The new century’s radical songwork takes in the victims of the Triangle Factory fire, Mother Jones, and the bards of the Industrial Workers of the World (with Joe Hill at their pinnacle). The IWW’s Italian songwriters – Arturo Giovannitti and Efrem Bartoletti – emerge as important voices, as do the Finnish songwriters of the Italian Hall Disaster in Calumet, Michigan, and the multinational corridistas of the Ludlow Massacre in Colorado. Other revolutionary arenas include the vaudeville stage and the drag club, where the cross-dressing of Julian Eltinge and Bothwell Browne challenges the tyranny of heterosexual norms. Charlotte Perkins Gilman emerges as a leading songwriter for women’s suffrage and joins the ranks of those opposing US entry into the coming European war. As the government clamps down on the proliferation of antiwar activism, Tin Pan Alley leads the shift from antiwar to prowar songwriting. With the US now at war, Black soldiers produce a powerful body of song reflecting the outrages of segregation in the ranks. Black composers James Reese Europe and Noble Sissle turn their wartime service into pioneering art-song, and Lakota warriors – formerly forbidden to sing – lend their voices to the war effort. The Armistice produces a wealth of song celebration, but a new musical menace arises in the form of the Ku Klux Klan and its vicious songs.

Chapter 4 examines how anarchists handled the ramifications of the 1917 Russian Revolution. The revolution shaped the next decade and a half of anarchist agitation in the region as radicals attempted to figure out not only how to engage the new Communist state in Moscow, but also how to attract Marxists with whom anarchists worked and lived side by side. The post-1917 era also forced anarchists to confront the spread of US-backed anti-Communist surveillance. US intelligence agencies and their Caribbean partners tracked down and tried to suppress radicalism by expanding the Red Scare’s surveillance and repression into the Caribbean and targeting Caribbean anarchists who, from the heights of officialdom, were now seen as “Bolshevikis.”

Chapter 2 explores the decade and a half following the Cuban War, noting how anarchists emerged and evolved across the region. In Cuba, the visit by Errico Malatesta and the creation of ¡Tierra! helped anarchists build Havana into the network hub. Meanwhile, anarchists in Florida and Puerto Rico developed dual relationships by working with the anti-anarchist American Federation of Labor (AFL) unions on the ground while communicating with and funding ¡Tierra! as their newspaper. By the early 1910s, anarchists in Florida abandoned the AFL associations and forged the first Industrial Workers of the World (IWW) Locals in the network. In Panama, anarchists migrated to the construction project shortly after it began, organized anarchist groups throughout the Canal Zone, linked themselves with Havana, and in 1911 created the isthmus’s first anarchist publication. Throughout all of this, anarchists – no matter where they were – attacked US intervention, capitalism in the region, oversight of the canal, and US-designed political systems then being developed across the Caribbean.