporter in Chicago, St. Louis, Toledo, Pittsburgh, and New York and then moved on to magazine work. The amount of work he produced for magazines was phenomenal, with 120 pieces appearing in a three-year period. Much of this journalistic work was not of high quality, later earning Dreiser the reputation of being a “hack” writer. But many of the sketches he turned out for both magazines and newspapers evocatively captured city life during the Gilded Age. He brought all this – his love of the emerging field of photography and his fascination with the city – into his creation of his 1900 novel, Sister Carrie. The story of a young Wisconsin woman who heads to the big city to make her mark on the world, the novel is just as much about the two cities it presents: Chicago and New York. Picture after picture of city scenes unfold in the narrative. Many of Dreiser’s word pictures bring to vivid life the cold, snow, and rain – the general gloom and bleakness such unpleasant elements bring. Often these scenes are heavy in their use of black and white, as though the weather had stripped the city of its color. Early in the novel, Dreiser describes Chicago this way: “Once the bright days of summer pass by, a city takes on that sombre garb of grey, wrapt in which it goes about its labours during the long winter. Its endless buildings look grey, its sky and its streets assume a sombre hue; the scattered, leafless trees and wind-blown dust and paper but add to the general solemnity of color.” Similarly, near the end of the novel, Dreiser describes New York City: Already, at four o’clock, the sombre hue of night was thickening the air. A heavy snow was falling – a fine picking, whipping snow, borne forward by a swift wind in long, thin lines. The streets were bedded with it – six inches of cold, soft carpet, churned to a dirty brown by the crush of teams and the feet of men. Along Broadway men picked their way in ulsters and umbrellas. Along the Bowery, men slouched through it with collars and hats pulled over their ears. In the former thoroughfare business men and travelers were making for comfortable hotels. In the latter, crowds on cold errands shifted past dingy stores, in the deep recesses of which lights were already gleaming. There were early lights in the cable cars, whose usual clatter was reduced by the mantle of the wheels. The whole city was muffled by this fast-thickening mantle. With these winter scenes, one can’t help but think of such Stieglitz photographs as The Terminal and Winter, Fifth Avenue, both taken in 1893. So connected are Dreiser and Steiglitz, in fact, that Winter, Fifth Avenue graces the cover of the Norton Critical Edition of Sister Carrie. (If you want a hard copy, this is by all means the version to buy!) In his writings about his approach to fiction, Dreiser said that “True Art Speaks Plainly” (the title of one of his essays). Many years later in an interview, he said that an author needs to be a “sensitive mechanism” so that he can respond to all the life presented to his eyes. “The business of the writer,” he said, “is to hold a mirror up to nature.” Dreiser did that so well for the cities he knew and the people who lived and died in them. To learn more about Dreiser’s life and work, visit Penn Libraries’ Dreiser Web Source, which includes a virtual exhibit on Sister Carrie. I don’t want to give away the intricate and sometimes hair-raising plot of Sister Carrie, but I will say that the Gilded Age is presented in all its gory glory in the rise of its heroine, Carrie Meeber, and the fall of its antihero, Hurstwood. Sister Carrie – named by The Guardian as one of the best 100 novels ever – is a must-read. Visit thestoryweb.com/dreiser for links to all these resources. Listen now as I read Chapter XLV of Sister Carrie. Here, in describing the downfall of Carrie’s former lover, Hurstwood, Dreiser drew heavily on a piece he wrote in 1899 for Demorest’s magazine: “Curious Shifts of the Poor.” It will remind you of Jacob Riis’s photos and writing in How the Other Half Lives as well as Stephen Crane’s magazine sketch “An Experiment in Misery.”     CHAPTER XLV of Theodore Dreiser’s novel Sister Carrie: “CURIOUS SHIFTS OF THE POOR”   The gloomy Hurstwood, sitting in his cheap hotel, where he had taken refuge with seventy dollars--the price of his furniture-- between him and nothing, saw a hot summer out and a cool fall in, reading.  He was not wholly indifferent to the fact that his money was slipping away.  As fifty cents after fifty cents were paid out for a day's lodging he became uneasy, and finally took a cheaper room--thirty-five cents a day--to make his money last longer.  Frequently he saw notices of Carrie.  Her picture was in the "World" once or twice, and an old "Herald" he found in a chair informed him that she had recently appeared with some others at a benefit for something or other.  He read these things with mingled feelings.  Each one seemed to put her farther and farther away into a realm which became more imposing as it receded from him.  On the billboards, too, he saw a pretty poster, showing her as the Quaker Maid, demure and dainty.  More than once he stopped and looked at these, gazing at the pretty face in a sullen sort of way.  His clothes were shabby, and he presented a marked contrast to all that she now seemed to be.           Somehow, so long as he knew she was at the Casino, though he had never any intention of going near her, there was a subconscious comfort for him--he was not quite alone.  The show seemed such a fixture that, after a month or two, he began to take it for granted that it was still running.  In September it went on the road and he did not notice it.  When all but twenty dollars of his money was gone, he moved to a fifteen-cent lodging-house in the Bowery, where there was a bare lounging-room filled with tables and benches as well as some chairs.  Here his preference was to close his eyes and dream of other days, a habit which grew upon him.  It was not sleep at first, but a mental hearkening back to scenes and incidents in his Chicago life.  As the present became darker, the past grew brighter, and all that concerned it stood in relief.        He was unconscious of just how much this habit had hold of him until one day he found his lips repeating an old answer he had made to one of his friends.  They were in Fitzgerald and Moy's. It was as if he stood in the door of his elegant little office, comfortably dressed, talking to Sagar Morrison about the value of South Chicago real estate in which the latter was about to invest.        "How would you like to come in on that with me?" he heard Morrison say.        "Not me," he answered, just as he had years before.  "I have my hands full now."        The movement of his lips aroused him.  He wondered whether he had really spoken.  The next time he noticed anything of the sort he really did talk.        "Why don't you jump, you bloody fool?" he was saying.  "Jump!"        It was a funny English story he was telling to a company of actors.  Even as his voice recalled him, he was smiling.  A crusty old codger, sitting near by, seemed disturbed; at least, he stared in a most pointed way.  Hurstwood straightened up.  The humour of the memory fled in an instant and he felt ashamed.  For relief, he left his chair and strolled out into the streets.        One day, looking down the ad. columns of the "Evening World," he saw where a new play was at the Casino.  Instantly, he came to a mental halt.  Carrie had gone! He remembered seeing a poster of her only yesterday, but no doubt it was one left uncovered by the new signs.  Curiously, this fact shook him up.  He had almost to admit that somehow he was depending upon her being in the city. Now she was gone.  He wondered how this important fact had skipped him.  Goodness knows when she would be back now. Impelled by a nervous fear, he rose and went into the dingy hall,where he counted his remaining money, unseen.  There were but ten dollars in all.        He wondered how all these other lodging-house people around him got along.  They didn't seem to do anything.  Perhaps they begged--unquestionably they did.  Many was the dime he had given to such as they in his day.  He had seen other men asking for money on the streets.  Maybe he could get some that way.  There was horror in this thought.            Sitting in the lodging-house room, he came to his last fifty cents.  He had saved and counted until his health was affected. His stoutness had gone.  With it, even the semblance of a fit in his clothes.  Now he decided he must do something, and, walking about, saw another day go by, bringing him down to his last twenty cents--not enough to eat for the morrow.        Summoning all his courage, he crossed to Broadway and up to the Broadway Central hotel.  Within a block he halted, undecided.  A big, heavy-faced porter was standing at one of the side entrances, looking out.  Hurstwood purposed to appeal to him. Walking straight up, he was upon him before he could turn away.        "My friend," he said, recognising even in his plight the man's inferiority, "is there anything about this hotel that I could get to do?"        The porter stared at him the while he continued to talk.        "I'm out of work and out of money and I've got to get something,-- it doesn't matter what.  I don't care to talk about what I've been, but if you'd tell me how to get something to do, I'd be much obliged to you.  It wouldn't matter if it only lasted a few days just now.  I've got to have something."        