"This book offers the reader the best example of how a great idea can, eventually, create a revolution and change a whole community. I met Frank Cruz years ago on the streets of Los Angeles. He witnessed the Latino wave from its beginnings. Frank is a pioneer, a creator, and a fantastic journalist. I doubt he ever expected to be writing his own story. But, if you want to understand us, read this book." Jorge Ramos, Journalist and Author "Frank Cruz has cracked open that unmarked box tucked away in America's attic. So afraid to reveal its contents, we forget the jewels it hides. Through his story, Frank lets us peek into our history. A diverse, complicated people with a textured history. Grit, faith and ingenuity -- we shouldn't hide that. Bravo, Frank. " Xavier Becerra, Attorney General of California Latino Public Broadcasting is dear to my heart and its legitimization of our stories exists because of the guidance and expertise of my compadre Frank Cruz. His wisdom and leadership developed as he broke through barriers in multiple industries and ultimately rose to the top in each of his careers, as he has recounted in this memoir. Through his own story, Frank continues to teach, inspire, and give voice to the Latino experience. Edward James Olmos, Actor, Director, Producer, and Activist "Frank Cruz has lived a life of accomplishment and contributions. He paved an untrodden path of Latino journalistic professionalism and was courageously and determinedly true to his vision. In so doing, he touched many lives and set a stellar example." Henry Cisneros, former HUD Secretary and San Antonio Mayor "This important story is very well told and full of good anecdotes, reflections and advice. Frank Cruz's graduate work in history, experience in journalism, and ability to make a point by telling a compelling story, are all put to good use in telling his own unique story which will inform and inspire." Felix Gutierrez, Journalism Professor Emeritus, USC

The “Hollywood” where Sammy Santos and Juliana Ríos live is not the West Coast one, the one with all the glitz and glitter. This Hollywood is a tough barrio at the edge of a small town in southern New Mexico. Sammy and this friends—members of the 1969 high school graduating class—face a world of racism, dress codes, war in Vietnam and barrio violence. In the summer before his senior year begins, Sammy falls in love with Juliana, a girl whose tough veneer disguises a world of hurt. By summer’s end, Juliana is dead. Sammy grieves, and in his grief, the memory of Juliana becomes his guide through this difficult year. Sammy is a smart kid, but he’s angry. He’s angry about Juliana’s death, he’s angry about the poverty his father and his sister must endure, he’s angry at his high school and its thinly disguised gringo racism, and he’s angry he might not be able to go to college. Benjamin Alire Sáenz, evoking the bittersweet ambience found in such novels as McMurtry’s The Last Picture Show, captures the essence of what it meant to grow up Chicano in small-town America in the late 1960s. Benjamin Alire Sáenz—novelist, poet, essayist and writer of children’s books—is at the forefront of the emerging Latino literatures. He has received both the Wallace Stegner Fellowship and the Lannan Fellowship, and is a recipient of the American Book Award. Born Mexican-American Catholic in the rural community of Picacho, New Mexico, he now teaches at the University of Texas at El Paso, and considers himself a “fronterizo,” a person of the border.

From the award-winning author of Always Running comes a brilliant collection of short stories about life in East Los Angeles. Whether hilariously capturing the voice of a philosophizing limo driver whose dream is to make the most of his rap-metal garage band in "My Ride, My Revolution," or the monologue-styled rant of a tes-ti-fy-ing! tent revivalist named Ysela in "Oiga," Rodriguez squeezes humor from the lives of people who are not ready to sacrifice their dreams due to circumstance. In these stories, Luis J. Rodriguez gives eloquent voice to the neighborhood where he spent many years as a resident, a father, an organizer, and, finally, a writer: a neighborhood that offers more to the world than its appearance allows.

The life of Helen Miller Bailey, teacher, artist, author, community activist, social reformer, wife, and mother, is as inspirational as it was ardently lived. Todays authors of purportedly new concepts of living a purposeful life, inspired work, and authentic leadership could have been writing about Helen Miller Bailey, though she died nearly half a century ago. Those who witnessed the intensity with which she approached teaching and mentoring, justice, world travel, and Latin American studies describe just how Doc Bailey instilled these ideals in her students who honor her today with a legacy of service and leadership.

Pioneering black-and-gray tattoo artist Freddy Negrete was twelve years old and confined in the holding cell of a Los Angeles juvenile facility when an older teenager entered—covered in tattoos. Freddy was in awe, not just of the art, but of what it symbolized, and he wanted what this kid had: the potent sense of empowerment and belonging that came from joining a gang. The encounter drove Freddy to join the notorious gang La Sangra, and it didn't take long before he was a regular guest at LA County's juvenile detention facilities. By the age of twenty-one, Freddy had spent almost his whole life as a ward of the state in one form or the other. Enthralled by the black-and-gray tattoo style that in the 1970s was confined to the rebel culture of Chicano gangsters and criminals, Freddy started inking himself with hand-poked tattoos. Everyone wanted a piece of Freddy's black-and-gray style--gangbangers but also Hollywood starlets and film producers. In a riveting narrative that takes the reader from Freddy's days as a cholo gang member to evangelical preacher to Hollywood body art guru to addiction counselor, Smile Now, Cry Later is, ultimately, a testament to that spark within us all, that catalyst which gives us the strength to survive, transform, and transcend all that can destroy us.

From the New York Times bestselling author of Fifth Avenue, Five A.M. and Fosse comes the revelatory account of the making of a modern American masterpiece Chinatown is the Holy Grail of 1970s cinema. Its twist ending is the most notorious in American film and its closing line of dialogue the most haunting. Here for the first time is the incredible true story of its making. In Sam Wasson's telling, it becomes the defining story of the most colorful characters in the most colorful period of Hollywood history. Here is Jack Nicholson at the height of his powers, as compelling a movie star as there has ever been, embarking on his great, doomed love affair with Anjelica Huston. Here is director Roman Polanski, both predator and prey, haunted by the savage death of his wife, returning to Los Angeles, the scene of the crime, where the seeds of his own self-destruction are quickly planted. Here is the fevered dealmaking of "The Kid" Robert Evans, the most consummate of producers. Here too is Robert Towne's fabled script, widely considered the greatest original screenplay ever written. Wasson for the first time peels off layers of myth to provide the true account of its creation. Looming over the story of this classic movie is the imminent eclipse of the '70s filmmaker-friendly studios as they gave way to the corporate Hollywood we know today. In telling that larger story, The Big Goodbye will take its place alongside classics like Easy Riders, Raging Bulls and The Devil's Candy as one of the great movie-world books ever written. Praise for Sam Wasson: "Wasson is a canny chronicler of old Hollywood and its outsize personalities...More than that, he understands that style matters, and, like his subjects, he has a flair for it." - The New Yorker "Sam Wasson is a fabulous social historian because he finds meaning in situations and stories that would otherwise be forgotten if he didn't sleuth them out, lovingly." - Hilton Als

In The Sound of Exclusion, Christopher Chávez critically examines National Public Radio's professional norms and practices that situate white listeners at the center while relegating Latinx listeners to the periphery. By interrogating industry practices, we might begin to reimagine NPR as a public good that serves the broad and diverse spectrum of the American public.