The remarkable story of how modern Irish music was shaped and spread through the brash efforts of a Chicago police chief.

Irish music as we know it today was invented not just in the cobbled lanes of Dublin or the green fields of County Kerry, but also in the burgeoning metropolis of early-twentieth-century Chicago. The genre’s history combines a long folk tradition with the curatorial quirks of a single person: Francis O’Neill, a larger-than-life Chicago police chief and an Irish immigrant with a fervent interest in his home country’s music.

Michael O’Malley’s The Beat Cop tells the story of this singular figure, from his birth in Ireland in 1865 to his rough-and-tumble early life in the United States. By 1901, O’Neill had worked his way up to become Chicago’s chief of police, where he developed new methods of tracking criminals and recording their identities. At the same time, he also obsessively tracked and recorded the music he heard from local Irish immigrants, enforcing a strict view of what he felt was and wasn’t authentic. Chief O’Neill’s police work and his musical work were flip sides of the same coin, and O’Malley delves deep into how this brash immigrant harnessed his connections and policing skills to become the foremost shaper of how Americans see, and hear, the music of Ireland.

Teachers’ unions are the organizations responsible for safeguarding the conditions of teachers’ employment. Union supporters claim strong synergies between teachers’ interests and students’ interests, but critics of unions insist that the stance of teachers in collective bargaining may disadvantage students as unions reduce the power of administrators to manage, remove, reward or retain excellent teachers.

In A Collective Pursuit, Lesley Laveryunpacks how teachers’ unions today are fighting for contracts that allow them to earn a decent living and build “schools all students deserve.” She explains the form and function of the nation’s largest teachers’ unions. Lavery then explores unionization campaigns in the Twin Cities charter schools. A Collective Pursuit also examines teacher strikes and contract negotiations, school finance and finance reform, and district and union attempts to address racial achievement gaps, to provide a context for understanding the economic, political, and demographic forces that inspire teachers to improve conditions for students.

A Collective Pursuit emphasizes that while teachers’ unions serve a traditional, economic role, they also provide a vast array of valuable services to students, educators, parents, and community members.

A major reevaluation of relationships among Blacks, Jews, and Irish in the years between the Irish Famine and the end of World War II, The Colors of Zion argues that the cooperative efforts and sympathies among these three groups, each persecuted and subjugated in its own way, was much greater than often acknowledged today. For the Black, Jewish, and Irish writers, poets, musicians, and politicians at the center of this transatlantic study, a sense of shared wrongs inspired repeated outpourings of sympathy. If what they have to say now surprises us, it is because our current constructions of interracial and ethnic relations have overemphasized conflict and division. As George Bornstein says in his Introduction, he chooses “to let the principals speak for themselves.”

While acknowledging past conflicts and tensions, Bornstein insists on recovering the “lost connections” through which these groups frequently defined their plights as well as their aspirations. In doing so, he examines a wide range of materials, including immigration laws, lynching, hostile race theorists, Nazis and Klansmen, discriminatory university practices, and Jewish publishing houses alongside popular plays like The Melting Pot and Abie’s Irish Rose, canonical novels like Ulysses and Daniel Deronda, music from slave spirituals to jazz, poetry, and early films such as The Jazz Singer. The models of brotherhood that extended beyond ethnocentrism a century ago, the author argues, might do so once again today, if only we bear them in mind. He also urges us to move beyond arbitrary and invidious categories of race and ethnicity.

Millions of immigrants were drawn to American shores, not by the mythic streets paved with gold, but rather by its tables heaped with food. How they experienced the realities of America’s abundant food—its meat and white bread, its butter and cheese, fruits and vegetables, coffee and beer—reflected their earlier deprivations and shaped their ethnic practices in the new land.

Hungering for America tells the stories of three distinctive groups and their unique culinary dramas. Italian immigrants transformed the food of their upper classes and of sacred days into a generic “Italian” food that inspired community pride and cohesion. Irish immigrants, in contrast, loath to mimic the foodways of the Protestant British elite, diminished food as a marker of ethnicity. And East European Jews, who venerated food as the vital center around which family and religious practice gathered, found that dietary restrictions jarred with America’s boundless choices.