The porter still gazed, trying to look indifferent.  Then, seeing that Hurstwood was about to go on, he said:        "I've nothing to do with it.  You'll have to ask inside."        Curiously, this stirred Hurstwood to further effort.        "I thought you might tell me."        The fellow shook his head irritably.        Inside went the ex-manager and straight to an office off the clerk's desk.  One of the managers of the hotel happened to be there.  Hurstwood looked him straight in the eye.        "Could you give me something to do for a few days?" he said. "I'm in a position where I have to get something at once."        The comfortable manager looked at him, as much as to say: "Well, I should judge so."        "I came here," explained Hurstwood, nervously, "because I've been a manager myself in my day.  I've had bad luck in a way but I'm not here to tell you that.  I want something to do, if only for a week."        The man imagined he saw a feverish gleam in the applicant's eye.        "What hotel did you manage?" he inquired.        "It wasn't a hotel," said Hurstwood.  "I was manager of Fitzgerald and Moy's place in Chicago for fifteen years."        "Is that so?" said the hotel man.  "How did you come to get out of that?"        The figure of Hurstwood was rather surprising in contrast to the fact.        "Well, by foolishness of my own.  It isn't anything to talk about now.  You could find out if you wanted to.  I'm 'broke' now and, if you will believe me, I haven't eaten anything to-day."        The hotel man was slightly interested in this story.  He could hardly tell what to do with such a figure, and yet Hurstwood's earnestness made him wish to do something.        "Call Olsen," he said, turning to the clerk.        In reply to a bell and a disappearing hall-boy, Olsen, the head porter, appeared.        "Olsen," said the manager, "is there anything downstairs you could find for this man to do? I'd like to give him something."        "I don't know, sir," said Olsen.  "We have about all the help we need.  I think I could find something, sir, though, if you like."        "Do.  Take him to the kitchen and tell Wilson to give him something to eat."        "All right, sir," said Olsen.        Hurstwood followed.  Out of the manager's sight, the head porter's manner changed.        "I don't know what the devil there is to do," he observed.        Hurstwood said nothing.  To him the big trunk hustler was a subject for private contempt.        "You're to give this man something to eat," he observed to the cook.        The latter looked Hurstwood over, and seeing something keen and intellectual in his eyes, said:        "Well, sit down over there."        Thus was Hurstwood installed in the Broadway Central, but not for long.  He was in no shape or mood to do the scrub work that exists about the foundation of every hotel.  Nothing better offering, he was set to aid the fireman, to work about the basement, to do anything and everything that might offer. Porters, cooks, firemen, clerks--all were over him.  Moreover his appearance did not please these individuals--his temper was toolonely--and they made it disagreeable for him.        With the stolidity and indifference of despair, however, he endured it all, sleeping in an attic at the roof of the house, eating what the cook gave him, accepting a few dollars a week, which he tried to save.  His constitution was in no shape to endure.        One day the following February he was sent on an errand to a large coal company's office.  It had been snowing and thawing and the streets were sloppy.  He soaked his shoes in his progress and came back feeling dull and weary.  All the next day he felt unusually depressed and sat about as much as possible, to the irritation of those who admired energy in others.        In the afternoon some boxes were to be moved to make room for new culinary supplies.  He was ordered to handle a truck. Encountering a big box, he could not lift it.        "What's the matter there?" said the head porter.  "Can't you handle it?"        He was straining to lift it, but now he quit.        "No," he said, weakly.        The man looked at him and saw that he was deathly pale.        "Not sick, are you?" he asked. "I think I am," returned Hurstwood.        "Well, you'd better go sit down, then."        This he did, but soon grew rapidly worse.  It seemed all he could do to crawl to his room, where he remained for a day.        "That man Wheeler's sick," reported one of the lackeys to the night clerk.        "What's the matter with him?"        "I don't know.  He's got a high fever."        The hotel physician looked at him.        "Better send him to Bellevue," he recommended.  "He's got pneumonia."        Accordingly, he was carted away.        In three weeks the worst was over, but it was nearly the first of May before his strength permitted him to be turned out.  Then he was discharged.        No more weakly looking object ever strolled out into the spring sunshine than the once hale, lusty manager.  All his corpulency had fled.  His face was thin and pale, his hands white, his body flabby.  Clothes and all, he weighed but one hundred and thirty- five pounds.  Some old garments had been given him--a cheap brown coat and misfit pair of trousers.  Also some change and advice. He was told to apply to the charities.        Again he resorted to the Bowery lodging-house, brooding over where to look.  From this it was but a step to beggary.        "What can a man do?" he said.  "I can't starve."        His first application was in sunny Second Avenue.  A well-dressed man came leisurely strolling toward him out of Stuyvesant Park. Hurstwood nerved himself and sidled near.        "Would you mind giving me ten cents?" he said, directly.  "I'm in a position where I must ask some one."      The man scarcely looked at him, fished in his vest pocket and took out a dime.        "There you are," he said.        "Much obliged," said Hurstwood, softly, but the other paid no more attention to him.        Satisfied with his success and yet ashamed of his situation, he decided that he would only ask for twenty-five cents more, since that would be sufficient.  He strolled about sizing up people, but it was long before just the right face and situation arrived. When he asked, he was refused.  Shocked by this result, he took an hour to recover and then asked again.  This time a nickel was given him.  By the most watchful effort he did get twenty cents more, but it was painful.        The next day he resorted to the same effort, experiencing a variety of rebuffs and one or two generous receptions.  At last it crossed his mind that there was a science of faces, and that a man could pick the liberal countenance if he tried.        It was no pleasure to him, however, this stopping of passers-by. He saw one man taken up for it and now troubled lest he should be arrested.  Nevertheless, he went on, vaguely anticipating that indefinite something which is always better.        It was with a sense of satisfaction, then, that he saw announced one morning the return of the Casino Company, "with Miss Carrie Madenda." He had thought of her often enough in days past.  How successful she was--how much money she must have! Even now, however, it took a severe run of ill luck to decide him to appeal to her.  He was truly hungry before he said:        "I'll ask her.  She won't refuse me a few dollars."        Accordingly, he headed for the Casino one afternoon, passing it several times in an effort to locate the stage entrance.  Then he sat in Bryant Park, a block away, waiting.  "She can't refuse to help me a little," he kept saying to himself.        Beginning with half-past six, he hovered like a shadow about the Thirty-ninth Street entrance, pretending always to be a hurrying pedestrian and yet fearful lest he should miss his object.  He was slightly nervous, too, now that the eventful hour had arrived; but being weak and hungry, his ability to suffer was modified.  At last he saw that the actors were beginning to arrive, and his nervous tension increased, until it seemed as if he could not stand much more.        Once he thought he saw Carrie coming and moved forward, only to see that he was mistaken.        "She can't be long, now," he said to himself, half fearing to encounter her and equally depressed at the thought that she might have gone in by another way.  His stomach was so empty that it ached.        Individual after individual passed him, nearly all well dressed, almost all indifferent.  He saw coaches rolling by, gentlemen passing with ladies--the evening's merriment was beginning in this region of theatres and hotels.        Suddenly a coach rolled up and the driver jumped down to open the door.  Before Hurstwood could act, two ladies flounced across the broad walk and disappeared in the stage door.  He thought he saw Carrie, but it was so unexpected, so elegant and far away, he could hardly tell.  He waited a while longer, growing feverish with want, and then seeing that the stage door no longer opened, and that a merry audience was arriving, he concluded it must have been Carrie and turned away.        "Lord," he said, hastening out of the street into which the more fortunate were pouring, "I've got to get something."           At that hour, when Broadway is wont to assume its most interesting aspect, a peculiar individual invariably took his stand at the corner of Twenty-sixth Street and Broadway--a spot which is also intersected by Fifth Avenue.  