A satire on the publisher's own troubles with the Democratic establishment in New York. In his print shop Henry R. Robinson is confronted by an unidentified man (center, arms crossed) who says, "I am determined this d---d Whig concern shall be shut up till after the Election." The man may be city surveyor and inspector Eli Moore. Robinson, standing with his back to a stove and holding a purse marked "$141," thumbs his nose and retorts, "Does Jesse Hoyt [Democratic strongman and collector of the port] know you're out?" The Custom House was the center of Democratic political control in New York. Robinson, a Whig, apparently ran afoul of the Democrats by his caricatures of Governor William L. Marcy. Marcy had recently been widely criticized for his handling of the Bamber case (see "Executive Mercy/Marcy and the Bambers," no. 1838-5). Two newsboys on the left ask, "Have you got any more of the Bamber Caricatures?" and "I want some more of your Whig Caricatures." Two men stand at the right, waiting to serve a notice of "Distress for Rent in Arrear." One of them says, "I'm afraid we sha'nt get our Rent." A shop clerk watches from behind the counter.|Drawn by "HD" (Henry Dacre?) or Edward Williams Clay.|Mention of the Bamber caricatures and recently appointed Collector Jesse Hoyt places "Loco Foco Persecution" in late 1838 or early 1839. Attribution to HD is based on the print's stylistic similarity to his "Specie Claws" (no. 1838-14), although the main figures seem to be drawn by a superior hand (possibly E.W. Clay).|Printed & publd. by H.R. Robinson, 52 Cortlandt St: 11 1/2 Wall & 38 Chatham St. N.Y.|Title appears as it is written on the item.|Weitenkampf, p. 51.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1838-8.

Democratic patronage in New York is parodied in a scene of Loco Foco drivers or carmen rushing for cab licenses distributed by recently appointed collector of the port, Democratic stalwart Jesse Hoyt. Hoyt replaced former collector Samuel Swartwout, who had been friendly to Whig and conservative interests. Hoyt stands at the entrance to the Custom House, center and symbol of Tammany corruption in the city. He hands out licenses to Loco Foco drivers, who carry whips of "Old Hickory" (a reference to party patriarch Andrew Jackson). The drivers shout "Hurrah! for Van Buren" and "Loco Foco for ever!" A cart with the number 1838 and "Licensed by the Collector" stands nearby.|Printed & pubd. by H.R. Robinson, 52 Cortlandt St. 11 1/2 Wall St. & 58 Chatham st. N.Y.|Title appears as it is written on the item.|Weitenkampf, p. 53.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1838-10.

User-friendly Geographic Information Systems (GIS) is the common thread of this collection of presentations, and activities with full lesson plans. The first section of the site contains an overview of cartography, the art of creating maps, and then looks at historical mapping platforms like Hypercities and Donald Rumsey Historical Mapping Project. In the next section Google Earth Desktop Pro is introduced, with lessons and activities on the basics of GE such as pins, paths, and kml files, as well as a more complex activity on "georeferencing" an historic map over Google Earth imagery. The final section deals with ARCGIS Online and StoryMaps with tutorials, basic exercises on pins, paths, and CSV import, and a lesson plan for creating a research project presentation on an historic building in StoryMaps. In addition to an xml file that has been uploaded here to Academic Works, the module is also a live website at https://libguides.brooklyn.cuny.edu/cs-x. The site was created with Libguides software, and is a Community Libguide that can be reused and imported into other LibGuides sites. The website also contains links to two live StoryMaps, one on an Introduction to ARCGIS StoryMaps (https://arcg.is/1SX1zH), and the second, a model assignment on the history of the Fairway building in Red Hook, Brooklyn (https://arcg.is/1nbHP).

Photo of traffic in Herald Square (New York City) taken in April 1973.