These tales, of immigrants in their old worlds and in the new, demonstrate the role of hunger in driving migration and the significance of food in cementing ethnic identity and community. Hasia Diner confirms the well-worn adage, “Tell me what you eat and I will tell you what you are.”

Language, Resistance and Revival tells the untold story of the truly groundbreaking linguistic and educational developments that took place among Republican prisoners in Long Kesh prison from 1972-2000.

During a period of bitter struggle between Republican prisoners and the British state, the Irish language was taught and spoken as a form of resistance during incarceration. The book unearths this story for the first time and analyses the rejuvenating impact it had on the cultural revival in the nationalist community beyond the prison walls.

Based on unprecedented interviews, Feargal Mac Ionnrachtaigh explores a key period in Irish history through the original and 'insider' accounts of key protagonists in the contemporary Irish language revival.

Conventional wisdom would have us believe that every immigrant to the United States “became American,” by choice and with deliberate speed. Yet, as Special Sorrows shows us, this is simply untrue. In this compelling revisionist study, Matthew Frye Jacobson reveals tenacious attachments to the Old World and explores the significance of homeland politics for Irish, Polish, and Jewish immigrants at the turn of the twentieth century.

Drawing on Yiddish, Polish, and English-language sources, Jacobson discovers the influence of nationalist ideologies in the overt political agendas of such ethnic associations as the Knights of Zion and the Polish Falcons, as well as in newspapers, vernacular theater, popular religion, poetry, fiction, and festivals, both religious and secular. In immigrant communities, he finds that nationalism was a powerful component of popular sensibility.

A captivating example of Jacobson’s thesis is immigrant reaction to American intervention in Cuba. Masculinist/militarist strains of nationalist culture met with the keen impulse to aid a subjugated people. The three national groups, rich with memories of their own subjugation, found an unlikely outlet in the Caribbean. But when the U.S. war for Cuban liberation was followed by a crusade for Philippine subjugation, immigrants faced a dilemma: some condemned the American empire rich in Old World parallels; others dismissed the Filipinos as racial “others” and embraced the glories of conquest. In effect, the crucible of American imperialism was vital to many immigrants’ Americanization, in the sense of passionate participation in national politics, pro or con.

This work answers the call of scholars to recover the full experience of these immigrants. It adds to the tapestry of America’s turn-of-the-century political culture and restores an essential transnational dimension to questions of ethnic identity and behavior.

In Transnational Nationalism and Collective Identity among the American Irish, Howard Lune considers the development and mobilization of different nationalisms over 125 years of Irish diasporic history (1791–1920) and how these campaigns defined the Irish nation and Irish citizenship. 

Lune takes a collective approach to exploring identity, concentrating on social identities in which organizations are the primary creative agent to understand who we are and how we come to define ourselves. As exiled Irishmen moved to the United States, they sought to create a new Irish republic following the American model. Lune traces the construction of Irish American identity through the establishment and development of Irish nationalist organizations in the United States. He looks at how networks—such as societies, clubs, and private organizations—can influence and foster diaspora, nationalism, and nationalist movements. 

By separating nationalism from the physical nation, Transnational Nationalism and Collective Identity among the American Irish uniquely captures the processes and mechanisms by which collective identities are constructed, negotiated, and disseminated. Inevitably, this work tackles the question of what it means to be Irish—to have a nationality, a community, or a shared history.

Over time, the image of the Irish in the United States changed from that of hard-drinking Paddies to genial working-class citizens. 

In 'Twas Only an Irishman's Dream, William H. A. Williams traces the change in this image through more than seven hundred pieces of sheet music--popular songs from the stage and for the parlor--to show how Americans' opinions of Ireland and the Irish swung from one extreme to the other. 

As Williams shows, sheet music's place as a commercial item meant it had to be acceptable to the broadest possible song-buying public. Negotiations about the image of the Irish and Irish Americans involved Irish songwriters, performers, and pressured groups on one side, and non-Irish writers, publishers, and audiences on the other. Williams ties the contents of song lyrics to the history of the Irish diaspora, revealing how societies create ethnic stereotypes and how such stereotypes evolve, and even disappear, from mainstream popular culture.