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A. Philip Randolph's career as a trade unionist and civil rights activist fundamentally shaped the course of black protest in the mid-twentieth century. Standing alongside W. E. B. Du Bois, Marcus Garvey, and others at the center of the cultural renaissance and political radicalism that shaped communities such as Harlem in the 1920s and into the 1930s, Randolph fashioned an understanding of social justice that reflected a deep awareness of how race complicated class concerns, especially among black laborers. Examining Randolph's work in lobbying for the Brotherhood of Sleeping Car Porters, threatening to lead a march on Washington in 1941, and establishing the Fair Employment Practice Committee, Cornelius L. Bynum shows that Randolph's push for African American equality took place within a broader progressive program of industrial reform. Bynum interweaves biographical information with details on how Randolph gradually shifted his thinking about race and class, full citizenship rights, industrial organization, trade unionism, and civil rights protest throughout his activist career.
In About Bach, fifteen scholars show that the immense magnitude of Johann Sebastian Bach's achievement in the history of Western music extends from choral to orchestral music, from sacred music to musical parodies, and also to his scribes and students, his predecessors and successors. The contributors demonstrate a diversity of musicological approaches, ranging from close studies of Bach's choices of musical form and libretto to wider analyses of the historical and cultural backgrounds that impinged upon his creations and their lasting influence._x000B__x000B_Contributors are Gregory G. Butler, Jen-Yen Chen, Alexander J. Fisher, Mary Dalton Greer, Robert Hill, Ton Koopman, Daniel R. Melamed, Michael Ochs, Mark Risinger, William H. Scheide, Hans-Joachim Schulze, Douglass Seaton, George B. Stauffer, Andrew Talle, and Kathryn Welter._x000B_
Klezmer, Polka, Tango, Zydeco, and More!
An invention of the Industrial Revolution, the accordion provided the less affluent with an inexpensive, loud, portable, and durable "one-man-orchestra" capable of producing melody, harmony, and bass all at once. This rich collection considers the accordion and its myriad forms, from the concertina, button accordion, and piano accordion familiar in European and North American music to the more exotic-sounding South American bandoneón and the sanfoninha._x000B__x000B_Capturing the instrument's spread and adaptation to many different cultures in North and South America, contributors illuminate how the accordion factored into power struggles over aesthetic values between elites and working-class people who often were members of immigrant and/or marginalized ethnic communities. Specific histories and cultural contexts discussed include the accordion in Brazil, Argentine tango, accordion traditions in Colombia and the Dominican Republic, cross-border accordion culture between Mexico and Texas, Cajun and Creole identity, working-class culture near Lake Superior, the virtuoso Italian-American and Klezmer accordions, Native American dance music, and American avant-garde. _x000B__x000B_Contributors are María Susana Azzi, Egberto Bermúdez, Mark DeWitt, Joshua Horowitz, Sydney Hutchinson, Marion Jacobson, James P. Leary, Megwen Loveless, Richard March, Cathy Ragland, Helena Simonett, Jared Snyder, Janet L. Sturman, and Christine F. Zinni.
Business, Consumers, and Government in the 1940s
Inger L. Stole challenges the notion that advertising disappeared as a political issue in the United States in 1938 with the passage of the Wheeler-Lea Amendment to the Federal Trade Commission Act, the result of more than a decade of campaigning to regulate the advertising industry. She suggests that the war experience, even more than the legislative battles of the 1930s, defined the role of advertising in U.S. postwar political economy and the nation's cultural firmament. Using archival sources, newspapers accounts, and trade publications, Stole demonstrates that the postwar climate of political intolerance and reverence for free enterprise quashed critical investigations into the advertising industry. While advertising could be criticized or lampooned, the institution itself became inviolable._x000B_
Consumer Activism and Corporate Public Relations in the 1930s
It hasn't occurred to even the harshest critics of advertising since the 1930s to regulate advertising as extensively as its earliest opponents almost succeeded in doing. Met with fierce political opposition from organized consumer movements when it emerged, modern advertising was viewed as propaganda that undermined the ability of consumers to live in a healthy civic environment. _x000B_In Advertising on Trial, Inger L. Stole examines how these consumer activists sought to limit the influence of corporate powers by rallying popular support to moderate and transform advertising. She weaves their story together through the extensive use of primary sources, including archival research done with consumer and trade group records, as well as trade journals and a thorough engagement with the existing literature. Stole's account of this contentious struggle also demonstrates how public relations developed as a way to justify laissez-faire corporate advertising in light of a growing consumer rights movement, and how the failure to rein in advertising was significant not just for that period but for ours as well. _x000B_
