First to disembark were passengers traveling first class - businessmen, well-to-do families, students. In second class, where I was, there were the emigrants, most of us tabaqueros, or cigar workers... Thus writes Bernardo Vega in this collection of engaging and readable first-hand reminiscences about the mid-20th-century migration from Puerto Rico to the U.S. The documentary importance of these testimonies is evident, particularly in their capturing of the actual voyage from Puerto Rico and arrival in New York. Unlike more recent writings about the migration, where attention is riveted on the later process of settlement and intergenerational adjustment, the older narratives dwell on the psychological and existential trauma of arrival and first impressions. In this collection, the element of class difference within the migrating population stands out sharply. While in subsequent literature such issues become more intricate and representation of the social classes more oblique, these early texts show that it was a divided arrival. For despite the structural uniformity and overwhelmingly working-class composition of the immigration, Puerto Ricans came to New York with divergent interests and understandings depending on their class.

In the 1920s and 30s, musicians from Latin America and the Caribbean were flocking to New York, lured by the burgeoning recording studios and lucrative entertainment venues. In the late 1940s and 50s, the big-band mambo dance scene at the famed Palladium Ballroom was the stuff of legend, while modern-day music history was being made as the masters of Afro-Cuban and jazz idiom conspired to create Cubop, the first incarnation of Latin jazz. Then, in the 1960s, as the Latino population came to exceed a million strong, a new generation of New York Latinos, mostly Puerto Ricans born and raised in the city, went on to create the music that came to be called salsa, which continues to enjoy avid popularity around the world. And now, the children of the mambo and salsa generation are contributing to the making of hip hop and reviving ancestral Afro-Caribbean forms like Cuban rumba, Puerto Rican bomba, and Dominican palo. Salsa Rising provides the first full-length historical account of Latin Music in this city guided by close critical attention to issues of tradition and experimentation, authenticity and dilution, and the often clashing roles of cultural communities and the commercial recording industry in the shaping of musical practices and tastes. It is a history not only of the music, the changing styles and practices, the innovators, venues and songs, but also of the music as part of the larger social history, ranging from immigration and urban history, to the formation of communities, to issues of colonialism, race and class as they bear on and are revealed by the trajectory of the music. Author Juan Flores brings a wide range of people in the New York Latin music field into his work, including musicians, producers, arrangers, collectors, journalists, and lay and academic scholars, enriching Salsa Rising with a unique level of engagement with and interest in Latin American communities and musicians themselves.

Moral Hazard is a core concept in economics. In a nutshell, moral hazard reflects the reduced incentive to protect against risk where an entity is (or believes it will be) protected from its consequences, whether through an insurance arrangement or an implicit or explicit guarantee system. It is fundamentally driven by information asymmetry, arises in all sectors of the economy, including banking, medical insurance, financial insurance, and governmental support, undermines the stability of our economic systems and has burdened taxpayers in all developed countries, resulting in significant costs to the community. Despite the seriousness and pervasiveness of moral hazard, policymakers and scholars have failed to address this issue. This book fills this gap. It covers 200 years of moral hazard: from its origins in the 19th century to the bailouts announced in the aftermath of the COVID-19 outbreak. The book is divided into three parts. Part I deals with the ethics and other fundamental issues connected to moral hazard. Part II provides historical and empirical evidence on moral hazard in international finance. It examines in turn the role of the export credit industry, the international lender of last resort, and the IMF. Finally, Part III examines specific sectors such as automobile, banking, and the US industry at large. This is the first book to provide an interdisciplinary analysis of moral hazard and explain why addressing this issue has become crucial today. As such, it will attract interest from scholars across different fields, including economists, political scientists and lawyers.

Moral Hazard is a core concept in economics. In a nutshell, moral hazard reflects the reduced incentive to protect against risk where an entity is (or believes it will be) protected from its consequences, whether through an insurance arrangement or an implicit or explicit guarantee system. It is fundamentally driven by information asymmetry, arises in all sectors of the economy, including banking, medical insurance, financial insurance, and governmental support, undermines the stability of our economic systems and has burdened taxpayers in all developed countries, resulting in significant costs to the community. Despite the seriousness and pervasiveness of moral hazard, policymakers and scholars have failed to address this issue. This book fills this gap. It covers 200 years of moral hazard: from its origins in the 19th century to the bailouts announced in the aftermath of the COVID-19 outbreak. The book is divided into three parts. Part I deals with the ethics and other fundamental issues connected to moral hazard. Part II provides historical and empirical evidence on moral hazard in international finance. It examines in turn the role of the export credit industry, the international lender of last resort, and the IMF. Finally, Part III examines specific sectors such as automobile, banking, and the US industry at large. This is the first book to provide an interdisciplinary analysis of moral hazard and explain why addressing this issue has become crucial today. As such, it will attract interest from scholars across different fields, including economists, political scientists and lawyers.

