The Mill Talks series features lectures and panel discussions on topics related to the Industrial Revolution, innovation across disciplines, and the mission of the Charles River Museum of Industry & Innovation, which is to encourage and inspire future innovation in America.Funded by the Lowell Institute.
In 1816, Francis Cabot Lowell was in Washington DC lobbying Congress to pass the first protectionist tariff in American history. In the aftermath of the War of 1812, the burgeoning cotton textile industry he had fought so hard to build was imperiled by the cheap dumping of British imports. By building a coalition between Northern industrialists and Southern plantation owners, Lowell was successful in arguing that tariffs would ensure that American domestic manufacturing should be protected, and that the federal government’s trade policy had a duty to so.
Now, tariffs are back in the political conversation, and the efforts around the Tariff of 1816 and its consequences are as relevant as ever. Join us as we engage in a dynamic conversation connecting the past, present, and future of tariffs and trade policy and their effects. Economist Bryan Snyder and historian Larry Peskin will draw lessons from American history to inform our understanding of economic policy today.
Since Francis Cabot Lowell and Paul Moody set the first power looms in motion in 1814, textiles have been at the crossroads of American industry, artisan craft, and functionality. The great textile mills of New England drove the American Industrial Revolution, starting with the Boston Manufacturing Company on this very site in Waltham.
Now two centuries later, designers are forging innovative ways to ‘weave’ textiles using 3D technology and design in virtual space, grounded by the principles of the loom. Award-winning designer, artist, and professor at the Rhode Island School of Design, Oren Sherman, will bring us along on his own journey, discovering the cultural meaning and evolving technology embedded in textile design. Pattern traveled on textiles and the availability of locally made affordable woven cloth gave birth to an industry supercharged by the Waltham-Lowell System, including fabric dyeing and pattern design. That scale led to rapid innovation in manufacturing and design.
In exploring the construction of commercial textile patterning, Sherman found himself leaving the world of the ‘repeat’ and exploring in virtual space. He’ll explain how a desire to ‘walk through walls’ lead him to 3D weaving as an inspiration that, ironically, led him back to the first principles of the elegantly complex power loom. Oren’s talk will feature vivid color and vibrant patterns, while simultaneously connecting innovation with cutting-edge technology.
The environmental impact of industrialization is often imagined as belching smokestacks or noxious effluents. But local pollution is only the most obvious impact of industrialization. Often overlooked are the distant impacts and ‘externalities’ that accompanied mechanized production and the growth of modern cities.
The Waltham and Lowell systems which birthed textile manufacturing in America were highly profitable and spurred a massive influx of investment capital into the sector. Between 1830 and 1840, more than 270 textile manufacturers were incorporated in Massachusetts alone, each equipped with hundreds of machine tools and dozens of hydro-turbines.
The tremendous demand for raw materials – wood, cotton, iron, clay, limestone, granite, etc. – transformed landscape and watershed. The dramatic rise in demand for raw cotton in America and Britain intensified the brutality of forced labor in the American South, expanded the plantation system into Alabama and Mississippi, and prompted war against Mexico. The growing network of factory sites co-produced an extensive network of railroads and canals. The first twenty years of factory building in Lowell alone required clearing more than 25 square miles of forest for structural timber.
In this talk, historical archaeologist Kevin Coffee shares his research on the standing structures commissioned by the Lowell manufacturers and explores some of the most significant wide-area impacts produced by the new industry.
Join Dr. Jonathan Michael Square at Charles River Museum of Industry & Innovation for an in-depth exploration of the history of negro cloth and its pivotal role in the American fashion industry, with a focus on its production in Lowell, Massachusetts. The talk will also examine how enslaved individuals utilized textiles as a form of self-fashioning in the face of the deprivation of their self-hood.
What can a 19th-century mill disaster teach us about workplace safety today?
Join Professor Robert Forrant (UMass Lowell) and Gabriel Porter (Safety and Health Specialist/Process Safety Management Coordinator OSHA Boston Regional Office) for a compelling discussion moderated by Charles River Museum’s Director of Education, Stephen Guerriero. Forrant will delve into the catastrophic Pemberton Mill collapse of 1860—an industrial tragedy that claimed 98 lives, revealed systemic failures, and left questions of accountability unresolved. Porter will explore how
OSHA builds on lessons from such events to safeguard workers in today’s industries. Together, they’ll connect history to modern-day practices, offering insights into the ongoing fight for safer workplaces.
Join the Charles River Museum for a journey back to Waltham’s railroad heyday, when the advent of the railroad was deeply entwined in the industrial history of the region, and the Boston Manufacturing Company specifically.
New England has a rich apparel and textile manufacturing history. The United States' industrial revolution started here, and many of the region's famous families made their first fortunes in textile, shoe, and apparel production. Over the past 40 years, much of that industry has vanished as companies have been forced to deal with ever cheaper imports from abroad.
Now, a new group of entrepreneurs is reviving every aspect of this legacy. Why are they doing it? What does it take to breathe life into a dying industry? And will they succeed?
This far-reaching conversation with journalist Rachel Slade, author of Making It in America, and Michelle Finamore, fashion historian, author, and curator, will explore New England's manufacturing legacy while exploring the ways new companies are revitalizing centuries-old industries.
Join The Charles River Museum of Industry and Innovation for a Tech Talk about our new series of short animations on the history of the Boston Manufacturing Company, designed to educate and entertain audiences of all ages, with a particular focus on middle school students.