New York governor Horatio Seymour's famous "My Friends" speech, delivered from the steps of New York's City Hall during the draft riots, was widely misrepresented in the press. On the basis of reports such as this, Seymour was viewed as a disloyal "Copperhead" agitator. The riots, which took place between July 11 and 16, 1863, broke out as a result of the Enrollment Act, which was highly discriminatory to the lower classes. (On this see "Wanted a Substitute," no. 1863-13). Although not an enthusiast of President Lincoln's war policies, Seymour actually rushed to the scene of the riots and tried to restore order. Here Seymour stands on the City Hall steps, addressing a motley crowd of armed rioters, most of them Irish. In the foreground one rioter holds the head of a black man in a noose, while three other black men hang from a tree in the background. (In reality, the rioters sacked and looted a Negro orphan asylum and hanged black men from lampposts.) Behind Seymour stand three men, including (left to right) a fool (no doubt a newspaper editor) wearing a cap labeled "Express," former mayor Fernando Wood (whose top hat fails to conceal a pair of devil's horns), and a man resembling Tammany boss Peter B. Sweeny, with a hat tagged "4-11-44." Below the scene is the dialogue: A Friendly Voice: "Governor, we want you to stay here." Horatio Seymour: "I am going to stay here, MíŰy Friends'" Second Rioter: "Faith and the Governor will stay with us." Horatio Seymour: "I am your fíŰriend;" and the fíŰriend' of your families." Third Rioter: "Arrah, Jemmy, and who said he cared about the DíŰirty Nagurs'?" Fourth Rioter: "How about the draft Saymere?" Governor: "I have ordered the president to stop the draft!" Chorus: "Be jabes, he's a 'broth of a boy." Weitenkampf, probably correctly, attributes the drawing for the print to Henry L. Stephens. It may have been published in connection with the New York "Tribune," whose building is prominent in the background. The "Tribune's" editor, Horace Greeley, was among Seymour's most vocal critics. |Probably drawn by Henry L. Stephens, New York.|Title appears as it is written on the item.|Weitenkampf, p. 138.|Purchase; Caroline and Erwin Swann Memorial Fund.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1863-12.

Hitherto it had gone by the original Indian name Manna-hatta, or as some still have it, ‘The Manhattoes’; but this was now decried as savage and heathenish… At length, when the council was almost in despair, a burgher, remarkable for the size and squareness of his head, proposed that they should call it New-Amsterdam. The proposition took every body by surprise; it was so striking, so apposite, so ingenious. The name was adopted by acclamation, and New-Amsterdam the metropolis was thenceforth called.
—Washington Irving, 1808

In less tongue-in-cheek style, this course examines the evolution of New York City from 1607 to the present. The readings focus on the city’s social and physical histories, and the class discussions compare New York’s development to patterns in other cities.

We will have the students use many travel websites to gather information about New York City. Each website will offer data about pricing, activities, and travel options that the students can choose from. Examples that we gave are Travelocity, Expedia, or the Indianapolis Airport website. Using the different sources could cause a debate about pricing among students. Each website offers different pricing and deals that students can choose.

A postelection Whig satire, "Respectfully dedicated to the members of the Eighth Ward Tippecanoe Club and inscribed to their Patriotic Chairman Charles H. Delavan, Esqr." The artist shows a crowd of Whigs assembled in Lafayette Hall on Broadway. They gather on the left around Delavan, who speaks from a platform. Delavan is asked by a man in the crowd, "Charley do you think Van Buren will be elected." He responds, "If Van Buren should be reelected I will leave the United States." At right a group of Democrats surround a board tallying the final electoral vote. All states are reported except for Illinois. A heavyset man in a broad-brimmed hat and knee-breeches complains, "I have lost my money betting on "sure" states as the Globe had them." Other Loco Foco stalwarts stare in disbelief at the board. One laments, "There they go slap dab a score states in a heap and my post office with em too. O.K. oll Kill'd I spose." Others say, "the Globe said that it would be a tie in Ohio and Kentucky would be sure for Van," and "A Whig Bull-let-in in good arnest and a scatterin he's made among our folks in Ohio if this new is O. K. Ohio Kicking!" The "Globe" is Francis Preston Blair's pro-Van Buren newspaper. Perched atop the board is the Whig gamecock or rooster. Marked stylistic and technical similarities between "O. K." and "The Last Card. Tip Overthrown, Loco Foco Consternation," and "Evenhanded Justice" (nos. 1840-60 through -62) confirm a common authorship. The artist may be H. Bucholzer, who emerged as one of James Baillie's chief artists during the 1844 presidential campaign.|Drawn by "Spoodlyks".|Lith & pub by H.R. Robinson 52 Cortlandt St. N.Y. & Pennsa Ave[nu]e Washington D.C.|Title appears as it is written on the item.|Weitenkampf, p. 67.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1840-63.

A People’s History of New York City traces the history of NYC through the experiences of Immigrant and Migrant communities. By tracing common threads between these groups the City’s modern relevance, as well as its present tensions is unveiled. Highlighted are economic and social struggles for equity, justice and liberation from the marginalized groups who allowed for the creation of arguably the most significant metropolis of the present era.