This was the hour when the theatres were just beginning to receive their patrons. Fire signs announcing the night's amusements blazed on every hand.  Cabs and carriages, their lamps gleaming like yellow eyes,pattered by.  Couples and parties of three and four freely mingled in the common crowd, which poured by in a thick stream, laughing and jesting.  On Fifth Avenue were loungers--a few wealthy strollers, a gentleman in evening dress with his lady on his arm, some club-men passing from one smoking-room to another. Across the way the great hotels showed a hundred gleaming windows, their cafes and billiard-rooms filled with acomfortable, well-dressed, and pleasure-loving throng.  All about was the night, pulsating with the thoughts of pleasure and exhilaration--the curious enthusiasm of a great city bent upon finding joy in a thousand different ways.        This unique individual was no less than an ex-soldier turned religionist, who, having suffered the whips and privations of our peculiar social system, had concluded that his duty to the God which he conceived lay in aiding his fellow-man.  The form of aid which he chose to administer was entirely original with himself. It consisted of securing a bed for all such homeless wayfarers as should apply to him at this particular spot, though he had scarcely the wherewithal to provide a comfortable habitation for himself.  Taking his place amid this lightsome atmosphere, he would stand, his stocky figure cloaked in a great cape overcoat, his head protected by a broad slouch hat, awaiting the applicants who had in various ways learned the nature of his charity.  For a while he would stand alone, gazing like any idler upon an ever- fascinating scene.  On the evening in question, a policeman passing saluted him as "captain," in a friendly way.  An urchin who had frequently seen him before, stopped to gaze.  All others took him for nothing out of the ordinary, save in the matter of dress, and conceived of him as a stranger whistling and idling for his own amusement.        As the first half-hour waned, certain characters appeared.  Here and there in the passing crowds one might see, now and then, a loiterer edging interestedly near.  A slouchy figure crossed the opposite corner and glanced furtively in his direction.  Another came down Fifth Avenue to the corner of Twenty-sixth Street, took a general survey, and hobbled off again.  Two or three noticeable Bowery types edged along the Fifth Avenue side of Madison Square, but did not venture over.  The soldier, in his cape overcoat, walked a short line of ten feet at his corner, to and fro,indifferently whistling.          As nine o'clock approached, some of the hubbub of the earlier hour passed.  The atmosphere of the hotels was not so youthful. The air, too, was colder.  On every hand curious figures were moving--watchers and peepers, without an imaginary circle, which they seemed afraid to enter--a dozen in all.  Presently, with the arrival of a keener sense of cold, one figure came forward.  It crossed Broadway from out the shadow of Twenty-sixth Street, and, in a halting, circuitous way, arrived close to the waiting figure.  There was something shamefaced or diffident about themovement, as if the intention were to conceal any idea of stopping until the very last moment.  Then suddenly, close to the soldier, came the halt.        The captain looked in recognition, but there was no especial greeting.  The newcomer nodded slightly and murmured something like one who waits for gifts.  The other simply motioned to-ward the edge of the walk.        "Stand over there," he said.        By this the spell was broken.  Even while the soldier resumed his short, solemn walk, other figures shuffled forward.  They did not so much as greet the leader, but joined the one, sniffling and hitching and scraping their feet.        "Gold, ain't it?"        "I'm glad winter's over."        "Looks as though it might rain."        The motley company had increased to ten.  One or two knew each other and conversed.  Others stood off a few feet, not wishing to be in the crowd and yet not counted out.  They were peevish, crusty, silent, eying nothing in particular and moving their feet.        There would have been talking soon, but the soldier gave them no chance.  Counting sufficient to begin, he came forward.        "Beds, eh, all of you?"        There was a general shuffle and murmur of approval.        "Well, line up here.  I'll see what I can do.  I haven't a cent myself."        They fell into a sort of broken, ragged line.  One might see, now, some of the chief characteristics by contrast.  There was a wooden leg in the line.  Hats were all drooping, a group that would ill become a second-hand Hester Street basement collection. Trousers were all warped and frayed at the bottom and coats worn and faded.  In the glare of the store lights, some of the faces looked dry and chalky; others were red with blotches and puffed in the cheeks and under the eyes; one or two were rawboned and reminded one of railroad hands.  A few spectators came near, drawn by the seemingly conferring group, then more and more, and quickly there was a pushing, gaping crowd.  Some one in the line began to talk.        "Silence!" exclaimed the captain.  "Now, then, gentlemen, these men are without beds.  They have to have some place to sleep to- night.  They can't lie out in the streets.  I need twelve cents to put one of them to bed.  Who will give it to me?"        No reply.        "Well, we'll have to wait here, boys, until some one does. Twelve cents isn't so very much for one man."        "Here's fifteen," exclaimed a young man, peering forward with strained eyes.  "It's all I can afford."        "All right.  Now I have fifteen.  Step out of the line," and seizing one by the shoulder, the captain marched him off a little way and stood him up alone.        Coming back, he resumed his place and began again.        "I have three cents left.  These men must be put to bed somehow. There are"--counting--"one, two, three, four, five, six, seven, eight, nine, ten, eleven, twelve men.  Nine cents more will put the next man to bed; give him a good, comfortable bed for the night.  I go right along and look after that myself.  Who will give me nine cents?"        One of the watchers, this time a middle-aged man, handed him a five-cent piece.        "Now, I have eight cents.  Four more will give this man a bed. Come, gentlemen.  We are going very slow this evening.  You all have good beds.  How about these?"        "Here you are," remarked a bystander, putting a coin into his hand.        "That," said the captain, looking at the coin, "pays for two beds for two men and gives me five on the next one.  Who will give me seven cents more?"        "I will," said a voice.        Coming down Sixth Avenue this evening, Hurstwood chanced to cross east through Twenty-sixth Street toward Third Avenue.  He was wholly disconsolate in spirit, hungry to what he deemed an almost mortal extent, weary, and defeated.  How should he get at Carrie now? It would be eleven before the show was over.  If she came in a coach, she would go away in one.  He would need to interrupt under most trying circumstances.  Worst of all, he was hungry and weary, and at best a whole day must intervene, for he had not heart to try again to-night.  He had no food and no bed.        When he neared Broadway, he noticed the captain's gathering of wanderers, but thinking it to be the result of a street preacher or some patent medicine fakir, was about to pass on.  However, in crossing the street toward Madison Square Park, he noticed the line of men whose beds were already secured, stretching out from the main body of the crowd.  In the glare of the neighbouring electric light he recognised a type of his own kind--the figures whom he saw about the streets and in the lodging-houses, drifting in mind and body like himself.  He wondered what it could be and turned back.        There was the captain curtly pleading as before.  He heard with astonishment and a sense of relief the oft-repeated words: "These men must have a bed." Before him was the line of unfortunates whose beds were yet to be had, and seeing a newcomer quietly edge up and take a position at the end of the line, he decided to do likewise.  What use to contend? He was weary to-night.  It was a simple way out of one difficulty, at least.  To-morrow, maybe, he would do better.        Back of him, where some of those were whose beds were safe, a relaxed air was apparent.  The strain of uncertainty being removed, he heard them talking with moderate freedom and some leaning toward sociability.  Politics, religion, the state of the government, some newspaper sensations, and the more notorious facts the world over, found mouthpieces and auditors there. Cracked and husky voices pronounced forcibly upon odd matters.Vague and rambling observations were made in reply.        There were squints, and leers, and some dull, ox-like stares from those who were too dull or too weary to converse.        Standing tells.  Hurstwood became more weary waiting.  He thought he should drop soon and shifted restlessly from one foot to the other.  At last his turn came.  The man ahead had been paid for and gone to the blessed line of success.  He was now first, and already the captain was talking for him.        "Twelve cents, gentlemen--twelve cents puts this man to bed.  He wouldn't stand here in the cold if he had any place to go."        Hurstwood swallowed something that rose to his throat.  Hunger and weakness had made a coward of him.        "Here you are," said a stranger, handing money to the captain.        Now the latter put a kindly hand on the ex-manager's shoulder. "Line up over there," he said.        Once there, Hurstwood breathed easier.  He felt as if the world were not quite so bad with such a good man in it.  Others seemed to feel like himself about this.        "Captain's a great feller, ain't he?" said the man ahead--a little, woebegone, helpless-looking sort of individual, who looked as though he had ever been the sport and care of fortune.        "Yes," said Hurstwood, indifferently.        "Huh! there's a lot back there yet," said a man farther up, leaning out and looking back at the applicants for whom the captain was pleading.        "Yes.  Must be over a hundred to-night," said another.        "Look at the guy in the cab," observed a third.        A cab had stopped.  Some gentleman in evening dress reached out a bill to the captain, who took it with simple thanks and turned away to his line.  There was a general craning of necks as the jewel in the white shirt front sparkled and the cab moved off. Even the crowd gaped in awe.        "That fixes up nine men for the night," said the captain, counting out as many of the line near him.  "Line up over there. Now, then, there are only seven.  I need twelve cents."        Money came slowly.  In the course of time the crowd thinned out to a meagre handful.  Fifth Avenue, save for an occasional cab or foot passenger, was bare.  Broadway was thinly peopled with pedestrians.  Only now and then a stranger passing noticed the small group, handed out a coin, and went away, unheeding.        The captain remained stolid and determined.  He talked on, very slowly, uttering the fewest words and with a certain assurance, as though he could not fail.        "Come; I can't stay out here all night.  These men are getting tired and cold.  Some one give me four cents."        There came a time when he said nothing at all.  Money was handed him, and for each twelve cents he singled out a man and put him in the other line.  Then he walked up and down as before, looking at the ground.        The theatres let out.  Fire signs disappeared.  A clock struck eleven.  Another half-hour and he was down to the last two men.        "Come, now," he exclaimed to several curious observers; "eighteen cents will fix us all up for the night.  Eighteen cents.  I have six.  Somebody give me the money.  Remember, I have to go over to Brooklyn yet to-night.  Before that I have to take these men down and put them to bed.  Eighteen cents."        No one responded.  He walked to and fro, looking down for several minutes, occasionally saying softly: "Eighteen cents." It seemed as if this paltry sum would delay the desired culmination longer than all the rest had.  Hurstwood, buoyed up slightly by the long line of which he was a part, refrained with an effort from groaning, he was so weak.        At last a lady in opera cape and rustling skirts came down Fifth Avenue, accompanied by her escort.  Hurstwood gazed wearily, reminded by her both of Carrie in her new world and of the time when he had escorted his own wife in like manner.        While he was gazing, she turned and, looking at the remarkable company, sent her escort over.  He came, holding a bill in his fingers, all elegant and graceful.        "Here you are," he said.        "Thanks," said the captain, turning to the two remaining applicants.  "Now we have some for to-morrow night," he added.        Therewith he lined up the last two and proceeded to the head, counting as he went.        "One hundred and thirty-seven," he announced.  "Now, boys, line up.  Right dress there.  We won't be much longer about this. Steady, now."        He placed himself at the head and called out "Forward." Hurstwood moved with the line.  Across Fifth Avenue, through Madison Square by the winding paths, east on Twenty-third Street, and down Third Avenue wound the long, serpentine company.  Midnight pedestrians and loiterers stopped and stared as the company passed.  Chatting policemen, at various corners, stared indifferently or nodded to the leader, whom they had seen before.  On Third Avenue they marched, a seemingly weary way, to Eighth Street, where there was a lodginghouse, closed, apparently, for the night.  They were expected, however.        Outside in the gloom they stood, while the leader parleyed within.  Then doors swung open and they were invited in with a "Steady, now."        Some one was at the head showing rooms, so that there was no delay for keys.  Toiling up the creaky stairs, Hurstwood looked back and saw the captain, watching; the last one of the line being included in his broad solicitude.  Then he gathered his cloak about him and strolled out into the night.        "I can't stand much of this," said Hurstwood, whose legs ached him painfully, as he sat down upon the miserable bunk in the small, lightless chamber allotted to him.  "I've got to eat, or I'll die."   

This week on StoryWeb: Alfred Stieglitz’s photographs The Terminal and Winter, Fifth Avenue. In the 1890s, as Alfred Stieglitz was beginning his career, photographers were fighting for artistic recognition. Photographers who wanted to go beyond “mere” journalism or documentary photography had to show their critics the value of their “mechanistic” art. Photographers like Stieglitz were trying to prove to skeptics that the camera could be used not only as a journalistic tool (as Jacob Riis used it in How the Other Half Lives) but that photographs could also have value as art. Stieglitz was unquestionably the leader of the movement to gain artistic recognition for photography. A pioneer in subject matter, technique, and treatment, Stieglitz shot many “firsts,” among them the first snow photograph, Winter, Fifth Avenue (shot in 1893), the first rain photo, A Wet Day on the Boulevard [Paris] (taken in 1894), and the first night shot, Reflections – Night [New York] (created in 1896). In 1897, Stieglitz published Picturesque Bits of New York, a volume of his New York scenes; it sold for the then-whopping price of $15. Stieglitz was concerned with both seeing life as it was and interpreting it morally. Scholar Doris Bry says of him: “To define and fix a moment of reality, to realize the potential of black and white, through photography, fascinated Stieglitz.” But objectivity to Stieglitz was not enough. In a 1908 article in the New York Herald, Stieglitz stressed the importance of the “personal touch” and the “individual expression” of the artist. He said, “I saw what others were doing was to make hard, cold copies of hard, cold subjects in hard, cold light. . . . I did not see why a photograph should not be a work of art, and I studied to make it one.” Though Stieglitz hailed from Hoboken, New Jersey, New York was his adopted city. As Bry says, “he came to love [the city], it became home to him.” Art critic Neil Leonard says, “Stieglitz’s photographs of these years held strong emotional meaning for him, yet they realistically captured . . . the sights, rhythms, and moods of the city.” Two of Stieglitz’s New York photos are particularly compelling to me, both shot in 1893: The Terminal and Winter, Fifth Avenue. Stieglitz said, “From 1893 to 1895 I often walked the streets of New York downtown, near the East River, taking my hand camera with me.” According to The Metropolitan Museum of Art, Stieglitz’s small Folmer and Schwing 4 x 5 plate film camera was “an instrument not considered at the time to be worthy of artistic photography.” Stieglitz threw away his “unwieldy” 8 x 10 view camera and its tripod, choosing the 4 x 5 camera, which, says The Met, “gave [him] greater freedom and mobility to roam the city and respond quickly to the ever-changing street life around him.” The Terminal was captured at the southern end of the Harlem streetcar line, which traveled up and down Fifth Avenue. One day, said Stieglitz, “I found myself in front of the old Post Office. . . . It was extremely cold. Snow lay on the ground. A driver in a rubber coat was watering his steaming car horses. How fortunate the horses seemed, having a human being to tend them. The steaming horses being watered on a cold winter day, the snow-covered streets . . . [expressed] my own sense of loneliness in my own country.” In another description of The Terminal, Stieglitz said, “I used to walk around the streets disconsolately, until one night during a blizzard, I happened to see a man, watering a couple of horse-car horses, and I thought, ‘Well, there at any rate is the human touch; ‘ that made me feel better.” Of the same incident, Stieglitz told biographer Dorothy Norman, “There seemed to me to be something closely related to my deepest feeling in what I saw . . . and I decided to photograph what was within me.” Winter, Fifth Avenue was taken the same year, also with a 4 x 5 box camera. Journalist and novelist Theodore Dreiser, who was heavily influenced by Stieglitz, said of this photograph: “The driving sleet and uncomfortable atmosphere issued out of the picture with uncomfortable persuasion. It had the tone of reality.” What seems to have impressed Dreiser most about Stieglitz’s photography, however, was the huge amount of time and effort Stieglitz took in making the final prints. Patience was necessary at all stages: setting up the scene, working with the negative, making the print. Indeed, according to The Art Story website, Stieglitz “stalked Fifth Avenue for three frigid hours waiting for the perfect moment.” Stieglitz himself told the story this way: On Washington’s birthday in 1893, a great