|New York City's Five Points neighborhood painted by Geroge Catlin around 1827|
Here's a blast from my past. I wrote this article fifteen years ago for the Journal of the Early Republic as part of my dissertation research. I dug through nineteenth-century court records and newspapers trying to figure out how violence shaped the political culture of Jacksonian New York. Tavern disturbances, I concluded, helped define the new, democratic, urban Jacksonian nationalist culture of the mid-nineteenth century. These forgotten brawls and riots created a distinct working-class male identity that was centered on the boisterous public assertion of honor, physical courage, independence, pride, and American patriotism, all central to Jacksonianism. Both the native-born (Anglo-Saxon and Scots-Irish Protestant) and immigrant (Irish Catholic) workingmen, who fought each other, contributed to forging this identity. A new populist hero, the b’hoy, was as symbolic of the urban Jacksonian persona as the yeoman farmer or Davy Crockett were of the western Jacksonian persona. These contests of honor allowed native-born and immigrant b’hoys to recognize each other as fellow citizens of the republic, while often violently excluding blacks and women.
White supremacy, the idea that the United States was a “white man’s republic” was central to Jacksonian democracy from its beginnings until the 1960s. It was its most glaring point of conflict with the American Creed of liberty and justice for all. Stephen Douglas spoke for most Jacksonians when he declared in his first debate with
|Scene of a Five Points riot from Martin Scorsese's film Gangs of New York|
© 2010 Michael Kaplan