In this timely critical introduction to the representation of Afghanistan in film, Mark Graham examines the often surprising combination of propaganda and poetry in films made in Hollywood and the East. Through the lenses of postcolonial theory and historical reassessment, Graham analyzes what these films say about Afghanistan, Islam, and the West and argues that they are integral tools for forming discourse on Afghanistan, a means for understanding and avoiding past mistakes, and symbols of the country's shaky but promising future. Thoughtfully addressing many of the misperceptions about Afghanistan perpetuated in the West, Afghanistan in the Cinema incorporates incisive analysis of the market factors, funding sources, and political agendas that have shaped the films. _x000B__x000B_The book considers a range of films, beginning with the 1970s epics The Man Who Would Become King and The Horsemen and following the shifts in representation of the Muslim world during the Russian War in films such as The Beast and Rambo III. Graham then moves on to Taliban-era films such as Kandahar, Osama, and Ellipsis, the first Afghan film directed by a woman. Lastly, the book discusses imperialist nostalgia in films such as Charlie Wilson's War and destabilizing visions represented in contemporary works such as The Kite Runner. _x000B_
The Eastern Kentucky Social Club
Thomas E. Wagner and Phillip J. Obermiller's African American Miners and Migrants documents the lives of Eastern Kentucky Social Club (EKSC) members, a group of black Appalachians who left the eastern Kentucky coalfields and their coal company hometowns in Harlan County. _x000B__x000B_Bound together by segregation, the inherent dangers of mining, and coal company paternalism, it might seem that black miners and mountaineers would be eager to forget their past. Instead, members of the EKSC have chosen to celebrate their Harlan County roots. African American Miners and Migrants uses historical and archival research and extensive personal interviews to explore their reasons and the ties that still bind them to eastern Kentucky. The book also examines life in the model coal towns of Benham and Lynch in the context of Progressive Era policies, the practice of welfare capitalism, and the contemporary national trend of building corporate towns and planned communities.
An Ethnographic Reframing of Guatemala 1954
This exceptional collection revisits the aftermath of the 1954 coup that ousted the democratically elected Guatemalan president Jacobo Arbenz. Contributors frame the impact of 1954 not only in terms of the liberal reforms and coffee revolutions of the nineteenth century, but also in terms of post-1954 U.S. foreign policy and the genocide of the 1970s and 1980s. Scholars and researchers who have worked in Guatemala from the 1940s to the present highlight the voices of individuals with whom they have lived and worked, offering an unmatched understanding of how the events preceding and following the coup played out on the ground._x000B__x000B_Contributors are Abigail E. Adams, Richard N. Adams, David Carey Jr., Christa Little-Siebold, Judith M. Maxwell, Victor D. Montejo, June C. Nash, and Timothy J. Smith.
Albert Maysles has created some of the most influential documentaries of the postwar period. Such films as Salesman, Gimme Shelter, and Grey Gardens continue to generate intense debate about the ethics and aesthetics of the documentary form. In this in-depth study, Joe McElhaney offers a novel understanding of the historical relevance of Maysles. By closely focusing on Maysles's expressive use of his camera, particularly in relation to the filming of the human figure, this book situates Maysles's films within not only documentary film history but film history in general, arguing for their broad-ranging importance to both narrative film and documentary cinema. Complete with an engaging interview with Maysles and a detailed comparison of the variant releases of his documentary on the Beatles (What's Happening: The Beatles in the U.S.A. and The Beatles: The First U.S. Visit), this work is a pivotal study of a significant filmmaker.
This in-depth study of Mexican film director Alejandro Gonzalez Inarritu explores his role in moving Mexican filmmaking from a traditional nationalist agenda toward a more global focus. Working in the United States and in Mexico, Inarritu crosses national borders while his movies break the barriers of distribution, production, narration, and style. His features also experiment with transnational identity as characters emigrate and settings change. In studying the international scope of Inarritu's influential films Amores Perros, 21 Grams, and Babel, Celestino Deleyto and Maria del Mar Azcona trace common themes such as human suffering and redemption, chance, and accidental encounters. The authors also analyze the director's powerful visual style and his consistent use of multiple characters and a fragmented narrative structure. The book concludes with a new interview of Inarritu that touches on the themes and subject matter of his chief works.