Waltham animator Macy Lawrence will discuss the research, design, and animation process, and the event will include a screening of the short films.
Join the Charles River Museum for an inspiring look at the life and times of Major Taylor, one of the most consequential athletes in American sports history.
Taylor was racing on the national and international stage at a time when the U.S. was deeply segregated. He combatted both racial prejudice and systemic barriers to triumph as the 'world's fastest man'. The legendary African American cyclist and the Charles Metz Company of Waltham, MA., were deeply intertwined through the golden age of bicycle racing and innovation. Taylor raced on Metz's "Orient" bicycles, and his sprinting ability and speed on the lightweight Orient bikes brought him national fame during the rise of cycling as a competitive sport in America.
However, as the 20th century progressed, the bicycle industry began to decline, largely due to the rise of automobiles. Charles Metz himself shifted his focus from bicycles to cars, founding the Metz Company in 1909, marking the end of an era for Waltham's bicycle production. Still, Taylor's triumphs in the face of racial diversity remain a lasting legacy of both his own perserverance, and the innovations of the Waltham-based Metz Company.
How The Folk Collective aims to create a model for liberating folk music from its narrowly defined past.
Every culture has its own folk music - be it traditional and passed through the ages, or new creations that tell the human stories of lives lived and living. The popularity of the Folk Revival of the 50s and 60s brought a widened audience and a new generation of performers - but also a problematic whitening of the genre that had been so multicultural in its origin.
The Folk Collective was created in 2022 by the arts non-profit organization and presenter Passim to face this challenge of representation and narrow definition in folk music. Being that Club Passim has been at the center and forefront of folk music in this country for more than half a century, the organization felt a duty to reframe the narrative and take action to create real change.
This panel discussion with the Folk Collective will explore folk music's historical roots and question why it's been narrowly defined. It aims to challenge this limited perspective by highlighting diverse voices and experiences often sidelined within the genre. Through inclusivity and authenticity, the discussion seeks to redefine folk music as truly reflective of the rich tapestry of human expression. This marks a pivotal moment in reshaping the narrative and fostering a more inclusive community within the genre.
The Folk Collective hopes to answer those questions. They are a broad representation of a community, performing music “of the people” for their community. Simply put, they are folk musicians.
Moderated by Callie Crossley.
More About The Folk Collective
The Folk Collective is a quarterly gathering of twelve select artists, musicians, and cultural thought leaders. Through an active exchange of ideas, creative collaboration, and partnership, we aim to foster and develop sustainable channels to invite and welcome diverse audiences, artists, and conversations to the Passim stage.
Alastair Moock is an award-winning singer-songwriter; a Grammy-nominated family musician; social justice and Songwriting educator for all ages; and co-founder of The Opening Doors Project, an anti-racist music organization. The Boston Globe calls him "one of the town's best and most adventurous songwriters," and The Washington Post says, "every song is a gem."
Anju is a singer, songwriter, producer, and performer shaped by the people and places in Minnesota and Massachusetts. Their music conjures imaginary lovers, scents of citrus, and visions of hairy brown skin under the sun. Anju was highlighted by NPR's All Songs Considered as an outstanding Tiny Desk Contest entrant. They are currently teaching young musicians piano, violin, and guitar and working on their debut full-length album.
Maxfield Anderson is an American roots multi-instrumentalist, teacher, writer, and music director living in Somerville, MA. As an artist, Maxfield aims to bring new light to honored traditions and to share the joy of making music with others.
Award-winning Tlingit artist Kim Moberg was born in Juneau, Alaska, and currently calls Cape Cod, MA home. Kim began playing guitar at age 14, but severe stage fright kept her from becoming a professional performer. In 2014 Kim set out to overcome her stage fright and wrote her first song. Kim teamed with Grammy-nominated producer Jon Evans to record two albums: "Above Ground" and "Up Around The Bend." Both have received worldwide airplay, charting on the Folk Alliance International Folk DJ charts and the NACC Radio charts. Kim and Jon are collaborating on her third album, which features songs that tie ancient prophecies to our current social environment. Kim's recognitions include the 2021 Rocky Mountain Songwriting Contest Finalist, the 2021 Great American Songwriting Contest Folk/Americana Finalist, and the 2020 CT Folk Grassy Hill Songwriting Competition Winner.
Stephanie Mckay is a recording artist, songwriter, arts educator, and advocate based in Medford. Her artistic practice lies at the intersection of music, community, and education.
Made up of a diverse cohort of twelve artists in the Greater Boston region, The Folk Collective has taken this challenge head-on, performing concerts in the club as well as out in the community that push the boundaries of folk music…from themed concerts like Re-Imagining Lilith Fair to curated festivals such as We Black Folk to timely shows like the Indigenous Peoples Day event and the Inaugural Pride Month Celebration… The Folk Collective is reclaiming Folk Music as a music for all people.
The inaugural cohort brings twelve diverse, multigenerational, talented artists, educators, and thought-leaders together, to collaborate, inspire, and rethink what Folk Music looks like today. In doing so, they’ve become their own community.
And now, as the Folk Collective is deep its second year (a new cohort will be chosen for 2024-2026 season), one of the most exciting developments is the plan to learn what has worked (and what hasn’t) from this exciting trailblazing initiative and create tools and a template for other organizations to use ... The Folk Collective is artist-led. Passim continues to learn from these inspiring leaders and incorporate their thoughts and ideas into the core of its practice.
