Nativism, racism, and sexism are leading characters in this chapter, as are the songs for and against them. The Ku Klux Klan leads the way in musical contemptibility, but there are others, such as the xenophobes of the Spanish Flu epidemic and the songwriting purveyors of the postwar “Red Scare” against peace activists, labor activists, Germans, and suspected Bolsheviks. The immigrant community is under siege in the atmosphere of “100% Americanism,” and their songs – in the Cantonese opera houses, on the German and Italian vaudeville stages, in the Yiddish musical theaters, and in the ethnic recording studios – aim to fight back. The Indigenous peoples of Alaska and the lower 48 continue to resist the eradication of their song heritage, and the Mexican corridistas continue to sing of their border-crossing struggles. On the vaudeville stage, Eva Tanguay shows her contempt for conservative gender expectations, while the as-yet-unknown composers Florence Price and Ruth Crawford lay the groundwork for their own emergence.