In The Diaspora Strikes Back the eminent ethnic and cultural studies scholar Juan Flores flips the process on its head: what happens to the home country when it is being constantly fed by emigrants returning from abroad? He looks at how 'Nuyoricans' (Puerto Rican New Yorkers) have transformed the home country, introducing hip hop and modern New York culture to the Caribbean island. While he focuses on New York and Mayaguez (in Puerto Rico), the model is broadly applicable. Indians introducing contemporary British culture to India; New York Dominicans bringing slices of New York culture back to the Dominican Republic; Mexicans bringing LA culture (from fast food to heavy metal) back to Guadalajara and Monterrey. This ongoing process is both massive and global, and Flores' novel account will command a significant audience across disciplines.

In The Diaspora Strikes Back the eminent ethnic and cultural studies scholar Juan Flores flips the process on its head: what happens to the home country when it is being constantly fed by emigrants returning from abroad? He looks at how 'Nuyoricans' (Puerto Rican New Yorkers) have transformed the home country, introducing hip hop and modern New York culture to the Caribbean island. While he focuses on New York and Mayaguez (in Puerto Rico), the model is broadly applicable. Indians introducing contemporary British culture to India; New York Dominicans bringing slices of New York culture back to the Dominican Republic; Mexicans bringing LA culture (from fast food to heavy metal) back to Guadalajara and Monterrey. This ongoing process is both massive and global, and Flores' novel account will command a significant audience across disciplines.

This is an open access title available under the terms of a CC BY-NC-ND 4.0 International licence. It is free to read at Oxford Scholarship Online and offered as a free PDF download from OUP and selected open access locations. Sovereign Debt Diplomacies aims to revisit the meaning of sovereign debt in relation to colonial history and postcolonial developments. It offers three main contributions. The first contribution is historical. The volume historicises a research field that has so far focused primarily on the post-1980 years. A focus on colonial debt from the 19th century building of colonial empires to the decolonisation era in the 1960s-70s fills an important gap in recent debt historiographies. Economic historians have engaged with colonialism only reluctantly or en passant, giving credence to the idea that colonialism is not a development that deserves to be treated on its own. This has led to suboptimal developments in recent scholarship. The second contribution adds a 'law and society' dimension to studies of debt. The analytical payoff of the exercise is to capture the current developments and functional limits of debt contracting and adjudication in relation to the long-term political and sociological dynamics of sovereignty. Finally, Sovereign Debt Diplomacies imports insights from, and contributes to the body of research currently developed in the Humanities under the label 'colonial and postcolonial studies'. The emphasis on 'history from below' and focus on 'subaltern agency' usefully complement the traditional elite-perspective on financial imperialism favoured by the British school of empire history.

In the 1920s and 30s, musicians from Latin America and the Caribbean were flocking to New York, lured by the burgeoning recording studios and lucrative entertainment venues. In the late 1940s and 50s, the big-band mambo dance scene at the famed Palladium Ballroom was the stuff of legend, while modern-day music history was being made as the masters of Afro-Cuban and jazz idiom conspired to create Cubop, the first incarnation of Latin jazz. Then, in the 1960s, as the Latino population came to exceed a million strong, a new generation of New York Latinos, mostly Puerto Ricans born and raised in the city, went on to create the music that came to be called salsa, which continues to enjoy avid popularity around the world. And now, the children of the mambo and salsa generation are contributing to the making of hip hop and reviving ancestral Afro-Caribbean forms like Cuban rumba, Puerto Rican bomba, and Dominican palo. Salsa Rising provides the first full-length historical account of Latin Music in this city guided by close critical attention to issues of tradition and experimentation, authenticity and dilution, and the often clashing roles of cultural communities and the commercial recording industry in the shaping of musical practices and tastes. It is a history not only of the music, the changing styles and practices, the innovators, venues and songs, but also of the music as part of the larger social history, ranging from immigration and urban history, to the formation of communities, to issues of colonialism, race and class as they bear on and are revealed by the trajectory of the music. Author Juan Flores brings a wide range of people in the New York Latin music field into his work, including musicians, producers, arrangers, collectors, journalists, and lay and academic scholars, enriching Salsa Rising with a unique level of engagement with and interest in Latin American communities and musicians themselves.

