The cultural politics creating and consuming Latina/o mass media. Just ten years ago, discussions of Latina/o media could be safely reduced to a handful of TV channels, dominated by Univision and Telemundo. Today, dramatic changes in the global political economy have resulted in an unprecedented rise in major new media ventures for Latinos as everyone seems to want a piece of the Latina/o media market. While current scholarship on Latina/o media have mostly revolved around important issues of representation and stereotypes, this approach does not provide the entire story. In Contemporary Latina/o Media, Arlene Davila and Yeidy M. Rivero bring together an impressive range of leading scholars to move beyond analyses of media representations, going behind the scenes to explore issues of production, circulation, consumption, and political economy that affect Latina/o mass media. Working across the disciplines of Latina/o media, cultural studies, and communication, the contributors examine how Latinos are being affected both by the continued Latin Americanization of genres, products, and audiences, as well as by the whitewashing of "mainstream" Hollywood media where Latinos have been consistently bypassed. While focusing on Spanish-language television and radio, the essays also touch on the state of Latinos in prime-time television and in digital and alternative media. Using a transnational approach, the volume as a whole explores the ownership, importation, and circulation of talent and content from Latin America, placing the dynamics of the global political economy and cultural politics in the foreground of contemporary analysis of Latina/o media.

Culture Works addresses and critiques an important dimension of the "work of culture," an argument made by enthusiasts of creative economies that culture contributes to the GDP, employment, social cohesion, and other forms of neoliberal development. While culture does make important contributions to national and urban economies, the incentives and benefits of participating in this economy are not distributed equally, due to restructuring that neoliberal policies have wrought from the 1980s on, as well as long-standing social structures, such as racism and classism, that breed inequality. The cultural economy promises to make life better, particularly in cities, but not everyone can take advantage of it for decent jobs. Exposing and challenging the taken-for-granted assumptions around questions of space, value and mobility that are sustained by neoliberal treatments of culture, Culture Works explores some of the hierarchies of cultural workers that these engender, as they play out in a variety of settings, from shopping malls in Puerto Rico and art galleries in New York to tango tourism in Buenos Aires. Noted scholar Arlene Davila brilliantly reveals how similar dynamics of space, value and mobility come to bear in each location, inspiring particular cultural politics that have repercussions that are both geographically specific, but also ultimately global in scope.

Culture Works addresses and critiques an important dimension of the "work of culture," an argument made by enthusiasts of creative economies that culture contributes to the GDP, employment, social cohesion, and other forms of neoliberal development. While culture does make important contributions to national and urban economies, the incentives and benefits of participating in this economy are not distributed equally, due to restructuring that neoliberal policies have wrought from the 1980s on, as well as long-standing social structures, such as racism and classism, that breed inequality. The cultural economy promises to make life better, particularly in cities, but not everyone can take advantage of it for decent jobs. Exposing and challenging the taken-for-granted assumptions around questions of space, value and mobility that are sustained by neoliberal treatments of culture, Culture Works explores some of the hierarchies of cultural workers that these engender, as they play out in a variety of settings, from shopping malls in Puerto Rico and art galleries in New York to tango tourism in Buenos Aires. Noted scholar Arlene Davila brilliantly reveals how similar dynamics of space, value and mobility come to bear in each location, inspiring particular cultural politics that have repercussions that are both geographically specific, but also ultimately global in scope.

aThe finest, fiercest and most piercing of our public intellectuals . . . DAvila is a force of nature. In Latino Spin DAvila elegantly unravels the media driven sleight-of-hand that simultaneously celebrates an uber-American (and almost entirely manufactured) Latino middle class while demonizing recent Latino immigrants and the poor folks who resemble them. On a line by line, idea by idea basis DAvila is simply without peer, her scholarship essential to our understanding of our New America.a
--Junot DA-az, author of "The Brief Wondrous Life of Oscar Wao and Drown"

aArlene DAvila depicts the frenzied efforts of post-industrial America to corral more than 40 million diverse Latinos into a single homogenized market. Whether itas peddling consumer goods, monetizing art and culture, engineering barrio land development, or shaping a new political voting bloc, Latino Spin brilliantly dissects Hispanic-American reality in the 21st century.a
--Juan Gonzalez, "New York Daily News" columnist and author of "Harvest of Empire: A History of Latinos in America"

aA wonderfully written book that cuts through the aspina often used to typecast the U.S.as largest minority group. Offering a fresh and insightful take on race in America, Arlene DAvila addresses popular images of Latinos and shows us the limitations of both negative portrayals and the attempts to respond to them. In this tour de force, DAvila goes beyond simply describing bias to offer a transcendent vision of Latinos that challenges racism and captures the complexity of this diverse community.a
--Mark Sawyer, author of "Racial Politics in Post Revolutionary Cuba"

Illegal immigrant, tax-burden, job stealer. Patriot, familyoriented, hard worker, model consumer. Ever since Latinos became the largest minority in the U.S. they have been caught between these wildly contrasting characterizations leaving us to wonder: Are Latinos friend or foe?

