My Music Is My Flag

Puerto Rican music in New York is given center stage in Ruth Glasser's original and lucid study. Exploring the relationship between the social history and forms of cultural expression of Puerto Ricans, she focuses on the years between the two world wars. Her material integrates the experiences of the mostly working-class Puerto Rican musicians who struggled to make a living during this period with those of their compatriots and the other ethnic groups with whom they shared the cultural landscape. Through recorded songs and live performances, Puerto Rican musicians were important representatives for the national consciousness of their compatriots on both sides of the ocean. Yet they also played with African-American and white jazz bands, Filipino or Italian-American orchestras, and with other Latinos. Glasser provides an understanding of the way musical subcultures could exist side by side or even as a part of the mainstream, and she demonstrates the complexities of cultural nationalism and cultural authenticity within the very practical realm of commercial music. Illuminating a neglected epoch of Puerto Rican life in America, Glasser shows how ethnic groups settling in the United States had choices that extended beyond either maintenance of their homeland traditions or assimilation into the dominant culture. Her knowledge of musical styles and performance enriches her analysis, and a discography offers a helpful addition to the text.

Most pop songs are short-lived. They appear suddenly and, if they catch on, seem to be everywhere at once before disappearing again into obscurity. Yet some songs resonate more deeply—often in ways that reflect broader historical and cultural changes. In Footsteps in the Dark, George Lipsitz illuminates these secret meanings, offering imaginative interpretations of a wide range of popular music genres from jazz to salsa to rock. Sweeping changes that only remotely register in official narratives, Lipsitz argues, can appear in vivid relief within popular music, especially when these changes occur outside mainstream white culture. Using a wealth of revealing examples, he discusses such topics as the emergence of an African American techno music subculture in Detroit as a contradictory case of digital capitalism and the prominence of banda, merengue, and salsa music in the 1990s as an expression of changing Mexican, Dominican, and Puerto Rican nationalisms. Approaching race and popular music from another direction, he analyzes the Ken Burns PBS series Jazz as a largely uncritical celebration of American nationalism that obscures the civil rights era’s challenge to racial inequality, and he takes on the infamous campaigns to censor hip-hop and the radical black voice in the early 1990s. Teeming with astute observations and brilliant insights about race and racism, deindustrialization, and urban renewal and their connections to music, Footsteps in the Dark puts forth an alternate history of post–cold war America and shows why in an era given to easy answers and clichd versions of history, pop songs matter more than ever. George Lipsitz is professor of black studies and sociology at the University of California, Santa Barbara. Among his many books are Life in the Struggle, Dangerous Crossroads, and American Studies in a Moment of Danger (Minnesota, 2001).

Since the meeting of the first Primary, poets and composers have shared their talents to create songs for Latter-day Saint children. This impressive volume about the making of the Children's Songbook includes a variety of sources and stories not available to the public. Discover the miracles and memories behind the songs you love in this valuable and inspiring book.

A blue star for each family member serving in Americas military a gold star if that life was lost in defense of the nations freedom. IN WORLD WAR I, the American tradition of the service flag began. Families displayed a simple fabric banner with a blue star for each family member serving in the U.S. Armed Forces. If a family member died in the nations service, a gold star covered that individuals blue star on the family service flag. Not a symbol of mourning, the gold star represented the familys pride and the honor and glory accorded to that individual for making the supreme sacrifice in defense of the Americas freedom. Soon, the term gold star mother came to be used to identify and honor women who had lost a son or daughter in wartime military service. Following the war, as the nation focused its attention on those veterans who had returned whole in mind and body, gold star mothers served as a constant reminder of the true cost of war. In 1928, a group of these women formed American Gold Star Mothers, Inc., an organization created to honor those who had died by being of service to veterans and their families in need, supporting gold star families, and caring for veterans who had returned with physical, emotional and psychological wounds. From that humble beginning, American Gold Star Mothers, Inc. has become an icon of national service, opening its membership time and again to gold star mothers of later wars and conflicts, including Iraq and Afghanistan. Their amazing legacy of service is an important yet largely unknown chapter in American history. This book presents the story of gold star mothers in America and the first comprehensive history of American Gold Star Mothers, Inc., drawn from nearly a century of archival materials. The fascinating story of the strong women who honored their fallen sons and daughters by dedicating themselves to the service of veterans and peace is both compelling and inspiring.

Latino music as an amalgam of American cultures.

Italians were the largest group of immigrants to the United States at the turn of the twentieth century, and hundreds of thousands led and participated in some of the period's most volatile labor strikes. Jennifer Guglielmo brings to life the Italian working-class women of New York and New Jersey who helped shape the vibrant radical political culture that expanded into the emerging industrial union movement. Tracing two generations of women who worked in the needle and textile trades, she explores the ways immigrant women and their American-born daughters drew on Italian traditions of protest to form new urban female networks of everyday resistance and political activism. She also shows how their commitment to revolutionary and transnational social movements diminished as they became white working-class Americans.

This work, a companion to the author’s Broadway Sheet Music: A Comprehensive Listing of Published Music from Broadway and Other Stage Shows, 1918 through 1993 (McFarland 1996), provides information about all sheet music published (1843–1918) from all Broadway productions—plus music from local shows, minstrel shows, night club acts, vaudeville acts, touring companies, and shows on the road that never made it to Broadway—and all the major musicals from Chicago.

A first-hand exploration of the diverse roles music plays in people's lives.