This pioneering book, a founding text of African Diaspora studies, continues to hold a prominent place in any bibliography of its field and remains the only general history on the people of African descent in the Spanish-speaking nations of the Western hemisphere. Rout engagingly presents the broad historical contours of the African experience in Spanish America, from enslavement, resistance, and rebellion to the crucial participation of Afro-Latin Americans in the wars of independence, and a region-by-region account of their varied treatment in the newly-founded republics from the nineteenth century to the modern era.

The Afro-Latin@ Reader focuses attention on a large, vibrant, yet oddly invisible community in the United States: people of African descent from Latin America and the Caribbean. The presence of Afro-Latin@s in the United States (and throughout the Americas) belies the notion that Blacks and Latin@s are two distinct categories or cultures. Afro-Latin@s are uniquely situated to bridge the widening social divide between Latin@s and African Americans; at the same time, their experiences reveal pervasive racism among Latin@s and ethnocentrism among African Americans. Offering insight into Afro-Latin@ life and new ways to understand culture, ethnicity, nation, identity, and antiracist politics, The Afro-Latin@ Reader presents a kaleidoscopic view of Black Latin@s in the United States. It addresses history, music, gender, class, and media representations in more than sixty selections, including scholarly essays, memoirs, newspaper and magazine articles, poetry, short stories, and interviews.While the selections cover centuries of Afro-Latin@ history, since the arrival of Spanish-speaking Africans in North America in the mid-sixteenth-century, most of them focus on the past fifty years. The central question of how Afro-Latin@s relate to and experience U.S. and Latin American racial ideologies is engaged throughout, in first-person accounts of growing up Afro-Latin@, a classic essay by a leader of the Young Lords, and analyses of U.S. census data on race and ethnicity, as well as in pieces on gender and sexuality, major-league baseball, and religion. The contributions that Afro-Latin@s have made to U.S. culture are highlighted in essays on the illustrious Afro-Puerto Rican bibliophile Arturo Alfonso Schomburg and music and dance genres from salsa to mambo, and from boogaloo to hip hop. Taken together, these and many more selections help to bring Afro-Latin@s in the United States into critical view. Contributors: Afro–Puerto Rican Testimonies Project, Josefina Baéz, Ejima Baker, Luis Barrios, Eduardo Bonilla-Silva, Adrian Burgos Jr., Ginetta E. B. Candelario, Adrián Castro, Jesús Colón, Marta I. Cruz-Janzen, William A. Darity Jr., Milca Esdaille, Sandra María Esteves, María Teresa Fernández (Mariposa), Carlos Flores, Juan Flores, Jack D. Forbes, David F. Garcia, Ruth Glasser, Virginia Meecham Gould, Susan D. Greenbaum, Evelio Grillo, Pablo “Yoruba� Guzmán, Gabriel Haslip-Viera, Tanya K. Hernández, Victor Hernández Cruz, Jesse Hoffnung-Garskof, Lisa Hoppenjans, Vielka Cecilia Hoy, Alan J. Hughes, María Rosario Jackson, James Jennings, Miriam Jiménez Román, Angela Jorge, David Lamb, Aida Lambert, Ana M. Lara, Evelyne Laurent-Perrault, Tato Laviera, John Logan, Antonio López, Felipe Luciano, Louis Pancho McFarland, Ryan Mann-Hamilton, Wayne Marshall, Marianela Medrano, Nancy Raquel Mirabal, Yvette Modestin, Ed Morales, Jairo Moreno, Marta Moreno Vega, Willie Perdomo, Graciela Pérez Gutiérrez, Sofia Quintero, Ted Richardson, Louis Reyes Rivera, Pedro R. Rivera , Raquel Z. Rivera, Yeidy Rivero, Mark Q. Sawyer, Piri Thomas, Silvio Torres-Saillant, Nilaja Sun, Sherezada “Chiqui� Vicioso, Peter H. Wood

"The Afro-Latin@ Reader" focuses attention on a large, vibrant, yet oddly invisible community in the United States: people of African descent from Latin America and the Caribbean. The presence of Afro-Latin@s in the United States (and throughout the Americas) belies the notion that Blacks and Latin@s are two distinct categories or cultures. Afro-Latin@s are uniquely situated to bridge the widening social divide between Latin@s and African Americans; at the same time, their experiences reveal pervasive racism among Latin@s and ethnocentrism among African Americans. Offering insight into Afro-Latin@ life and new ways to understand culture, ethnicity, nation, identity, and antiracist politics, "The Afro-Latin@ Reader "presents a kaleidoscopic view of Black Latin@s in the United States. It addresses history, music, gender, class, and media representations in more than sixty selections, including scholarly essays, memoirs, newspaper and magazine articles, poetry, short stories, and interviews.