blizzard raged in New York. I stood on a corner of Fifth Avenue, watching the lumbering stagecoaches appear through the blinding snow and move northward on the avenue. The question formed itself: could what I was experiencing, seeing, be put down with the slot plates and lenses available? The light was dim. Knowing that where there is light, one can photograph, I decided to make an exposure. After three hours of standing in the blinding snow, I saw the stagecoach come struggling up the street with the driver lashing his horses onward. At that point, I was nearly out of my head, but I got the exposure I wanted. Often, the negatives produced were discouraging. Such was the case with Winter, Fifth Avenue, the original negative of which was so blurry that a fellow photographer said, “For God’s sake, Stieglitz, throw that thing away.” But Stieglitz focused on a portion of the negative that he felt was usable and managed to manipulate it in the darkroom until he got what he wanted. The result is a stunning photograph indeed. Good overviews of Stieglitz’s work can be found at The Metropolitan Museum of Art website and the PBS American Masters website. The New York Times review of “Alfred Stieglitz New York,” a 2010 exhibit at the Seaport Museum, offers additional insights into Stieglitz’s depictions of his adopted city. Books you might want to add to your collection include Alfred Stieglitz: Masters of Photography Series (which features The Terminal on the cover) and Alfred Stieglitz: Photographs & Writings. Alfred Stieglitz: A Biography offers a comprehensive look at Stieglitz’s immense influence on photography. To explore the artistic connections between Stieglitz and his wife, painter Georgia O’Keeffe, check out Two Lives: A Conversation in Paintings and Photographs – and to learn more about their personal lives, dip into My Faraway One: Selected Letters of Georgia O’Keeffe and Alfred Stieglitz. Visit thestoryweb.com/Stieglitz for links to all these resources and to watch the PBS American Masters episode: “Alfred Stieglitz: The Eloquent Eye.” Tune in next week for an exploration of Stephen Crane and his journalistic essays about New York life during the 1890s.

This week on StoryWeb: Jacob Riis’s book How the Other Half Lives. Photojournalism can be an extraordinarily powerful way to raise the public’s concern about extreme situations. An early pioneer in this realm was Jacob Riis, whose 1890 book, How the Other Half Lives, exposed the underbelly of life in New York City during the Gilded Age, with a particular focus on the Lower East Side. Though Riis has been occasionally criticized for asking some of his subjects to pose for the photographs, the truth of their surroundings and the veracity of the degradation they faced on a daily basis cannot be denied. Along with the photographs is Riis’s text – chapters about the various ethnic groups that lived together on the mean, intensely crowded streets of Manhattan. The book achieved its purpose as it successfully provoked a public outcry about living and working conditions in the slums of New York. Most notably, Theodore Roosevelt, then the city’s police commissioner, answered Riis’s call to address the dire situations in which newly arrived immigrants found themselves. In fact, so taken was Roosevelt with Riis and his work that he dubbed Riis “the most useful citizen of New York” and “the best American I ever knew.” Roosevelt said Riis had “the great gift of making others see what he saw and feel what he felt.” Riis’s book stripped the gilding off the era of extreme wealth and conspicuous consumption to reveal the extreme poverty and squalid living conditions that lay underneath. No longer could upper- and middle-class New Yorkers ignore the “other half” who lived just a few short miles from the Fifth Avenue mansions of the Upper East Side. The title of the book is taken from a quote from French writer François Rabelais: “one half of the world does not know how the other half lives.” Riis himself was an immigrant (he hailed from Denmark) and lived for a time in the slums of the Lower East Side. Getting a job as a police reporter for the New York Tribune, he began to photograph crime scenes to augment his reporting. “I was a writer and a newspaper man,” Riis said, “and I only yelled about the conditions which I saw. My share in the work of the slums has been that. I have not had a ten-thousandth part in the fight, but I have been in it.” In addition to facing charges of staging his photos, Riis also comes in for some criticism for indulging in ethnic slurs and stereotypes in his text. But very importantly, Riis saw that it was the conditions surrounding the immigrants that made their lives wretched – their ill-fated position in New York City was not due to their ethnicity or nationality but to unscrupulous tenement landlords and sweatshop bosses. To learn more about life in the Lower East Side tenements, visit the Tenement Museum online or – better yet! – in person. And to learn more about Riis, take a look at an exhibit from the Library of Congress and the Museum of the City of New York: “Jacob Riis: Revealing How the Other Half Lives” offers a deep exploration of and numerous resources related to this groundbreaking book. An article in the Smithsonian Magazine explains how innovations in flash photography helped Riis in his efforts to use photos as a tool for social reform. Finally, the third episode of Ric Burns’s outstanding series, New York: A Documentary Film, offers a great segment on Riis and his book. If you’re ready to read this book that was so central in the history of U.S. social reform, you can check it out online on the History on the Net website. If you want a hard copy for your collection (highly recommended so that you can pore over the powerful photographs), there’s a special edition you’llwant to check out. And finally if you’re curious about the ways another photographer was chronicling life in New York City at this same time, stay tuned for next week’s StoryWeb episode on Alfred Stieglitz. Visit thestoryweb.com/riis for links to all these resources. Listen now as I read Chapter IV: “The Down Town Back-Alleys.”   Jacob Riis, How the Other Half Lives, Chapter IV: “The Down Town Back-Alleys”   DOWN below Chatham Square, in the old Fourth Ward, where the cradle of the tenement stood, we shall find New York’s Other Half at home, receiving such as care to call and are not afraid. Not all of it, to be sure, there is not room for that; but a fairly representative gathering, representative of its earliest and worst traditions. There is nothing to be afraid of. In this metropolis, let it be understood, there is no public street where the stranger may not go safely by day and by night, provided he knows how to mind his own business and is sober. His coming and going will excite little interest, unless he is suspected of being a truant officer, in which case he will be impressed with the truth of the observation that the American stock is dying out for want of children. If he escapes this suspicion and the risk of trampling upon, or being himself run down by the bewildering swarms of youngsters that are everywhere or nowhere as the exigency and their quick scent of danger direct, he will see no reason for dissenting from that observation. Glimpses caught of the parents watching the youngsters play from windows or open doorways will soon convince him that the native stock is in no way involved.    1       Leaving the Elevated Railroad where it dives under the Brooklyn Bridge at Franklin Square, scarce a dozen steps will take us where we wish to go. With its rush and roar echoing yet in our ears, we have turned the corner from prosperity to poverty. We stand upon the domain of the tenement. In the shadow of the great stone abutments the old Knickerbocker houses linger like ghosts of a departed day. Down the winding slope of Cherry Street—proud and fashionable Cherry Hill that was—their broad steps, sloping roofs, and dormer windows are easily made out; all the more easily for the contrast with the ugly barracks that elbow them right and left. These never had other design than to shelter, at as little outlay as possible, the greatest crowds out of which rent could be wrung. They were the bad after-thought of a heedless day. The years have brought to the old houses unhonored age, a querulous second childhood that is out of tune with the time, their tenants, the neighbors, and cries out against them and against you in fretful protest in every step on their rotten floors or squeaky stairs. Good cause have they for their fretting. This one, with its shabby front and poorly patched roof, what glowing firesides, what happy children may it once have owned? Heavy feet, too often with unsteady step, for the pot-house is next door—where is it not next door in these slums?—have worn away the brown-stone steps since; the broken columns at the door have rotted away at the base. Of the handsome cornice barely a trace is left. Dirt and desolation reign in the wide hallway, and danger lurks on the stairs. Rough pine boards fence off the roomy fire-places—where coal is bought by the pail at the rate of twelve dollars a ton these have no place. The arched gateway leads no longer to a shady bower on the banks of the rushing stream, inviting to day-dreams with its gentle repose, but to a dark and nameless alley, shut in by high brick walls, cheerless as the lives of those they shelter. The wolf knocks loudly at the gate in the troubled dreams that come to this alley, echoes of the day’s cares. A horde of dirty children play about the dripping hydrant, the only thing in the alley that thinks enough of its chance to make the most of it: it is the best it can do. These are the children of the tenements, the growing generation of the slums; this their home. From the great highway overhead, along which throbs the life-tide of two great cities, one might drop a pebble into half a dozen such alleys.    