The docks and alleys of Philadelphia's riverward neighborhoods teem with forgotten stories and strange histories. In the overlooked corners of Kensington and Fishtown are the launching of the Industrial Revolution, the bizarre double suicide of the Rusk twins and the violent Cramp Shipyard strike. With a collection of his "The Rest Is History" columns from the Fishtown Star, local historian Kenneth Milano chronicles little-known tales from the Speakeasy War of 1890 to stories of seldom-recognized hometown hero Eddie Stanky, who went on to play for the 1951 New York Giants. Join Milano as he journeys into the secret history of two of the city's oldest neighborhoods.
The Native Americans called it shackamaxon, the place where the chiefs meet, but Kensington soon became a meeting place of a different kind. Ideologies and demagogues, industry and entrepreneurs all came together in Kensington and Fishtown. Kensington was the epicenter of the American vegetarian movement, and a decade later the area's shipyards gave birth to the U.S. Navy's first submarine. In Kensington & Fishtown, native son Kenneth W. Milano presents a collection of fascinating and diverse articles from his column The Rest is History. Relive the golden age of Kensington and Fishtown as you learn about learn about their fascinating pasts.
Images of America: Philadelphia's River Wards captures the history of these five neighborhoods in more than two hundred vintage photographs, rare maps, and historical drawings. Philadelphia's River Wards is the story of five remarkable neighborhoods that line the banks of the Delaware River from Vine Street to the Frankford Creek: Northern Liberties, Kensington, Port Richmond, Frankford, and Bridesburg. The first white settlers arrived in the area in the 1600s, and the population grew with the influx of European immigrants in the 1800s and early 1900s. Industry flourished as fabric and textile mills sprang up and shipyards and terminals lined the waterfront. In 1922, the Frankford El, a technological marvel, forever changed the face of transportation in the area, connecting the River Wards to the far reaches of the city. Philadelphia's River Wards captures this history in more than two hundred vintage photographs, rare maps, and historical drawings.
At the heart of Fishtown is the final resting place of generations of Kensington and Fishtown residents. Founded prior to 1748, Palmer Cemetery is one of the oldest in Philadelphia. Interred here and in Hanover Street and West Street Burial Grounds are soldiers from every war fought by colonists and then Americans, from the French and Indian War until Desert Storm. The fishing and shipbuilding families who built the neighborhood, victims of the yellow fever epidemic of 1793 and the ancestors of the Shibe family, the owners of the Philadelphia Athletics, are also buried in these plots. Kenneth W. Milano walks the cemetery paths and reveals the secrets the stones keep with Palmer Cemetery and the Historic Burial Grounds of Kensington & Fishtown.
This book supplies the evolutionary and genetic framework that Charles Murray, towards the end of Coming Apart: The State of White America 1960-2010, predicts will one day explain revolutionary change in American society. Murray’s Coming Apart documents 50 years of changed college admissions, government incentives, mating and migration patterns that have wrought national divisions across indexes of marriage, industriousness, honesty, and religiosity. The framework discussed is life history evolution, a sub-discipline within evolutionary biology singly capable of explaining why violent crime, property crime, low marriage rates, father absence, early birth, low educational achievement, low income, poverty, lack of religiosity and reduced achievement striving will reliably co-occur as part of a complex. This complex augments facultatively, developmentally and evolutionarily in response to unpredictable and uncontrollable sources of mortality. The uncertain tenure of life wrought by unpredictable and uncontrollable mortality selects for a present-oriented use of bioenergetics resources recognizable as the social ills of Fishtown, Murray’s archetypal working class community. In turn, the thirty years of life history literature herein reviewed confirms the biological logic of elite intermarriage and sequestration. The source of life history variation, policy implications, and demography are discussed.
