Immigrants in New York City: Reaping the Benefits of Continuous Immigration

Using New York City as an example, this essay examines how American cities that have a long and continuous history of absorbing immigrants develop welcoming institutions and policies for current immigrants and their children. Cities such as Chicago, San Francisco, and New York have been gateway cities for many previous waves of immigrants and continue to absorb new immigrants today. The ethnic conflicts and accommodations of the nineteenth and twentieth centuries continue to shape the context of reception of today's immigrants. In contrast to “new destinations,” which in recent years have often been centers of anti-immigrant sentiment and nativist local social policies, New York has generally adopted policies designed to include and accommodate new immigrants, as well as repurposing institutions that served earlier European immigrants and native-born African Americans and Puerto Ricans. The continuing significance of race in the city is counterbalanced in the lives of immigrants by a relative lack of nativism and an openness to incorporating immigrants.

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Die [Fill in the Blank] Scum

Boom A Journal of California ◽

10.1525/boom.2014.4.2.92 ◽

2014 ◽

Vol 4 (2) ◽

pp. 92-93

Author(s):

Annie Powers

Keyword(s):

New York ◽

New York City ◽

San Francisco ◽

York City ◽

Silicon Valley ◽

The Past ◽

History Of

A brief history of the phrase “Die Techie Scum,” which has been appeared as graffiti on San Francisco walls, handed out on postcards, printed on shirts, and yelled at commuters to Silicon Valley. The die [fill in the blank] scum construction has been used frequently in the past thirty years, most often when issues of gentrification are at play, such as “Die Yuppie Scum,” used in protests in New York City in the 1980s.

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“Art for America's Sake”: Decadence and the Making of American Literary Culture in the Little Magazines of the 1890s

Prospects ◽

10.1017/s0361233300002064 ◽

2005 ◽

Vol 30 ◽

pp. 309-338 ◽

Cited By ~ 1

Author(s):

Kirsten MacLeod

Keyword(s):

New York ◽

New York City ◽

San Francisco ◽

Consumer Culture ◽

York City ◽

Bourgeois Society ◽

Little Magazines ◽

Recent Scholarship ◽

French Culture ◽

History Of

Decadence — the literary and artistic movement that insisted on the autonomy of art, reveled in the bizarre, artificial, perverse, and arcane, and pitted the artist against bourgeois society — is most strongly associated with fin de siècle British and French culture. Rarely is it associated with America. And yet, its popularity in America may well have surpassed its popularity in either Britain or France. That decadence was among Europe's most successful cultural exports to America in the 1890s is indicated by the rash of decadent Anglophile and Francophile little magazines that emerged in America in this period. Whereas Britain and France had a handful of decadent periodicals between them, America had over one hundred and fifty little magazines in the period from 1894 to 1898, many of them inspired by European decadent periodicals. What Gelett Burgess, founder of the decadent little magazine the Lark called a “little riot of Decadence” (Epilark) erupted all over America, from major centers such as New York City, Chicago, and San Francisco to smaller centers such as Lansing, Michigan, and Portland, Maine. Described at the time variously as fadazines, fadlets, fad magazines, bibelots, ephemerals, decadents, brownie magazines, freak magazines, magazettes, dinkeys, and so on, these magazines were founded by those one contemporary, Arthur Stanwood Pier, labeled the “brilliant cognoscenti and sophisticates,” the “American Oscar Wildes and Aubrey Beardsleys” of the period (quoted in Kraus, 6).Despite the pervasiveness of the little-magazine phenomenon of the 1890s, these magazines have been all but ignored in recent scholarship. Interest in American periodical history of the late 19th and early 20th centuries has focused largely on mass-market periodicals and the development of consumer culture as in recent studies by David Reed, Ellen Gruber Garvey, Richard Ohmann, and Helen Damon-Moore.

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Messy, Energetic, Intense: A Roundtable Conversation among New York's Asian American Experimental Filmmakers of the Eighties with Roddy Bogawa, Daryl Chin, Shu Lea Cheang, and Rea Tajiri

Film Quarterly ◽

10.1525/fq.2020.73.3.66 ◽

2020 ◽

Vol 73 (3) ◽

pp. 66-78

Author(s):

Vince Schleitwiler ◽

Abby Sun ◽

Rea Tajiri

Keyword(s):

New York ◽

New York City ◽

Asian American ◽

York City ◽

American Film ◽

The Sixties ◽

History Of

This roundtable grew out of conversations between filmmaker Rea Tajiri, programmer Abby Sun, and scholar Vince Schleitwiler about a misunderstood chapter in the history of Asian American film and media: New York City in the eighties, a vibrant capital of Asian American filmmaking with a distinctively experimental edge. To tell this story, Rea Tajiri contacted her artist contemporaries Shu Lea Cheang and Roddy Bogawa as well as writer and critic Daryl Chin. Daryl had been a fixture in New York City art circles since the sixties, his presence central to Asian American film from the beginning. The scope of this discussion extends loosely from the mid-seventies through the late nineties, with Tajiri, Abby Sun, and Vince Schleitwiler initiating topics, compiling responses, and finalizing its form as a collage-style conversation.

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