While the selections cover centuries of Afro-Latin@ history, since the arrival of Spanish-speaking Africans in North America in the mid-sixteenth-century, most of them focus on the past fifty years. The central question of how Afro-Latin@s relate to and experience U.S. and Latin American racial ideologies is engaged throughout, in first-person accounts of growing up Afro-Latin@, a classic essay by a leader of the Young Lords, and analyses of U.S. census data on race and ethnicity, as well as in pieces on gender and sexuality, major-league baseball, and religion. The contributions that Afro-Latin@s have made to U.S. culture are highlighted in essays on the illustrious Afro-Puerto Rican bibliophile Arturo Alfonso Schomburg and music and dance genres from salsa to mambo, and from boogaloo to hip hop. Taken together, these and many more selections help to bring Afro-Latin@s in the United States into critical view.

"Contributors" Afro-Puerto Rican Testimonies Project, Josefina Baez, Ejima Baker, Luis Barrios, Eduardo Bonilla-Silva, Adrian Burgos Jr., Ginetta E. B. Candelario, Adrian Castro, Jesus Colon, Marta I. Cruz-Janzen, William A. Darity Jr., Milca Esdaille, Sandra Maria Esteves, Maria Teresa Fernandez (Mariposa), Carlos Flores, Juan Flores, Jack D. Forbes, David F. Garcia, Ruth Glasser, Virginia Meecham Gould, Susan D. Greenbaum, Evelio Grillo, Pablo "Yoruba" Guzman, Gabriel Haslip-Viera, Tanya K. Hernandez, Victor Hernandez Cruz, Jesse Hoffnung-Garskof, Lisa Hoppenjans, Vielka Cecilia Hoy, Alan J. Hughes, Maria Rosario Jackson, James Jennings, Miriam Jimenez Roman, Angela Jorge, David Lamb, Aida Lambert, Ana M. Lara, Evelyne Laurent-Perrault, Tato Laviera, John Logan, Antonio Lopez, Felipe Luciano, Louis Pancho McFarland, Ryan Mann-Hamilton, Wayne Marshall, Marianela Medrano, Nancy Raquel Mirabal, Yvette Modestin, Ed Morales, Jairo Moreno, Marta Moreno Vega, Willie Perdomo, Graciela Perez Gutierrez, Sofia Quintero, Ted Richardson, Louis Reyes Rivera, Pedro R. Rivera, Raquel Z. Rivera, Yeidy Rivero, Mark Q. Sawyer, Piri Thomas, Silvio Torres-Saillant, Nilaja Sun, Sherezada "Chiqui" Vicioso, Peter H. Wood

Before the turn of the century, while the rich in Madrid, Paris and Rome capped their sumptuous dinners with sips of Puerto Rico's exquisite black cafe, the anemic men, women and children who harvested the precious crop lived in squalid huts and rarely saw a scrap of meat. Brutalized by grinding poverty, theirs was the harsh world of Manuel Zeno-Gandia's La Charca, published in 1894 and widely acknowledged as the first major novel to emerge from Puerto Rico. In the colloquial Spanish of Puerto Rico's hill-country, una charca is a stagnant pond, a body of brackish water. Puerto Rico's Spanish colonial society, says Zeno-Gandia, was an immense charca of human beings, oppressed by poverty, ignorance and disease. His bitter melodrama offers stark contrasts: the beautiful Puerto Rican countryside, a veritable Garden of Eden; yet within that "regal panorama," starved, diseased human beings clung desperately to life.

Essential reading for understanding both national and panethnic issues that influence cultural expression and the construction of Puerto Rican identity in the US. Analyzes distinctiveness of Puerto Rican culture in New York in relation to that of other US Latino groups. Theoretically grounded essays address many of the contradictions behind the complex process of identity construction among Puerto Ricans and other Latinos. Focuses on popular music and literature"--Handbook of Latin American Studies, v. 58.