2        One yawns just across the street; not very broadly, but it is not to blame. The builder of the old gateway had no thought of its ever becoming a public thoroughfare. Once inside it widens, but only to make room for a big box-like building with the worn and greasy look of the slum tenement that is stamped alike on the houses and their tenants down here, even on the homeless cur that romps with the children in yonder building lot, with an air of expectant interest plainly betraying the forlorn hope that at some stage of the game a meat-bone may show up in the role of “It.” Vain hope, truly! Nothing more appetizing than a bare-legged ragamuffin appears. Meatbones, not long since picked clean, are as scarce in Blind Man’s Alley as elbow-room in any Fourth Ward back-yard. The shouts of the children come hushed over the housetops, as if apologizing for the intrusion. Few glad noises make this old alley ring. Morning and evening it echoes with the gentle, groping tap of the blind man’s staff as he feels his way to the street. Blind Man’s Alley bears its name for a reason. Until little more than a year ago its dark burrows harbored a colony of blind beggars, tenants of a blind landlord, old Daniel Murphy, whom every child in the ward knows, if he never heard of the President of the United States. “Old Dan” made a big fortune— he told me once four hundred thousand dollars— out of his alley and the surrounding tenements, only to grow blind himself in extreme old age, sharing in the end the chief hardship of the wretched beings whose lot he had stubbornly refused to better that he might increase his wealth. Even when the Board of Health at last compelled him to repair and clean up the worst of the old buildings, under threat of driving out the tenants and locking the doors behind them, the work was accomplished against the old man’s angry protests. He appeared in person before the Board to argue his case, and his argument was characteristic.    3    “I have made my will,” he said. “My monument stands waiting for me in Calvary. I stand on the very brink of the grave, blind and helpless, and now (here the pathos of the appeal was swept under in a burst of angry indignation) do you want me to build and get skinned, skinned? These people are not fit to live in a nice house. Let them go where they can, and let my house stand.”    4    In spite of the genuine anguish of the appeal, it was downright amusing to find that his anger was provoked less by the anticipated waste of luxury on his tenants than by distrust of his own kind, the builder. He knew intuitively what to expect. The result showed that Mr. Murphy had gauged his tenants correctly. The cleaning up process apparently destroyed the home-feeling of the alley; many of the blind people moved away and did not return. Some remained, however and the name has clung to the place.    5    Some idea of what is meant by a sanitary “cleaning up” in these slums may be gained from the account of a mishap I met with once, in taking a flash-light picture of a group of blind beggars in one of the tenements down here. With unpractised hands I managed to set fire to the house. When the blinding effect of the flash had passed away and I could see once more, I discovered that a lot of paper and rags that hung on the wall were ablaze. There were six of us, five blind men and women who knew nothing of their danger, and myself, in an atticroom with a dozen crooked, rickety stairs between us and the street, and as many households as helpless as the one whose guest I was all about us. The thought: how were they ever to be got out? made my blood run cold as I saw the flames creeping up the wall, and my first impulse was to bolt for the street and shout for help. The next was to smother the fire myself, and I did, with a vast deal of trouble. Afterward, when I came down to the street I told a friendly policeman of my trouble. For some reason he thought it rather a good joke, and laughed immoderately at my concern lest even then sparks should be burrowing in the rotten wall that might yet break out in flame and destroy the house with all that were in it. He told me why, when he found time to draw breath. “Why, don’t you know,” he said, “that house is the Dirty Spoon? It caught fire six times last winter, but it wouldn’t burn. The dirt was so thick on the walls, it smothered the fire!” Which, if true, shows that water and dirt, not usually held to be harmonious elements, work together for the good of those who insure houses.    6   Sunless and joyless though it be, Blind Man’s Alley has that which its compeers of the slums vainly yearn for. It has a pay-day. Once a year sunlight shines into the lives of its forlorn crew, past and present. In June, when the Superintendent of Out-door Poor distributes the twenty thousand dollars annually allowed the poor blind by the city, in half-hearted recognition of its failure to otherwise provide for them, Blindman’s Alley takes a day off and goes to “see” Mr. Blake. That night it is noisy with unwonted merriment. There is scraping of squeaky fiddles in the dark rooms, and cracked old voices sing long-for-gotten songs. Even the blind landlord rejoices, for much of the money goes into his coffers.    7                From their perch up among the rafters Mrs. Gallagher’s blind boarders might hear, did they listen, the tramp of the policeman always on duty in Gotham Court, half a stone’s throw away. His beat, though it takes in but a small portion of a single block, is quite as lively as most larger patrol rounds. A double row of five-story tenements, back to back under a common roof, extending back from the street two hundred and thirty-four feet, with barred openings in the dividing wall, so that the tenants may see but cannot get at each other from the stairs, makes the “court.” Alleys—one wider by a couple of feet than the other, whence the distinction Single and Double Alley—skirt the barracks on either side. Such, briefly, is the tenement that has challenged public attention more than any other in the whole city and tested the power of sanitary law and rule for forty years. The name of the pile is not down in the City Directory, but in the public records it holds an unenviable place. It was here the mortality rose during the last great cholera epidemic to the unprecedented rate of 195 in 1,000 inhabitants. In its worst days a full thousand could not be packed into the court, though the number did probably not fall far short of it. Even now, under the management of men of conscience, and an agent, a King’s Daughter, whose practical energy, kindliness and good sense have done much to redeem its foul reputation, the swarms it shelters would make more than one fair-sized country village. The mixed character of the population, by this time about equally divided between the Celtic and the Italian stock, accounts for the iron bars and the policeman. It was an eminently Irish suggestion that the latter was to be credited to the presence of two German families in the court, who “made trouble all the time.”           A Chinaman whom I questioned as he hurried past the iron gate of the alley, put the matter in a different light. “Lem Ilish velly bad,” he said. Gotham Court has been the entering wedge for the Italian hordes, which until recently had not attained a foothold in the Fourth Ward, but are now trailing across Chatham Street from their stronghold in “the Bend” in ever increasing numbers, seeking, according to their wont, the lowest level.    8   It is curious to find that this notorious block, whose name was so long synonymous with all that was desperately bad, was originally built (in 1851) by a benevolent Quaker for the express purpose of rescuing the poor people from the dreadful rookeries they were then living in. How long it continued a model tenement is not on record. It could not have been very long, for already in 1862, ten years after it was finished, a sanitary official counted 146 cases of sickness in the court, including “all kinds of infectious disease,” from small-pox down, and reported that of 138 children born in it in less than three years 61 had died, mostly before they were one year old. Seven years later the inspector of the district reported to the Board of Health that “nearly ten per cent. of the population is sent to the public hospitals each year.” When the alley was finally taken in hand by the authorities, and, as a first step toward its reclamation, the entire population was driven out by the police, experience dictated, as one of the first improvements to be made, the putting in of a kind of sewer-grating, so constructed, as the official report patiently puts it, “as to prevent the ingress of persons disposed to make a hiding-place” of the sewer and the cellars into which they opened. The fact was that the big vaulted sewers had long been a runway for thieves—the Swamp Angels—who through them easily escaped when chased by the police, as well as a storehouse for their plunder. The sewers are there to-day; in fact the two alleys are nothing but the roofs of these enormous tunnels in which a man may walk upright the full distance of the block and into the Cherry Street sewer—if he likes the fun and is not afraid of rats. Could their grimy walls speak, the big canals might tell many a startling tale. But they are silent enough, and so are most of those whose secrets they might betray. The flood-gates connecting with the Cherry Street main are closed now, except when the water is drained off. Then there were no gates, and it is on record that the sewers were chosen as a short cut habitually by residents of the court whose business lay on the line of them, near a manhole, perhaps, in Cherry Street, or at the river mouth of the big pipe when it was clear at low tide. “Me Jimmy,” said one wrinkled old dame, who looked in while we were nosing about under Double Alley, “he used to go to his work along down Cherry Street that way every morning and come back at night.” The associations must have been congenial. Probably “Jimmy” himself fitted into the landscape.    