Latino Spin cuts through the spin about Latinosa supposed values, political attitudes, and impact on U.S. national identity to ask what these caricatures suggest about Latinosa shifting place in the popular and political imaginary. Noted scholar Arlene DAvila demonstrates that there is a growing consensus being voiced by pundits, advocates, and scholars to demonstrate that Latinos are not a social liability, that they are moving up and contributing, and that, in fact, they are more American than athe Americans.a But what is at stake in such a sanitized and marketable representation of Latinidad? DAvila follows the spin through the realm of politics, think tanks, Latino museums, and urban planning to uncover whether they effectively challenge the growing fear over Latinosa supposedly dreadful effect on the aintegritya of U.S. national identity. What may be some of the intended or unintended consequences of these more marketable representations in regards to current debates over immigration?

With particular attention to what these representations reveal about the place and role of Latinos in the contemporary politics of race, Latino Spin highlights the realities they skew and the polarization they effect between Latinos and other minorities, and among Latinos themselves along the lines of citizenship and class. Finally, by considering Latinos in all their diversity, including their increasing financial and geographic disparities, DAvila can present alternative and moreempowering representations of Latinidad to help attain true political equity and intraracial coalitions.

aThe finest, fiercest and most piercing of our public intellectuals . . . DAvila is a force of nature. In Latino Spin DAvila elegantly unravels the media driven sleight-of-hand that simultaneously celebrates an uber-American (and almost entirely manufactured) Latino middle class while demonizing recent Latino immigrants and the poor folks who resemble them. On a line by line, idea by idea basis DAvila is simply without peer, her scholarship essential to our understanding of our New America.a
--Junot DA-az, author of "The Brief Wondrous Life of Oscar Wao and Drown"

aArlene DAvila depicts the frenzied efforts of post-industrial America to corral more than 40 million diverse Latinos into a single homogenized market. Whether itas peddling consumer goods, monetizing art and culture, engineering barrio land development, or shaping a new political voting bloc, Latino Spin brilliantly dissects Hispanic-American reality in the 21st century.a
--Juan Gonzalez, "New York Daily News" columnist and author of "Harvest of Empire: A History of Latinos in America"

aA wonderfully written book that cuts through the aspina often used to typecast the U.S.as largest minority group. Offering a fresh and insightful take on race in America, Arlene DAvila addresses popular images of Latinos and shows us the limitations of both negative portrayals and the attempts to respond to them. In this tour de force, DAvila goes beyond simply describing bias to offer a transcendent vision of Latinos that challenges racism and captures the complexity of this diverse community.a
--Mark Sawyer, author of "Racial Politics in Post Revolutionary Cuba"

Illegal immigrant, tax-burden, job stealer. Patriot, familyoriented, hard worker, model consumer. Ever since Latinos became the largest minority in the U.S. they have been caught between these wildly contrasting characterizations leaving us to wonder: Are Latinos friend or foe?

Latino Spin cuts through the spin about Latinosa supposed values, political attitudes, and impact on U.S. national identity to ask what these caricatures suggest about Latinosa shifting place in the popular and political imaginary. Noted scholar Arlene DAvila demonstrates that there is a growing consensus being voiced by pundits, advocates, and scholars to demonstrate that Latinos are not a social liability, that they are moving up and contributing, and that, in fact, they are more American than athe Americans.a But what is at stake in such a sanitized and marketable representation of Latinidad? DAvila follows the spin through the realm of politics, think tanks, Latino museums, and urban planning to uncover whether they effectively challenge the growing fear over Latinosa supposedly dreadful effect on the aintegritya of U.S. national identity. What may be some of the intended or unintended consequences of these more marketable representations in regards to current debates over immigration?

With particular attention to what these representations reveal about the place and role of Latinos in the contemporary politics of race, Latino Spin highlights the realities they skew and the polarization they effect between Latinos and other minorities, and among Latinos themselves along the lines of citizenship and class. Finally, by considering Latinos in all their diversity, including their increasing financial and geographic disparities, DAvila can present alternative and moreempowering representations of Latinidad to help attain true political equity and intraracial coalitions.