This course examines the history of the United States as a “nation of immigrants” within a broader global context. It considers migration from the mid-19th century to the present through case studies of such places as New York’s Lower East Side, South Texas, Florida, and San Francisco’s Chinatown. It also examines the role of memory, media, and popular culture in shaping ideas about migration. The course includes optional field trip to New York City.

Although slightly different in format, this appears to be the fourth in the Bromley series of anti-Republican satires. As in no. 2 of the series, "Miscegenation or the Millenium of Abolitionism" (no. 1864-39), the artist plays on Northern fears of racial intermingling. Here, white men are dancing and flirting with black women in a large hall. Above the musicians' stage hangs a portrait of Abraham Lincoln. At right hangs a banner "Universal Freedom, One Constitution, One Destiny. Abraham Lincoln Prest." The text below further describes the scene: " The Miscegenation Ball at the Headquarters of the Lincoln Central Campaign Club, Corner of Broadway and Twenty Third Street New York Sept. 22d. 1864 being a perfect fac simile of the room &c. &c. (From the New York World Sept. 23d. 1864). No sooner were the formal proceedings and speeches hurried through with, than the room was cleared for a "negro ball," which then and there took place! Some members of the "Central Lincoln Club" left the room before the mystical and circling rites of languishing glance and mazy dance commenced. But that Many remained is also true. This fact We Certify, "that on the floor during the progress of the ball were many of the accredited leaders of the Black Republican party, thus testifying their faith by works in the hall and headquarters of their political gathering. There were Republican Office-Holders, and prominent men of various degrees, and at least one Presidential Elector On The Republican Ticket. |Entered . . . 1864 by Bromley & Co. . . . New York.|Lith. Kimmel & Forster 25th & 256 Canal Street N.Y.|Signed: Thomas(?).|Title appears as it is written on the item.|Weitenkampf, p. 142.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1864-40.

A scene in New York, outside the gates of City Hall Park. Two well-dressed men with top hats overturn the table of two apple-women. One of the men (from all appearances a Loco Foco radical Democrat) shouts at the women, "What right have you to live? Come, clear out!" The other man topples a table from which fall apples, cigars, and what looks like a cider churn, ordering them to "Clear out here!" Horrified by the men's actions, the women, who are surrounded by their ragged children, protest, "You take my life, when you take the means by which I live" and "God forgive the plunderers of my fatherless babes!" Watching the uproar is a genteel young couple walking at right. The woman asks her companion, "Law! Mr. Brown aint you glad that these disgusting beings will no longer offend the eyes of pious and respectable people?" He replies, in an affected accent, "Yes, my de--aw! They are werry of-fensive . . ." In the background is visible the north side of City Hall, from which flies an American flag with the cryptic words "Order Reigns in Warsaw." To the right appears another building marked "Post Office" (actually John Vanderlyn's Rotunda, which over time saw a number of uses as a public building). Weitenkampf suggests that the subject is David Hale, influential publisher of the New York "Journal of Commerce," and his campaign against work on Sundays. The man overturning the table is probably identifiable as Hale.|Entered . . . 1844 by James Baillie.|Lith. & pub. by James Baillie 33 Spruce St. N.Y.|Signed: H. Bucholzer.|The Library's impression was deposited for copyright on June 26, 1844, and is printed on the reverse side of "Loco Foco Triumphal Honors" (no. 1844-31).|Title appears as it is written on the item.|Weitenkampf, p. 84.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1844-18.