9   Half-way back from the street in this latter alley is a tenement, facing the main building, on the west side of the way, that was not originally part of the court proper. It stands there a curious monument to a Quaker’s revenge, a living illustration of the power of hate to perpetuate its bitter fruit beyond the grave. The lot upon which it is built was the property of John Wood, brother of Silas, the builder of Gotham Court. He sold the Cherry Street front to a man who built upon it a tenement with entrance only from the street. Mr. Wood afterward quarrelled about the partition line with his neighbor, Alderman Mullins, who had put up a long tenement barrack on his lot after the style of the Court, and the Alderman knocked him down. Tradition records that the Quaker picked himself up with the quiet remark, “I will pay thee for that, friend Alderman,” and went his way. His manner of paying was to put up the big building in the rear of 34 Cherry Street with an immense blank wall right in front of the windows of Alderman Mullins’s tenements, shutting out effectually light and air from them. But as he had no access to the street from his building for many years it could not be let or used for anything, and remained vacant until it passed under the management of the Gotham Court property. Mullins’s Court is there yet, and so is the Quaker’s vengeful wall that has cursed the lives of thousands of innocent people since. At its farther end the alley between the two that begins inside the Cherry Street tenement, six or seven feet wide, narrows down to less than two feet. It is barely possible to squeeze through; but few care to do it, for the rift leads to the jail of the Oak Street police station, and therefore is not popular with the growing youth of the district.    10   There is crape on the door of the Alderman’s court as we pass out, and upstairs in one of the tenements preparations are making for a wake. A man lies dead in the hospital who was cut to pieces in a “can racket” in the alley on Sunday. The sway of the excise law is not extended to these back alleys. It would matter little if it were. There are secret by-ways, and some it is not held worth while to keep secret, along which the “growler” wanders at all hours and all seasons unmolested. It climbed the stairs so long and so often that day that murder resulted. It is nothing unusual on Cherry Street, nothing to “make a fuss” about. Not a week before, two or three blocks up the street, the police felt called upon to interfere in one of these can rackets at two o’clock in the morning, to secure peace for the neighborhood. The interference took the form of a general fusillade, during which one of the disturbers fell off the roof and was killed. There was the usual wake and nothing more was heard of it. What, indeed, was there to say?    11   The “Rock of Ages” is the name over the door of a low saloon that blocks the entrance to another alley, if possible more forlorn and dreary than the rest, as we pass out of the Alderman’s court. It sounds like a jeer from the days, happily past, when the “wickedest man in New York” lived around the corner a little way and boasted of his title.     One cannot take many steps in Cherry Street without encountering some relic of past or present prominence in the ways of crime, scarce one that does not turn up specimen bricks of the coming thief. The Cherry Street tough is all-pervading. Ask Suprintendent Murray, who, as captain of the Oak Street squad, in seven months secured convictions for theft, robbery, and murder aggregating no less than five hundred and thirty years of penal servitude, and he will tell you his opinion that the Fourth Ward, even in the last twenty years, has turned out more criminals than all the rest of the city together.    12   But though the “Swamp Angels” have gone to their reward, their successors carry on business at the old stand as successfully, if not as boldly. There goes one who was once a shining light in thiefdom. He has reformed since, they say. The policeman on the corner, who is addicted to a professional unbelief in reform of any kind, will tell you that while on the Island once he sailed away on a shutter, paddling along until he was picked up in Hell Gate by a schooner’s crew, whom he persuaded that he was a fanatic performing some sort of religious penance by his singular expedition. Over yonder, Tweed, the arch-thief, worked in a brush-shop and earned an honest living before he took to politics. As we stroll from one narrow street to another the odd contrast between the low, old-looking houses in front and the towering tenements in the back yards grows even more striking, perhaps because we expect and are looking for it. Nobody who was not would suspect the presence of the rear houses, though they have been there long enough. Here is one seven stories high behind one with only three floors. Take a look into this Roosevelt Street alley; just about one step wide, with a five-story house on one side that gets its light and air—God help us for pitiful mockery!—from this slit between brick walls. There are no windows in the wall on the other side; it is perfectly blank. The fire-escapes of the long tenement fairly touch it; but the rays of the sun, rising, setting, or at high noon, never do. It never shone into the alley from the day the devil planned and man built it. There was once an English doctor who experimented with the sunlight in the soldiers’ barracks, and found that on the side that was shut off altogether from the sun the mortality was one hundred per cent. greater than on the light side, where its rays had free access. But then soldiers are of some account, have a fixed value, if not a very high one. The people who live here have not. The horse that pulls the dirt-cart one of these laborers loads and unloads is of ever so much more account to the employer of his labor than he and all that belongs to him. Ask the owner; he will not attempt to deny it, if the horse is worth anything. The man too knows it. It is the one thought that occasionally troubles the owner of the horse in the enjoyment of his prosperity, built of and upon the successful assertion of the truth that all men are created equal.    13    With what a shock did the story of yonder Madison Street alley come home to New Yorkers one morning, eight or ten years ago, when a fire that broke out after the men had gone to their work swept up those narrow stairs and burned up women and children to the number of a full half score. There were fire-escapes, yes! but so placed that they could not be reached. The firemen had to look twice before they could find the opening that passes for a thoroughfare; a stout man would never venture in. Some wonderfully heroic rescues were made at that fire by people living in the adjoining tenements. Danger and trouble— of the imminent kind, not the everyday sort that excites neither interest nor commiseration— run even this common clay into heroic moulds on occasion; occasions that help us to remember that the gap that separates the man with the patched coat from his wealthy neighbor is, after all, perhaps but a tenement. Yet, what a gap! and of whose making? Here, as we stroll along Madison Street, workmen are busy putting the finishing touches to the brown-stone front of a tall new tenement. This one will probably be called an apartment house. They are carving satyrs’ heads in the stone, with a crowd of gaping youngsters looking on in admiring wonder. Next door are two other tenements, likewise with brown-stone fronts, fair to look at. The youngest of the children in the group is not too young to remember how their army of tenants was turned out by the health officers because the houses had been condemned as unfit for human beings to live in. The owner was a wealthy builder who “stood high in the community.” Is it only in our fancy that the sardonic leer on the stone faces seems to list that way? Or is it an introspective grin? We will not ask if the new house belongs to the same builder. He too may have reformed.    14    We have crossed the boundary of the Seventh Ward. Penitentiary Row, suggestive name for a block of Cherry Street tenements, is behind us. Within recent days it has become peopled wholly with Hebrews, the overflow from Jewtown adjoining, pedlars and tailors, all of them. It is odd to read this legend from other days over the door: “No pedlars allowed in this house.” These thrifty people are not only crowding into the tenements of this once exclusive district— they are buying them. The Jew runs to real estate as soon as he can save up enough for a deposit to clinch the bargain. As fast as the old houses are torn down, towering structures go up in their place, and Hebrews are found to be the builders. Here is a whole alley nicknamed after the intruder, Jews’ Alley. But abuse and ridicule are not weapons to fight the Israelite with. He pockets them quietly with the rent and bides his time. He knows from experience, both sweet and bitter, that all things come to those who wait, including the houses and lands of their Persecutors.    