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Maggie Rivas-Rodríguez 's edited volume Mexican Americans & World War II brought pivotal stories from the shadows, contributing to the growing acknowledgment of Mexican American patriotism as a meaningful force within the Greatest Generation. In this latest anthology, Rivas-Rodríguez and historian Emilio Zamora team up with scholars from various disciplines to add new insights. Beyond the Latino World War II Hero focuses on home-front issues and government relations, delving into new arenas of research and incorporating stirring oral histories.

These recollections highlight realities such as post-traumatic stress disorder and its effects on veterans' families, as well as Mexican American women of this era, whose fighting spirit inspired their daughters to participate in Chicana/o activism of the 1960s and 1970s. Other topics include the importance of radio as a powerful medium during the war and postwar periods, the participation of Mexican nationals in World War II, and intergovernmental negotiations involving Mexico and Puerto Rico. Addressing the complexity of the Latino war experience, such as the tandem between the frontline and the disruption of the agricultural migrant stream on the home front, the authors and contributors unite diverse perspectives to harness the rich resources of an invaluable oral history.

Exploring cultural resistance by creating and archiving Latinx performance art

Performance is often seen as ephemeral, a condition that seemingly reduces its activist possibilities. After all, not everyone can take part or bear witness. Beyond the Moment shows how Latinx artists have responded with a theater of dissent that endures—performance art that also documents and can itself be archived, creating opportunities for sustained solidarity and resistance.

Through close readings of works such as Coco Fusco’s multi-genre performance A Field Guide for Female Interrogators, Irene Mata theorizes what she calls “textual mentoring.” This method involves tracing previous moments of resistance, archiving the creative process itself, and transforming the performance into a pedagogical tool. By means of textual mentoring, a work like The Panza Monologues becomes a lesson in confronting systemic oppression through collaborative storytelling. Mata also shows how the 2012 No Papers, No Fear Ride for Justice, a multistate immigrant-rights action, relies on a vocabulary of refusal of movements of the past—like the Freedom Rides of the Civil Rights era—and continues its activism beyond its immediate performance context by digitally archiving its process. With an emphasis on intersectional critique, Beyond the Moment positions performance as a radical form of resistance that educates and inspires across generations and movements.

A story of institutionalized police brutality and how Chicago's public outcry led to long-lasting criminal justice reforms.

The malign and long-lasting influence of Chicago police commander Jon Burge cannot be overestimated, particularly as fresh examples of local and national criminal-justice abuse continue to surface with dismaying frequency. Burge’s decades-long tenure on the Chicago police force was marked by racist and barbaric interrogation methods, including psychological torture, burnings, and mock executions—techniques that went far “beyond the usual beating.” After being exposed in 1989, he became a symbol of police brutality and the unequal treatment of nonwhite people, and the persistent outcry against him led to reforms such as the abolition of the death penalty in Illinois.

But Burge hardly developed or operated in a vacuum, as Andrew S. Baer explores to stark effect here. He identifies the darkness of the Burge era as a product of local social forces, arising from a specific milieu beyond the nationwide racialized reactionary fever of the 1960s and 1970s. Similarly, the popular resistance movements that rallied in his wake actually predated Burge’s exposure but cohered with unexpected power due to the galvanizing focus on his crimes and abuses. For more than thirty years, a shifting coalition including torture survivors, their families, civil rights attorneys, and journalists helped to corroborate allegations of violence, free the wrongfully convicted, have Burge fired and incarcerated, and win passage of a municipal reparations package, among other victories. Beyond the Usual Beating reveals that though the Burge scandal underscores the relationship between personal bigotry and structural racism in the criminal justice system, it also shows how ordinary people held perpetrators accountable in the face of intransigent local power.
 

During the late 1990s, eminent basketball journalist Alexander Wolff traveled the globe to determine how a game invented by a Canadian clergyman became an international phenomenon. Big Game, Small World presents Wolff’s dispatches from sixteen countries spread across five continents and multiple US states. In them, he asks: What can the game tell us about the world? And what can the world tell us about the game? Whether traveling to Bhutan to challenge its king to a pickup game, exploring the women’s game in Brazil, or covering the Afrobasket tournament in Luanda, Angola, during a civil war, Wolff shows how basketball has the power to define an individual, a culture, and even a country.

This updated twentieth anniversary edition features a new preface in which Wolff outlines the contemporary rise of athlete-activists while discussing the increasing dominance within the NBA of marquee international players like Luka Dončić and Giannis Antetokounmpo. A loving celebration of basketball, Big Game, Small World is one of the most insightful books ever written about the game.

Koskoff examines the history, cultural significance, and musical structures of contemporary gamelan angklung cremation music through the lens of three intertwined stories: existing scholarship on this music, written mostly by Western composers and scholars; the views of those performing and experiencing the music who regard it as dharma--ritual obligation, a basic concept in Balinese Hinduism; and the music itself, with a musical analysis focusing on changes in rasa--feeling, flavor and musical flow.

A journey inside a tradition, Bittersweet Sounds of Passage reveals the overlooked music of an important ritual in Balinese village life.

Blacks have lived and worked in Maine as early as the seventeenth century, but historically have constituted less than one percent of Maine's population. Probably for this reason, books on Blacks in New England have largely ignored the experience of African American Mainers. Black Bangor is the first major published study of a Black community in Maine.