A satire on the competition between rival editors Horace Greeley and James Gordon Bennett for New York post office printing contracts. The artist also comments on the circulation wars between Bennett's "New York Herald" and Greeley's relatively new paper the "Tribune, "and on latter's editorial support of abolition. Clay shows Greeley (at left) outdistanced by James Gordon Bennett, who rides a black steed with a pouch marked "Black Mail." The pouch may be a reference to some aspect of Bennett's scandal-mongering journalism or to accusations of extortion made against Bennett by British lecturer Silk Buckingham in 1843. Greeley wears his characteristic frock coat, stove-pipe hat, knee-breeches, and boots. The Scottish-born Bennett wears a tam o'shanter, tartan sash, and kilt. The artist exaggerates his cross-eyed squint. Greeley laments, "I'm afraid my two hundred dollars is lost, as well as the Post Office printing!" In December 1842, Greeley was sued for libel by novelist James Fenimore Cooper. In the trial, reported in detail in the "Tribune," the plaintiff was awarded a judgment of $200 against Greeley. Bennett exclaims, "I shall distance the Squash [i.e., Greeley] if he don't pull foot!" Both men race toward the New York Post Office, in front of which stands a man in a hat and long coat--probably the postmaster. The man says, "The largest circulation gets it!" At the left stand two black men, one with a paper marked "Emancipation" in his pocket, the other holding a copy of the "Tribune." The first says, "Brother Greely rideth like one possessed! He reminds me of Death on a pale Horse!" The second, "My presumption is dat de debil himself helps dat dam Bennett!" The essentially racist portrayal of the two blacks is reminiscent of Clay's much earlier "Life in Philadelphia" series. (See Munsing, pp. 28-29.) Davison dates the print about 1841. The first issue of Greeley's newspaper appeared in April of that year. The editor's reference to his $200 loss, however, suggests that Clay's drawing did not appear until after the Cooper lawsuit of December 1842.|Signed with monogram: C (Edward Williams Clay).|Title appears as it is written on the item.|Davison, no. 162.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1843-4.

Tammany political boss William Marcy Tweed is portrayed as a bullying schoolteacher giving New York City comptroller Richard B. Connolly a lesson in arithmetic. A teary-eyed Connolly stands on a stool writing wildly inaccurate equations on a blackboard. For instance, "$147 x 2 equals $1380948"). Connolly protests to his teacher, "These figures wont suit my Father the public," but Tweed responds, "Never mind the public Mind me I will make a rich man of you 12 years ago I was poor, now I am rich by this new arithmetic." Behind the board are two padlocked ledgers-- "City Debt 1871 125,000,000" and "City Debt 1869 30,000,000." Exaggerated bills for the building of the county courthouse are posted on the wall. The building's final cost was $12 million, of which two-thirds was fraudulent. In less than three years Tweed's "ring" of corrupt officials managed to rob the city's treasury of $30 million.|Entered . . . 1871 by Thomas Kelly.|Lith. by Wm. C. Robertson 59 Cedar St. N.Y.|Pub. by Ths. Kelly 17 Barclay St. N.Y.|Title appears as it is written on the item.|Werner, p. 165-167.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1871-3.

What does it mean to run while Black? Writers such as Mitchell S. Jackson and Alison Mariella Désir encourage us to reflect upon the intersection between race, running, and embodiment. As a Black runner and Sport Studies scholar, I am also deeply interested in this relationship. In this audio short, I bring listeners with me to a 5K race held on Juneteenth and examine the relationship between running, historical memory, racial trauma, and social action.

Whig senator Henry Clay is attacked here on several fronts. The artist alludes to his reputation for gambling, his widely publicized outburst in the House of Representatives in February 1838, and his alleged unethical flirtation with banking interests. The title also refers to a Clay supporter, the influential Whig editor of the "Morning Courier and New York Enquirer," James Watson Webb. Webb is credited with popularizing the label "Whig" as the name of the anti-Jackson political party..In the print Clay is shown as he "enters the Hall of Representatives from his favorite amusement "Brag and Poker"" with a book of "Hoyle's Games" in one hand and playing cards spilling from his coat pocket. In the upper left is the text: "I will now go home and look over Hoyle and calculate the odds in favor of my friend P----'s Faro Bank, in which he proposes to give me a d--n good interest." (Soliloquy of Sir Harry Bluff). Clay was a tireless opponent of Jackson and Van Buren's treasury program and an advocate of speculative and "soft money" interests. In the upper right is: "Now go home G-d D-n you where you belong." Spoken by H. Clay in the Hall of the House of Representatives after the vote on the contested "Mississippi Election." The harsh words were directed by Clay at Speaker of the House James K. Polk, after the latter cast the deciding vote invalidating the election of two pro-Whig representatives from Mississippi, Sergeant S. Prentiss and T.J. Ward.|Entered . . . 1838 by W. Chambers . . . Southern District of New York|The Library's impression of the print was deposited for copyright on November 2, 1838. The print is similar in format to Chambers's caricature of James Watson Webb, also entitled "Scene in Washington" (no. 1838-17).|Title appears as it is written on the item.|Weitenkampf, p. 55.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1838-16.