An indelible portrait of three children struggling to survive in the poorest neighborhood of the poorest large city in America Kensington, Philadelphia, is distinguished only by its poverty. It is home to Ryan, Giancarlos, and Emmanuel, three Puerto Rican children who live among the most marginalized families in the United States. This is the story of their coming-of-age, which is beset by violence—the violence of homelessness, hunger, incarceration, stray bullets, sexual and physical assault, the hypermasculine logic of the streets, and the drug trade. In Kensington, eighteenth birthdays are not rites of passage but statistical miracles. One mistake drives Ryan out of middle school and into the juvenile justice pipeline. For Emmanuel, his queerness means his mother’s rejection and sleeping in shelters. School closures and budget cuts inspire Giancarlos to lead walkouts, which get him kicked out of the system. Although all three are high school dropouts, they are on a quest to defy their fate and their neighborhood and get high school diplomas. In a triumph of empathy and drawing on nearly a decade of reporting, sociologist and policymaker Nikhil Goyal follows Ryan, Giancarlos, and Emmanuel on their mission, plunging deep into their lives as they strive to resist their designated place in the social hierarchy. In the process, Live to See the Day confronts a new age of American poverty, after the end of “welfare as we know it,” after “zero tolerance” in schools criminalized a generation of students, after the odds of making it out are ever slighter.
Author Allen Hornblum tells the strange but true story of Junior Kripplebauer and his Philadelphia-based crew known as the Kripplebauer Gang. Up and down the East Coast, they robbed wealthy suburban residences with assembly line skills of breaking, entering, and bagging the loot. Hornblum describes the transformation of the K&A Gang from a group of blue collar thieves to their work in conjunction with numerous organized crime families and their help to make Philadelphia the "meth" capital of the nation. It is a compelling read about a fascinating bunch of hoodlums.
From the beginnings of big-city police work to the rise of the Mafia, Rogues' Gallery is a colorful and captivating history of crime and punishment in the bustling streets of Old New York. Rogues' Gallery is a sweeping, epic tale of two revolutions, one feeding off the other, that played out on the streets of New York City during an era known as the Gilded Age. For centuries, New York had been a haven of crime. A thief or murderer not caught in the act nearly always got away. But in the early 1870s, an Irish cop by the name of Thomas Byrnes developed new ways to catch criminals. Mug shots and daily lineups helped witnesses point out culprits; the famed rogues' gallery allowed police to track repeat offenders; and the third-degree interrogation method induced recalcitrant crooks to confess. Byrnes worked cases methodically, interviewing witnesses, analyzing crime scenes, and developing theories that helped close the books on previously unsolvable crimes. Yet as policing became ever more specialized and efficient, crime itself began to change. Robberies became bolder and more elaborate, murders grew more ruthless and macabre, and the street gangs of old transformed into hierarchal criminal enterprises, giving birth to organized crime, including the Mafia. As the decades unfolded, corrupt cops and clever criminals at times blurred together, giving way to waves of police reform at the hands of men like Theodore Roosevelt. This is a tale of unforgettable characters: Marm Mandelbaum, a matronly German-immigrant woman who paid off cops and politicians to protect her empire of fencing stolen goods; "Clubber" Williams, a sadistic policeman who wielded a twenty-six-inch club against suspects, whether they were guilty or not; Danny Driscoll, the murderous leader of the Irish Whyos Gang and perhaps the first crime boss of New York; Big Tim Sullivan, the corrupt Tammany Hall politician who shielded the Whyos from the law; the suave Italian Paul Kelly and the thuggish Jewish gang leader Monk Eastman, whose rival crews engaged in brawls and gunfights all over the Lower East Side; and Joe Petrosino, a Sicilian-born detective who brilliantly pursued early Mafioso and Black Hand extortionists until a fateful trip back to his native Italy. Set against the backdrop of New York's Gilded Age, with its extremes of plutocratic wealth, tenement poverty, and rising social unrest, Rogues' Gallery is a fascinating story of the origins of modern policing and organized crime in an eventful era with echoes for our own time.
The reception of Thomas Gainsborough’s Blue Boy from its origins to its appearances in contemporary visual culture reveals how its popularity was achieved and maintained by diverse audiences and in varied venues. Performative manifestations resulted in contradictory characterizations of the painted youth as an aristocrat or a "regular fellow," as masculine or feminine, or as heterosexual or gay. In private and public spaces where viewers saw the actual painting and where living and rendered replicas circulated, Gainsborough’s painting was often the centerpiece where dominant and subordinate classes met, gender identities were enacted, and sexuality was implicitly or overtly expressed.
