You're in the American South now, a proud region with a distinctive history and culture. A place that echoes with names like Thomas Jefferson and Robert E. Lee, Scarlett O'Hara and Uncle Remus, Martin Luther King and William Faulkner, Billy Graham, Mahalia Jackson, Muhammad Ali, Elvis Presley. Home of the country blues and country music, bluegrass and Dixieland jazz, gospel music and rock and roll. Where menus offer both down-home biscuits and gravy and uptown shrimp and grits. Where churches preach against "cigarettes, whiskey, and wild, wild women" (all Southern products) and where American football is a religion. For more than thirty years John Shelton Reed has been "minding" the South--watching over it, providing commentary upon it. He is the author or editor of thirteen books about the South, and despite his disclaimer regarding formal study of Southern history, Reed has read widely and in depth about the South. His primary focus is upon Southerners' present-day culture and consciousness, but he knows that one must approach the South historically in order to understand the place and its people. Why is the South so different from the rest of the country? Rupert Vance, Reed's predecessor in sociology at Chapel Hill, once observed that the very existence of the South is a triumph of history over geography and economics. The South has resisted being assimilated by the larger United States and has kept a personality that is distinctly its own.That is why Reed celebrates the South. His essays cover everything from great thinkers about the South--Eugene D. Genovese, C. Vann Woodward, M. E. Bradford--to the uniqueness of a region that was once a hotbed of racism, but has recently attracted hundreds of thousands of blacks transplanted from the North. There are even a few chapters about Southerners who have devoted their talents to different subjects altogether, from politics or soft drinks to rock and roll or the design of silver jewelry. Reed writes with wit and Southern charm, never afraid to speak his mind, even when it comes to taking his beloved South to task. While readers may not share all his opinions, most will agree that John Shelton Reed is one of the best "South watchers" there is.

Based on the everyday experiences of Uyghur business migrants, this book investigates how individuals embody and deploy minzu, one of the fundamental concepts in political and socioeconomic discourses in China after 1949, and how this concept travels to Australia with the migrants. Through research on Uyghurs at the Tarim (pseudonym) restaurant in Ürümchi, Uyghur migrants in other major cities in China, and, finally, the immigrants in multicultural Australia, the author explains how they perceive the concept of minzu and how the concept and identity has been reformed and reshaped in specific social and economic contexts. She argues that these Uyghur migrants’ minzu concept is closely intertwined with citizenship, which entails not only a set of legally defined rights and obligations but also a sense of equality and respect. The book provides a new way of reflecting on who the "Chinese" are and what form the "Chineseness" takes in a transnational context. Following the minzu concept in China and Australia, this book shows how cultural intimacy and critical multiculturalism can provide better sociocultural space for various Muslim migrant communities. This book will appeal to social and cultural anthropologists and university students who are interested in China and Inner Asia, ethnicity, and transnational migration between China and the South Pacific.

William F. “Buffalo Bill” Cody, star of the American West, began his journey to fame at age twenty-three, when he met writer Ned Buntline. The pulp novels Buntline later penned were loosely based on Cody’s scouting and bison-hunting adventures and sparked a national sensation. Other writers picked up the living legend of “Buffalo Bill” for their own pulp novels, and in 1872 Buntline produced a theatrical show starring Cody himself. In 1883, Cody opened his own show, Buffalo Bill’s Wild West, which ultimately became the foundation for the world’s image of the American frontier. After the Civil War, new transcontinental railroads aided rapid westward expansion, fostering Americans’ long-held fascination with their western frontier. The railroads enabled traveling shows to move farther and faster, and improved printing technologies allowed those shows to print in large sizes and quantities lively color posters and advertisements. Cody’s show team partnered with printers, lithographers, photographers, and iconic western American artists, such as Frederic Remington and Charles Schreyvogel, to create posters and advertisements for Buffalo Bill’s Wild West. Circuses and other shows used similar techniques, but Cody’s team perfected them, creating unique posters that branded Buffalo Bill’s Wild West as the true Wild West experience. They helped attract patrons from across the nation and ultimately from around the world at every stop the traveling show made. In Art and Advertising in Buffalo Bill’s Wild West, Michelle Delaney showcases these numerous posters in full color, many of which have never before been reproduced, pairing them with new research into previously inaccessible manuscript and photograph collections. Her study also includes Cody’s correspondence with his staff, revealing the showman’s friendships with notable American and European artists and his show’s complex, modern publicity model. Beautifully designed, Art and Advertising in Buffalo Bill’s Wild West presents a new perspective on the art, innovation, and advertising acumen that created the international frontier experience of Buffalo Bill’s Wild West.