This tightly woven case study examines the African American community in Bangor during its heyday, 1880–1950, the period that saw an unprecedented migration of Blacks to that city. Blacks migrated to Bangor not just from other New England states, but from the Caribbean and Canadian Maritime Provinces as well, creating a heterogeneous community with roots in two hemispheres. Constituting an “ultraminority” in Bangor (according to the census, Blacks never numbered more than 300 souls during this period), this diverse community nonetheless came together to establish an impressive range of institutions, including local chapters of the NAACP and Odd Fellows, as well as of Mothers and Junior Mothers Clubs. Concentrated in an area known as the Parker Street neighborhood, Black women in Bangor became domestics and cooks, caterers and beauticians, clerks and stenographers. Men worked as loggers, teamsters, porters, chefs, and barbers; a few owned businesses. 

Organized thematically, with sections on migration, labor, daily life, and community, Black Bangor's topics include not just migration patterns, work, and religious and cultural organizations, but also African American homes, furniture, clothing, and foodways. Elgersman Lee also examines race relations and depictions of Blacks in the local media, and draws comparisons between the experiences of Bangor's African American population and those of Blacks in other New England cities. 

This fascinating and exhaustive study will appeal to anyone from Maine, as well as those interested in African American history and the rich texture of the region's cultural life.

Under a provision in the Brazilian constitution, rural black communities identified as the modern descendants of quilombos—runaway slave communities—are promised land rights as a form of reparations for the historic exclusion of blacks from land ownership. The quilombo provision has been hailed as a success for black rights; however, rights for quilombolas are highly controversial and, in many cases, have led to violent land conflicts. Although thousands of rural black communities have been legally recognized, only a handful have received the rights they were promised. Conflict over quilombola rights is widespread and carries important consequences for race relations and political representations of blackness in twenty-first century Brazil.

Drawing on a year of field research in a quilombola community, Elizabeth Farfán-Santos explores how quilombo recognition has significantly affected the everyday lives of those who experience the often-complicated political process. Questions of identity, race, and entitlement play out against a community’s struggle to prove its historical authenticity—and to gain the land and rights they need to survive. This work not only demonstrates the lived experience of a new, particular form of blackness in Brazil, but also shows how blackness is being mobilized and reimagined to gain social rights and political recognition. Black Bodies, Black Rights thus represents an important contribution to the rapidly growing interdisciplinary field of Afro-Latino studies.

Exploring the forces that keep black people vulnerable even amid economically privileged lives

At a moment in U.S. history with repeated reminders of the vulnerability of African Americans to state and extralegal violence, Black Bourgeois is the first book to consider the contradiction of privileged, presumably protected black bodies that nonetheless remain racially vulnerable. Examining disruptions around race and class status in literary texts, Candice M. Jenkins reminds us that the conflicted relation of the black subject to privilege is not, solely, a recent phenomenon.

Focusing on works by Toni Morrison, Spike Lee, Danzy Senna, Rebecca Walker, Reginald McKnight, Percival Everett, Colson Whitehead, and Michael Thomas, Jenkins shows that the seemingly abrupt discursive shift from post–Civil Rights to Black Lives Matter, from an emphasis on privilege and progress to an emphasis on vulnerability and precariousness, suggests a pendulum swing between two interrelated positions still in tension. By analyzing how these narratives stage the fraught interaction between the black and the bourgeois, Jenkins offers renewed attention to class as a framework for the study of black life—a necessary shift in an age of rapidly increasing income inequality and societal stratification.

Black Bourgeois thus challenges the assumed link between blackness and poverty that has become so ingrained in the United States, reminding us that privileged subjects, too, are “classed.” This book offers, finally, a rigorous and nuanced grasp of how African Americans live within complex, intersecting identities.

2023 Ralph J. Gleason Music Book Award, Rock & Roll Hall of Fame
2024 Woody Guthrie Book Award, International Association for the Study of Popular Music-US Branch (IASPM-US)
2023 Certificate of Merit, ARSC Awards for Excellence in Historical Recorded Sound Research, Association for Recorded Sound Collections​
2023 The Judy Tsou Critical Race Studies Award, American Musicological Society

How Black musicians have changed the country music landscape and brought light to Black creativity and innovation.

After a century of racist whitewashing, country music is finally reckoning with its relationship to Black people. In this timely work—the first book on Black country music by a Black writer—Francesca Royster uncovers the Black performers and fans, including herself, who are exploring the pleasures and possibilities of the genre.

Informed by queer theory and Black feminist scholarship, Royster’s book elucidates the roots of the current moment found in records like Tina Turner’s first solo album, Tina Turns the Country On! She reckons with Black “bros” Charley Pride and Darius Rucker, then chases ghosts into the future with Valerie June. Indeed, it is the imagination of Royster and her artists that make this music so exciting for a genre that has long been obsessed with the past. The futures conjured by June and others can be melancholy, and are not free of racism, but by centering Black folk Royster begins to understand what her daughter hears in the banjo music of Our Native Daughters and the trap beat of Lil Nas X’s “Old Town Road.” A Black person claiming country music may still feel a bit like a queer person coming out, but, collectively, Black artists and fans are changing what country music looks and sounds like—and who gets to love it.

This collection's fascinating spectrum of topics begins with the literary and cinematic representations of slavery from the 1970s to the present. Other authors delve into visual culture from Blaxploitation to the art of Betye Saar to stage works like A Movie Star Has to Star in Black and White as well as groundbreaking literary works like Corregidora and Captain Blackman. A pair of concluding essays concentrate on institutional change by looking at the Seventies surge of black publishing and by analyzing Ntozake Shange's for colored girls. . . in the context of current controversies surrounding sexual violence. Throughout, the writers reveal how Seventies black cultural production anchors important contemporary debates in black feminism and other issues while spurring the black imagination to thrive amidst abject social and political conditions.

Contributors: Courtney R. Baker, Soyica Diggs Colbert, Madhu Dubey, Nadine Knight, Monica White Ndounou, Kinohi Nishikawa, Samantha Pinto, Jermaine Singleton, Terrion L. Williamson, and Lisa Woolfork