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Goldman 17

Self-taught graphic artist Carlos Cortez has also done prints of Ricardo Flores Magón who has a particular attraction for this 60-year-old construction worker, [[insertion]]an[[/insertion]] active member of the Wobblies as well as the Movimiento Artistico Chicano of Chicago.  According to his own testimony Cortez (who was born in Milwaukee, Wisconsin and who presently resides in Chicago, home of the IWW) is the son of a "Mexican Indian" who was an organizer for the IWW, a soapbox orator during the 1912 Free Speech campaigns in San Diego, and a singer of songs "in seven languages".[[superscript]]34[[/superscript]] Cortez himself has been a "harvest hand, construction worker, loafer, jailbird . . . vagabond, factory stiff."  He joined the IWW after World War II and has submitted articles, short stories, poetry, book reviews, photographs, comic strips, and linoleum cut illustrations to its newspaper.  For the May 1970 edition of the [[underline]]Industrial Worker[[/underline]] of which he was then editor, he designed the cover in red and black with a worker in a checkered shirt, a woman holding an IWW banner, and a newsboy selling the paper; and contributed a linocut of a woman and child with "We Want to Live in Peace" spelled out in English, Spanish and German.  He also published a poem by Práxides Guerrero, an associate of the Flores Magón brothers, translated from the PLM tabloid [[underline]]Regeneracíon[[/underline]].
There are other ways in which Cortez unites the Wobbly and Mexican traditions.  In 1977, he designed an IWW poster in English and Spanish versions which advanced a major Wobbly position in favor of the general strike. [[underline]]¡Será toda nuestra! con la huelga general por la libertad industrial[[/underline]] (All Will be Ours!  With the General Strike for Industrial Freedom) includes six figures of workers all wearing the IWW button: Black , Mexican, Anglo, and two women, one inexplicably (considering the context) [[insertion]]appears[[/insertion]] bare-breasted.  The idea is completed by a fat hand with starched cuff and diamond cufflink handing over a set of keys (to industry?) to the working class. 
[[left-margin]](Fig. 8)[[/left-margin]] Cortez's 1973 poster of Joe Hill was reproduced in 1979 along with a button design, on the centenary of Hill's birth.  In Swedish and English, the poster shows