15    Here comes a pleasure party, as gay as any on the avenue, though the carry-all is an ash-cart. The father is the driver and he has taken his brown-legged boy for a ride. How proud and happy they both look up there on their perch! The queer old building they have halted in front of is “The Ship,” famous for fifty years as a ramshackle tenement filled with the oddest crowd. No one knows why it is called “The Ship,” though there is a tradition that once the river came clear up here to Hamilton Street, and boats were moored along-side it. More likely it is because it is as bewildering inside as a crazy old ship, with its ups and downs of ladders parading as stairs, and its unexpected pitfalls. But Hamilton Street, like Water Street, is not what it was. The missions drove from the latter the worst of its dives. A sailors’ mission has lately made its appearance in Hamilton Street, but there are no dives there, nothing worse than the ubiquitous saloon and tough tenements.    16   Enough of them everywhere. Suppose we look into one? No.—Cherry Street. Be a little careful, please! The hall is dark and you might stumble over the children pitching pennies back there. Not that it would hurt them; kicks and cuffs are their daily diet. They have little else. Here where the hall turns and dives into utter darkness is a step, and another, another. A flight of stairs. You can feed your way, if you cannot see it. Close? Yes! What would you have? All the fresh air that ever enters these stairs comes from the hall-door that is forever slamming, and from the windows of dark bedrooms that in turn receive from the stairs their sole supply of the elements God meant to be free, but man deals out with such niggardly hand. That was a woman filling her pail by the hydrant you just bumped against. The sinks are in the hallway, that all the tenants may have access—and all be poisoned alike by their summer stenches. Hear the pump squeak! It is the lullaby of tenement-house babes. In summer, when a thousand thirsty throats pant for a cooling drink in this block, it is worked in vain. But the saloon, whose open door you passed in the hall, is always there. The smell of it has followed you up. Here is a door. Listen! That short hacking cough, that tiny, helpless wail—what do they mean? They mean that the soiled bow of white you saw on the door downstairs will have another story to tell—Oh! a sadly familiar story—before the day is at an end. The child is dying with measles. With half a chance it might have lived; but it had none. That dark bedroom killed it.    17   “It was took all of a suddint,” says the mother, smoothing the throbbing little body with trembling hands. There is no unkindness in the rough voice of the man in the jumper, who sits by the window grimly smoking a clay pipe, with the little life ebbing out in his sight, bitter as his words sound: “Hush, Mary! If we cannot keep the baby, need we complain—such as we?”    18   Such as we! What if the words ring in your ears as we grope our way up the stairs and down from floor to floor, listening to the sounds behind the closed doors—some of quarrelling, some of coarse songs, more of profanity. They are true. When the summer heats come with their suffering they have meaning more terrible than words can tell. Come over here. Step carefully over this baby—it is a baby, spite of its rags and dirt—under these iron bridges called fire-escapes, but loaded down, despite the incessant watchfulness of the firemen, with broken house-hold goods, with wash-tubs and barrels, over which no man could climb from a fire. This gap between dingy brick-walls is the yard. That strip of smoke-colored sky up there is the heaven of these people. Do you wonder the name does not attract them to the churches? That baby’s parents live in the rear tenement here. She is at least as clean as the steps we are now climbing. There are plenty of houses with half a hundred such in. The tenement is much like the one in front we just left, only fouler, closer, darker—we will not say more cheerless. The word is a mockery. A hundred thousand people lived in rear tenements in New York last year. Here is a room neater than the rest. The woman, a stout matron with hard lines of care in her face, is at the wash-tub. “I try to keep the childer clean,” she says, apologetically, but with a hopeless glance around. The spice of hot soap-suds is added to the air already tainted with the smell of boiling cabbage, of rags and uncleanliness all about. It makes an overpowering compound. It is Thursday, but patched linen is hung upon the pulley-line from the window. There is no Monday cleaning in the tenements. It is wash-day all the week round, for a change of clothing is scarce among the poor. They are poverty’s honest badge, these perennial lines of rags hung out to dry, those that are not the washerwoman’s professional shingle. The true line to be drawn between pauperism and honest poverty is the clothes-line. With it begins the effort to be clean that is the first and the best evidence of a desire to be honest.    19   What sort of an answer, think you, would come from these tenements to the question “Is life worth living?” were they heard at all in the discussion? It may be that this, cut from the last report but one of the Association for the Improvement of the Condition of the Poor, a long name for a weary task, has a suggestion of it: “In the depth of winter the attention of the Association was called to a Protestant family living in a garret in a miserable tenement in Cherry Street. The family’s condition was most deplorable. The man, his wife, and three small children shivering in one room through the roof of which the pitiless winds of winter whistled. The room was almost barren of furniture; the parents slept on the floor, the elder children in boxes, and the baby was swung in an old shawl attached to the rafters by cords by way of a hammock. The father, a seaman, had been obliged to give up that calling because he was in consumption, and was unable to provide either bread or fire for his little ones.”    20   Perhaps this may be put down as an exceptional case, but one that came to my notice some months ago in a Seventh Ward tenement was typical enough to escape that reproach. There were nine in the family: husband, wife, an aged grandmother, and six children; honest, hard-working Germans, scrupulously neat, but poor. All nine lived in two rooms, one about ten feet square that served as parlor, bedroom, and eating-room, the other a small hall-room made into a kitchen. The rent was seven dollars and a half a month, more than a week’s wages for the husband and father, who was the only bread-winner in the family. That day the mother had thrown herself out of the window, and was carried up from the street dead. She was “discouraged,” said some of the other women from the tenement, who had come in to look after the children while a messenger carried the news to the father at the shop. They went stolidly about their task, although they were evidently not without feeling for the dead woman. No doubt she was wrong in not taking life philosophically, as did the four families a city missionary found housekeeping in the four corners of one room. They got along well enough together until one of the families took a boarder and made trouble. Philosophy, according to my optimistic friend, naturally inhabits the tenements. The people who live there come to look upon death in a different way from the rest of us—do not take it as hard. He has never found time to explain how the fact fits into his general theory that life is not unbearable in the tenements. Unhappily for the philosophy of the slums, it is too apt to be of the kind that readily recognizes the saloon, always handy, as the refuge from every trouble, and shapes its practice according to the discovery.    21      

This week, we're talking about getting work out the door, and some of the difficulties that can arise around trying to figure out how and why to make the changes necessary to do it. Sometimes the best thing you can do is to take a step back from the thinking and the strategizing and just make. Also, we discuss the Documerica project and how differently a similar project might look today. Jacob Riis is our Photographer of the Week.

This week, we’re talking about getting work out the door, and some of the difficulties that can arise around trying to figure out how and why to make the changes necessary to do it. Sometimes the best thing you can do is to take a step back from the thinking and the strategizing and just make. Also, we discuss the Documerica project and how differently a similar project might look today. Jacob Riis is our Photographer of the Week.

Best-selling author and Harvard professor Robert Putnam speaks with Ned about the growing opportunity gap between the rich and poor and the effects it has on all of us. Links mentioned in this episode: http://robertdputnam.com/about-our-kids/ https://www.theopportunitygap.com/ Jacob Riis, How The Other Half Lives: http://www.authentichistory.com/1898-1913/2-progressivism/2-riis/index.html