The cultural politics creating and consuming Latina/o mass media. Just ten years ago, discussions of Latina/o media could be safely reduced to a handful of TV channels, dominated by Univision and Telemundo. Today, dramatic changes in the global political economy have resulted in an unprecedented rise in major new media ventures for Latinos as everyone seems to want a piece of the Latina/o media market. While current scholarship on Latina/o media have mostly revolved around important issues of representation and stereotypes, this approach does not provide the entire story. In Contemporary Latina/o Media, Arlene Davila and Yeidy M. Rivero bring together an impressive range of leading scholars to move beyond analyses of media representations, going behind the scenes to explore issues of production, circulation, consumption, and political economy that affect Latina/o mass media. Working across the disciplines of Latina/o media, cultural studies, and communication, the contributors examine how Latinos are being affected both by the continued Latin Americanization of genres, products, and audiences, as well as by the whitewashing of "mainstream" Hollywood media where Latinos have been consistently bypassed. While focusing on Spanish-language television and radio, the essays also touch on the state of Latinos in prime-time television and in digital and alternative media. Using a transnational approach, the volume as a whole explores the ownership, importation, and circulation of talent and content from Latin America, placing the dynamics of the global political economy and cultural politics in the foreground of contemporary analysis of Latina/o media.

While becoming less relevant in the United States, shopping malls are booming throughout urban Latin America. But what does this mean on the ground? Are shopping malls a sign of the region's "coming of age"? El Mall is the first book to answer these questions and explore how malls and consumption are shaping the conversation about class and social inequality in Latin America. Through original and insightful ethnography, Davila shows that class in the neoliberal city is increasingly defined by the shopping habits of ordinary people. Moving from the global operations of the shopping mall industry to the experience of shopping in places like Bogota, Colombia, El Mall is an indispensable book for scholars and students interested in consumerism and neoliberal politics in Latin America and the world.

New York is the capital of mambo and a global factory of "latinidad." This book covers the topic in all its multifaceted aspects, from Jim Crow baseball in the first half of the twentieth century to hip hop and ethno-racial politics, from Latinas and labor unions to advertising and Latino culture, from Cuban cuisine to the language of signs in New York City.

Together the articles map out the main conceptions of Latino identity as well as the historical process of Latinization of New York. "Mambo Montage" is both a way of imagining "latinidad" and an angle of vision on the city.

Both Hollywood and corporate America are taking note of the marketing power of the growing Latino population in the United States. And as salsa takes over both the dance floor and the condiment shelf, the influence of Latin culture is gaining momentum in American society as a whole. Yet the increasing visibility of Latinos in mainstream culture has not been accompanied by a similar level of economic parity or political enfranchisement. In this important, original, and entertaining book, Arlene Davila provides a critical examination of the Hispanic marketing industry and of its role in the making and marketing of U.S. Latinos. Davila finds that Latinos' increased popularity in the marketplace is simultaneously accompanied by their growing exotification and invisibility. She scrutinizes the complex interests that are involved in the public representation of Latinos as a generic and culturally distinct people and questions the homogeneity of the different Latino subnationalities that supposedly comprise the same people and group of consumers. In a fascinating discussion of how populations have become reconfigured as market segments, she shows that the market and marketing discourse become important terrains where Latinos debate their social identities and public standing.

In Latinx Art Arlene Davila draws on numerous interviews with artists, dealers, and curators to explore the problem of visualizing Latinx art and artists. Providing an inside and critical look of the global contemporary art market, Davila's book is at once an introduction to contemporary Latinx art and a call to decolonize the art worlds and practices that erase and whitewash Latinx artists. Davila shows the importance of race, class, and nationalism in shaping contemporary art markets while providing a path for scrutinizing art and culture institutions and for diversifying the art world.

\u0022Now everybody loves Puerto Rican culture,\u0022 says a Puerto Rican schoolteacher and festival organizer, \u0022but that's exactly the problem.\u0022 Thus begins this major examination of cultural nationalism as a political construct involving party ideologies, corporate economic goals, and grassroots cultural groups. Author Arlene Davila focuses on the Institute for Puerto Rican Culture, the government institution charged with defining authenticated views of national identity since the 1950s, and on popular festival organizers to illuminate contestations over appropriate representations of culture in the increasingly mass-mediated context of contemporary Puerto Rico. She examines the creation of an essentialist view of nationhood based on a peasant culture and a \u0022unifying\u0022 Hispanic heritage, and the ways in which grassroots organizations challenge and reconfigure definitions of national identity through their own activities and representations. Davila pays particular attention to the increasing prominence of corporate sponsorship in determining what is distinguished as authentic \u0022Puerto Rican culture\u0022 and discusses the politicization of culture as a discourse to debate and legitimize conflicting claims from selling commercial product to advocating divergent status options for the island. In so doing, Davila illuminates the prospects for cultural identities in an increasingly transnational context by showing the growth of cultural nationalism to be intrinsically connected to forms of political action directed to the realm of culture and cultural politics. This in-depth examination also makes clear that despite contemporary concerns with \u0022authenticity,\u0022 commercialism is an inescapable aspect of all cultural expression on the island.