This site captures eyewitness accounts, reactions, and opinions of people in the months after the terrorist attacks on the World Trade Center, the Pentagon, and United Airlines Flight 93. This online presentation includes nearly 200 audio and video interviews, 45 photos and drawings, and 21 written narratives.

The artist forecasts a Whig electoral victory and dramatizes the politically ruinous effects of Van Buren's fiscal policy and his alignment with Loco Foco forces in New York. Whig candidate William Henry Harrison comes to the aid of a shipwrecked vessel, the "United States," and its crew of Democrats. Harrison, wearing a sailor's outfit, retrieves editor Francis Preston Blair from the surf with a gaff hook. He stands on a raft made of barrels of "Hard Cider" rowed by Daniel Webster and Henry Clay, and flying a flag "Tippecanoe and Reform." Clinging to the hull of their capsized vessel are (left to right) Levi Woodbury, Thomas Hart Benton, John C. Calhoun, and Martin Van Buren. Only the hands of Amos Kendall remain above the waves. The vessel has run aground on "Distress Rocks" and "Loco Foco Quicksand." A lighthouse "Constitution Light" appears in the background. Webster: "Dont be losing time Old Tip picking up the worthless crew who have so long mismanaged the vessel, but let us try to get her off the rocks and save her cargo." Clay: "Aye, Aye, I'll be bound they will take care of themselves unless their pockets are so full that it will sink them." Harrison: "I have hooked one of the precious crew! Lord bless me what a scare crow." Woodbury: "I cant hang on much longer! . . . and I cant swim against this current of popular opinion." Benton (to Woodbury): "It is your infernal Wall Street kite flying and cramming your pocket so full that has capsized us . . . !" Calhoun (to Van Buren): "You are a d---d pretty lubber to take charge of the helm! I knew you were carrying too much sail for your ballast, and now you have spilt the whole lot of us." Van Buren: "I wanted to try a experiment and thought I had hard money enough to ballast my subtreasury sails, and that we should have come to a safe anchor in the harbor of public security."|Entered . . . 1840 by John Childs.|Published by John Childs, 90 Nassau St. New York.|Signed with monogram: EWC (Edward Williams Clay).|The Library's impression of the print was deposited for copyright on August 31, 1840.|Title appears as it is written on the item.|Weitenkampf, p. 66.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1840-56.

A satire on the 1838 New York mayoralty contest, here shown as a horse race between (left to right) Whig candidate Aaron Clark, Democrat Richard Riker, and Loco Foco Democrat Isaac L. Varian. Clark is clearly in the lead. He waves his hat, saying to Riker who is close behind him, "Whip up Mr. Recorder, or Loco Foco will up with you neck and neck." The bespectacled Riker reassures him, "Dont be alarmed, you see he has bolted already, the 'ends of justice' will keep him at a distance." Varian's horse rears up and turns in the wrong direction spilling Varian's hat and box of "Loco Foco Matches" to the ground. Varian cries, "Confound the jade, she has kicked out of the traces, --this Locofocoism is carrying too much weight, them is my sentiments, shade of Sam Purdy, come to my relief, or I am distanced." From the spectators in the background come various remarks: "Aaron goes it in fine style, on his blood mare." "Yes I'll bet ten to one he wins the plate." "Dickey's [i.e., Riker's] racker shows signs of age, they say he's 21 years old." " Hoorawr! for Dickey, he's the "little joker!" "Varian shows signs of distress, he's heaving over part of his cargo." "I think he's rather dumfoozled, werry!" "If Varian aint distanced I'm a nigger."|Ent'd . . . 1838 by H.R. Robinson . . . New York.|Signed: Shanks (probably Edward Williams Clay).|Title appears as it is written on the item.|Weitenkampf, p. 57.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1838-6.

A parade of jubilant New York City Whigs, led by successful mayoral candidate Aaron Clark (at right, with walking stick). Clark, who defeated Tammany candidate John J. Morgan in the Spring election, walks arm-in-arm with an unidentified man. He is followed by an Irishman carrying a sign which reads "Fortune's Favorite Aaron Clark." Perched on the sign is an eagle complaining that "I'm d--d sick of this set!!" He is followed by drum and fife players and several other men. On the left is a tall man seated at a small table on which are a box and a sign "Whig Nomination for Mayor Aaron Clark."|Signed: Brown fecit.|Title appears as it is written on the item.|Weitenkampf, p. 51.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1837-4.