Wide-ranging essays on cheerleading, from the pep rally to the NFL sidelines to All-Star competitions, and why it matters.

A staple of Americana, cheerleading is right up there with Fourth of July fireworks and a slice of apple pie. Yet this often clichéd image of cheer belies its complex history and current status as a global industry made up of diverse participants and forms. Indeed, cheerleading—its culture, controversies, and evolution—has always offered a revealing lens on race, class, gender, and sexuality in American society.

Cheerleading was born in 1869 as a diversion for Ivy League men. The Cheer Reader collects fourteen wide-ranging essays on what happened next and why it matters: how cheer became feminized, sexualized, professionalized, even radicalized. Contributors examine the role of cheer in the Civil Rights Movement, a landmark student free speech case, and the emergence of queer cheer teams in the 2000s. Other essays consider cheer’s record rate of injuries, social media “cheerlebrities” and eating disorders, and the working conditions of NFL and NBA cheerleaders. Amid these tensions between empowerment and objectification, cheer is only getting more popular, with some seven million participants worldwide. The Cheer Reader is a nuanced account of the activity they share and what it means today.

Whether she knows it or not, every girl who has ever dreamed of taking her place in a line of high-kicking dancers on a football field at halftime has been inspired by the Kilgore College Rangerettes, the world's first precision dance drill team. Founded in Kilgore, Texas, in 1939-1940 by the incomparable Gussie Nell Davis, the Rangerettes have performed for national and international audiences, appearing frequently at events such as the Macy's Thanksgiving Day Parade and major football bowl games across the nation, including the New Year's Cotton Bowl Classic in Dallas each year since 1951.

An icon of Americana, the red-white-and-blue clad Rangerettes have drawn the attention of numerous photographers and writers seeking to understand the enduring appeal of a group that some might view as anachronistic. O. Rufus Lovett, a fine art photographer who has taught at Kilgore College for more than thirty years, began photographing the 'Rettes in 1989. His interpretive photo essay in this book expresses his fascination with "the glamour of the Rangerettes' performances juxtaposed with the small-town atmosphere, football turf, metal bleachers, chain-link fences, and asphalt and concrete environment." In Lovett's masterfully composed photographs, the Rangerette performances captivate with their multiplicity of "shapes, patterns, and designs."

While Lovett treats the 'Rettes as an artistic subject, he also captures the esprit de corps that keeps the girls smiling even when they have to march on icy pavement and prompts their mothers to wear T-shirts that proudly proclaim "Rette Mom." An affectionate, yet unsentimental and occasionally irreverent portrait, Kilgore Rangerettes beautifully conveys the timeless quality of this unique subculture of young American womanhood.