Building on the intellectual and political momentum that established the Critical Ethnic Studies Association, this Reader inaugurates a radical response to the appropriations of liberal multiculturalism while building on the possibilities enlivened by the historical work of Ethnic Studies. It does not attempt to circumscribe the boundaries of Critical Ethnic Studies; rather, it offers a space to promote open dialogue, discussion, and debate regarding the field's expansive, politically complex, and intellectually rich concerns. Covering a wide range of topics, from multiculturalism, the neoliberal university, and the exploitation of bodies to empire, the militarized security state, and decolonialism, these twenty-five essays call attention to the urgency of articulating a Critical Ethnic Studies for the twenty-first century.

Guthrie P. Ramsey, Jr., is an award-winning musicologist, music historian, composer, and pianist whose prescient theoretical and critical interventions have bridged Black cultural studies and musicology. Representing twenty-five years of commentary and scholarship, these essays document Ramsey's search to understand America's Black musical past and present and to find his own voice as an African American writer in the field of musicology. This far-reaching collection embraces historiography, ethnography, cultural criticism, musical analysis, and autobiography, traversing the landscape of Black musical expression from sacred music to art music, and jazz to hip-hop. Taken together, these essays and the provocative introduction that precedes them are testament to the legacy work that has come to define a field, as well as a rousing call to readers to continue to ask the hard questions and write the hard truths.

For people of African descent, music constitutes a unique domain of expression. From traditional West African drumming to South African kwaito, from spirituals to hip-hop, Black life and history has been dynamically displayed and contested through sound. Shana Redmond excavates the sonic histories of these communities through a genre emblematic of Black solidarity and citizenship: anthems. An interdisciplinary cultural history, Anthem reveals how this "sound franchise" contributed to the growth and mobilization of the modern, Black citizen. Providing new political frames and aesthetic articulations for protest organizations and activist-musicians, Redmond reveals the anthem as a crucial musical form following World War I. Beginning with the premise that an analysis of the composition, performance, and uses of Black anthems allows for a more complex reading of racial and political formations within the twentieth century, Redmond expands our understanding of how and why diaspora was a formative conceptual and political framework of modern Black identity. By tracing key compositions and performances around the world--from James Weldon Johnson's "Lift Ev'ry Voice and Sing" that mobilized the NAACP to Nina Simone's "To Be Young, Gifted & Black" which became the Black National Anthem of the Congress of Racial Equality (CORE)--Anthem develops a robust recording of Black social movements in the twentieth century that will forever alter the way you hear race and nation.

Building on the intellectual and political momentum that established the Critical Ethnic Studies Association, this Reader inaugurates a radical response to the appropriations of liberal multiculturalism while building on the possibilities enlivened by the historical work of Ethnic Studies. It does not attempt to circumscribe the boundaries of Critical Ethnic Studies; rather, it offers a space to promote open dialogue, discussion, and debate regarding the field's expansive, politically complex, and intellectually rich concerns. Covering a wide range of topics, from multiculturalism, the neoliberal university, and the exploitation of bodies to empire, the militarized security state, and decolonialism, these twenty-five essays call attention to the urgency of articulating a Critical Ethnic Studies for the twenty-first century.

From his cavernous voice and unparalleled artistry to his fearless struggle for human rights, Paul Robeson was one of the twentieth century's greatest icons and polymaths. In Everything Man Shana L. Redmond traces Robeson's continuing cultural resonances in popular culture and politics. She follows his appearance throughout the twentieth century in the forms of sonic and visual vibration and holography; theater, art, and play; and the physical environment. Redmond thereby creates an imaginative cartography in which Robeson remains present and accountable to all those he inspired and defended. With her bold and unique theorization of antiphonal life, Redmond charts the possibility of continued communication, care, and collectivity with those who are dead but never gone.

From his cavernous voice and unparalleled artistry to his fearless struggle for human rights, Paul Robeson was one of the twentieth century's greatest icons and polymaths. In Everything Man Shana L. Redmond traces Robeson's continuing cultural resonances in popular culture and politics. She follows his appearance throughout the twentieth century in the forms of sonic and visual vibration and holography; theater, art, and play; and the physical environment. Redmond thereby creates an imaginative cartography in which Robeson remains present and accountable to all those he inspired and defended. With her bold and unique theorization of antiphonal life, Redmond charts the possibility of continued communication, care, and collectivity with those who are dead but never gone.

Guthrie P. Ramsey, Jr., is an award-winning musicologist, music historian, composer, and pianist whose prescient theoretical and critical interventions have bridged Black cultural studies and musicology. Representing twenty-five years of commentary and scholarship, these essays document Ramsey's search to understand America's Black musical past and present and to find his own voice as an African American writer in the field of musicology. This far-reaching collection embraces historiography, ethnography, cultural criticism, musical analysis, and autobiography, traversing the landscape of Black musical expression from sacred music to art music, and jazz to hip-hop. Taken together, these essays and the provocative introduction that precedes them are testament to the legacy work that has come to define a field, as well as a rousing call to readers to continue to ask the hard questions and write the hard truths.

For people of African descent, music constitutes a unique domain of expression. From traditional West African drumming to South African kwaito, from spirituals to hip-hop, Black life and history has been dynamically displayed and contested through sound. Shana Redmond excavates the sonic histories of these communities through a genre emblematic of Black solidarity and citizenship: anthems. An interdisciplinary cultural history, Anthem reveals how this "sound franchise" contributed to the growth and mobilization of the modern, Black citizen. Providing new political frames and aesthetic articulations for protest organizations and activist-musicians, Redmond reveals the anthem as a crucial musical form following World War I. Beginning with the premise that an analysis of the composition, performance, and uses of Black anthems allows for a more complex reading of racial and political formations within the twentieth century, Redmond expands our understanding of how and why diaspora was a formative conceptual and political framework of modern Black identity. By tracing key compositions and performances around the world--from James Weldon Johnson's "Lift Ev'ry Voice and Sing" that mobilized the NAACP to Nina Simone's "To Be Young, Gifted & Black" which became the Black National Anthem of the Congress of Racial Equality (CORE)--Anthem develops a robust recording of Black social movements in the twentieth century that will forever alter the way you hear race and nation. Shana L. Redmond is Assistant Professor of American Studies and Ethnicity at the University of Southern California. She is a former musician and labor organizer.