Moishe Josofsky was an eight-year-old Jew when he and his family came to America in 1911 to escape the pogroms of Russia and the Czar's rule. Following in the footsteps of his brother, Moishe entered the boxing arena as Dandy Dillon and at the tender age of seventeen became a boxing champion.

Boxing is one of the oldest sports in the world, reaching back to the Ancient Greeks, although it has become popular only in the past century or so. But, in some ways, it is a rather complicated sport since – to avoid unnecessary harm – it has been endowed with rules to keep it clean, referees to see the rules are obeyed, and organizations to regulate the sport. Boxing was once largely amateur, although the professional bouts attracted the most attention, but now it is also an Olympic sport. And, over the years, there has been one champion after another who symbolized what boxing was all about, such Joe Louis, Mohammad Ali and Cassius Clay. Naturally, these champions are the focus of the Historical Dictionary of Boxing as well, and they have the biggest entries in the dictionary section, but they had to fight against someone and there are dozens and dozens of other boxers with smaller entries. More of these boxers come from the United States than elsewhere, but there are others from Europe, Asia and Latin America, and there are also entries on the major boxing countries as well. Plus entries on the rules, on the organizations, and on the technical terminology and jargon you have to know just to follow the bouts. The introduction provides a broad view of boxing’s history while the chronology traces events from 688 B.C. to 2012 A.D. Not all that much has been written on boxing that is not ephemeral, but much of that literature can be found in the bibliography. This book is an excellent access point for students, researchers, and anyone wanting to know more about the sport of boxing.

While many of his peers began their careers as farmers and factory workers, Leo Florian Houck became a boxing sensation at age 14, enabling him to support his mother and six siblings after his father's death. Houck's career really took off in 1911 with a 20-round victory over world-class welterweight Harry Lewis in Paris. During 1913 Leo became the leading middleweight contender in America. This biography details Houck's early years in Lancaster, Pennsylvania, his long career in the ring--including 200 fights--and his 27 years as Penn State's legendary boxing coach.

Throughout history, potters, sculptors, painters, poets, novelists, cartoonists, song-writers, photographers, and filmmakers have recorded and tried to make sense of boxing. From Daniel Mendoza to Mike Tyson, boxers have embodied and enacted our anxieties about race, ethnicity, gender, and sexuality. In her encyclopedic investigation of the shifting social, political, and cultural resonances of this most visceral of sports, Kasia Boddy throws new light on an elemental struggle for dominance whose weapons are nothing more than fists. Looking afresh at everything from neoclassical sculpture to hip-hop lyrics, Boddy explores the ways in which the history of boxing has intersected with the history of mass media. Boddy pulls no punches, looking to the work of such diverse figures as Henry Fielding and Spike Lee, Charlie Chaplin and Philip Roth, James Joyce and Mae West, Bertolt Brecht and Charles Dickens in an all-encompassing study that tells us just how and why boxing has mattered so much to so many.

In a bold rethinking of the Hollywood blacklist and McCarthyite America, Joseph Litvak reveals a political regime that did not end with the 1950s or even with the Cold War: a regime of compulsory sycophancy, in which the good citizen is an informer, ready to denounce anyone who will not play the part of the earnest, patriotic American. While many scholars have noted the anti-Semitism underlying the House Un-American Activities Committee’s (HUAC’s) anti-Communism, Litvak draws on the work of Theodor W. Adorno, Hannah Arendt, Alain Badiou, and Max Horkheimer to show how the committee conflated Jewishness with what he calls “comic cosmopolitanism,” an intolerably seductive happiness, centered in Hollywood and New York, in show business and intellectual circles. He maintains that HUAC took the comic irreverence of the “uncooperative” witnesses as a crime against an American identity based on self-repudiation and the willingness to “name names.” Litvak proposes that sycophancy was (and continues to be) the price exacted for assimilation into mainstream American culture, not just for Jews, but also for homosexuals, immigrants, and other groups deemed threatening to American rectitude. Litvak traces the outlines of comic cosmopolitanism in a series of performances in film and theater and before HUAC, performances by Jewish artists and intellectuals such as Zero Mostel, Judy Holliday, and Abraham Polonsky. At the same time, through an uncompromising analysis of work by informers including Jerome Robbins, Elia Kazan, and Budd Schulberg, he explains the triumph of a stoolpigeon culture that still thrives in the America of the early twenty-first century.

Jews and humor is, for most people, a natural and felicitous collocation. In spite of, or perhaps because of, a history of crises and living on the edge, Jews have often created or resorted to humor. But what is humor? And what makes certain types, instances, or performances of humor "Jewish"? These are among the myriad queries addressed by the fourteen authors whose essays are collected in this volume. And, thankfully, their observations, always apt and often witty, are expressed with a lightness of style and a depth of analysis that are appropriate to the many topics they cover. The scholars who contributed to this collection allow readers both to discern the common features that make up "Jewish humor" and to delight in the individualism and eccentricities of the many figures whose lives and accomplishments are narrated here. Because these essays are written in a clear, jargon-free style, they will appeal to everyone—even those who don't usually crack a smile!