Explores the resounding musical performances of Mexican American women such as Chelo Silva, Eva Ybarra, Eva Garza, and Selena within Tejano/Chicano music

Reyes and Waldman tell the stories of Chicano rock music in Southern California and the musicians who continue to make pop music with a Latin beat.

"From World War I through the 1960s, Houston was transformed into one of the most ethnically and racially diverse urban areas in the United States. Houston Bound draws on social and cultural history to show how, despite Anglo attempts to fix racial categories through Jim Crow laws, converging migrations--particularly those of Mexicans and Creoles--complicated ideas of blackness and whiteness and introduced different understandings about race. This migration history also traces the emergence of Houston's blues and jazz scenes in the 1920s as well as the hybrid forms of these genres--like zydeco and Tejano soul--that arose when migrants forged shared social space. Houston's location on the Gulf Coast, poised between the American South and the West, provides for a particularly rich examination of how the histories of colonization, slavery, and segregation produced divergent ways of thinking about race"--Provided by publisher.

In On Site, In Sound Kirstie A. Dorr examines the spatiality of sound and the ways in which the sonic is bound up in perceptions and constructions of geographic space. Focusing on the hemispheric circulation of South American musical cultures, Dorr shows how sonic production and spatial formation are mutually constitutive, thereby pointing to how people can use music and sound to challenge and transform dominant conceptions and configurations of place. Whether tracing how the evolution of the Peruvian folk song "El Condor Pasa" redefined the boundaries between national/international and rural/urban, or how a pan-Latin American performance center in San Francisco provided a venue through which to challenge gentrification, Dorr highlights how South American musicians and activists created new and alternative networks of cultural exchange and geopolitical belonging throughout the hemisphere. In linking geography with musical sound, Dorr demonstrates that place is more than the location where sound is produced and circulated; it is a constructed and contested domain through which social actors exert political influence.

While there is a long history of state violence toward immigrants in the United States, the essayists in this interdisciplinary collection tackle head-on the impacts of the Trump administration. This volume provides a well-argued look at the Trump era. Insightful contributions delve into the impact of Donald Trump’s rhetoric and policies on migrants detained and returned, immigrant children separated from their parents and placed in detention centers, and migrant women subjected to sexual and reproductive abuses, among other timely topics. The chapter authors document a long list in what the book calls “Trump’s Reign of Terror.” Organized thematically, the book has four sections: The first gathers histories about the Trump years’ roots in a longer history of anti-migration; the second includes essays on artistic and activist responses on the border during the Trump years; the third critiques the normalization of Trump’s rhetoric and actions in popular media and culture; and the fourth envisions the future. Resistance and Abolition in the Borderlands is an essential reader for those wishing to understand the extent of the damage caused by the Trump era and its impact on Latinx people. Contributors Arturo J. Aldama Rebecca Avalos Cynthia Bejarano Tria Blu Wakpa Renata Carvalho Barreto Karma R. Chávez Leo R. Chavez Jennifer Cullison Jasmin Lilian Diab Allison Glover Jamila Hammami Alexandria Herrera Diana J. Lopez Sergio A. Macías Cinthya Martinez Alexis N. Meza Roberto A. Mónico José Enrique Navarro Jessica Ordaz Eliseo Ortiz Kiara Padilla Leslie Quintanilla J-M Rivera Heidy Sarabia Tina Shull Nishant Upadhyay Maria Vargas Antonio Vásquez

Max Baca is one of the foremost artists of Tex-Mex music, the infectious dance music sweeping through the Texas-Mexico borderlands since the 1940s. His Grammy-winning group, Los Texmaniacs, and his extensive work with the accordionist Flaco Jiménez established the Albuquerque-born and San Antonio-based bajo sexto player/bandleader as a spokesperson for a too-often-maligned culture. The list of artists who have contributed to Los Texmaniacs' albums include Alejandro Escovedo, Joe Ely, Rick Trevino, Ray Benson of Asleep at the Wheel, David Hidalgo, Cesar Rosas, Steve Berlin of Los Lobos, and Lyle Lovett. Max Baca was born to play music. By his eighth birthday, he was already playing in his father's band. Polkas, redovas, corridos, boleros, chotises, huapangos, and waltzes are in his blood. Baca's music grew out of the harsh life of the borderland, and the duality of borderland music--its keening beauty--remains a recurring theme in everything he does.

This book is an innovative work that takes a fresh approach to the concept of race as a social factor made concrete in popular forms, such as film, television, and music. The essays push past the reaffirmation of static conceptions of identity, authenticity, or conventional interpretations of stereotypes and bridge the intertextual gap between theories of community enactment and cultural representation.