A forthright look at the future of the discipline in the wake of immense social changes.
What becomes of "national knowledge" in our age of globalization? If dramatic changes in technology, commerce, and social relations are undermining familiar connections between culture and place, what happens to legacies of learning that put the nation at the center of the study of history, culture, language, politics, and geography? In short, what remains of American Studies? At a critical moment, this book offers a richly textured historical perspective on where our notions of national knowledge-and our sense of American Studies-have come from and where they may lead in a future of new ideas about culture and community.
The America that seems to be disappearing before our very eyes is, George Lipsitz argues, actually the cumulative creation of yesterday’s struggles over identity, culture, and power. With examples from statistics and history, poster designs and music lyrics, Lipsitz shows how American Studies has been shaped by the social movements of the 1930s, 1960s, and 1980s. His analysis reveals the sedimented history of social movement contestation contained in contemporary popular music, visual art, and cinema.Finally, Lipsitz identifies the ways in which the globalization of commerce and culture are producing radically new understandings of politics, performance, consumption, knowledge, and nostalgia; the changing realities present not so much a danger as a clear challenge to a still-evolving American Studies-a challenge that this book helps us to confront wisely, flexibly, and effectively. Critical American Studies SeriesAnnouncing a new seriesCritical American Studies George Lipsitz, series editorThis series examines recent trends in American Studies that address fundamental questions about history, culture, social structure, race, gender, sexuality, and citizenship. It examines the forces-including mass migration, global economy, the seeming weaknesses of the nation-state, and ongoing ethnic antagonisms-that compel the field to reexamine the role of culture in producing individual and collective identities.Improvisation is the creation and development of new, unexpected, and productive cocreative relations among people. It cultivates the capacity to discern elements of possibility, potential, hope, and promise where none are readily apparent. Improvisers work with the tools they have in the arenas that are open to them. Proceeding without a written score or script, they collaborate to envision and enact something new, to enrich their experience in the world by acting on it and changing it. By analyzing the dynamics of particular artistic improvisations, mostly by contemporary American jazz musicians, the authors reveal improvisation as a viable and urgently needed model for social change. In the process, they rethink politics, music, and the connections between them.
Most pop songs are short-lived. They appear suddenly and, if they catch on, seem to be everywhere at once before disappearing again into obscurity. Yet some songs resonate more deeply—often in ways that reflect broader historical and cultural changes.
In Footsteps in the Dark, George Lipsitz illuminates these secret meanings, offering imaginative interpretations of a wide range of popular music genres from jazz to salsa to rock. Sweeping changes that only remotely register in official narratives, Lipsitz argues, can appear in vivid relief within popular music, especially when these changes occur outside mainstream white culture. Using a wealth of revealing examples, he discusses such topics as the emergence of an African American techno music subculture in Detroit as a contradictory case of digital capitalism and the prominence of banda, merengue, and salsa music in the 1990s as an expression of changing Mexican, Dominican, and Puerto Rican nationalisms. Approaching race and popular music from another direction, he analyzes the Ken Burns PBS series Jazz as a largely uncritical celebration of American nationalism that obscures the civil rights era’s challenge to racial inequality, and he takes on the infamous campaigns to censor hip-hop and the radical black voice in the early 1990s.
Teeming with astute observations and brilliant insights about race and racism, deindustrialization, and urban renewal and their connections to music, Footsteps in the Dark puts forth an alternate history of post–cold war America and shows why in an era given to easy answers and clichéd versions of history, pop songs matter more than ever.
George Lipsitz is professor of black studies and sociology at the University of California, Santa Barbara. Among his many books are Life in the Struggle, Dangerous Crossroads, and American Studies in a Moment of Danger (Minnesota, 2001).
White identity in the United States is place bound, asserts George Lipsitz in How Racism Takes Place. An influential scholar in American and racial studies, Lipsitz contends that racism persists because a network of practices skew opportunities and life chances along racial lines. That is, these practices assign people of different races to different spaces and therefore allow grossly unequal access to education, employment, transportation, and shelter.
Revealing how seemingly race-neutral urban sites contain hidden racial assumptions and imperatives, Lipsitz examines the ways in which urban space and social experience are racialized and emphasizes that aggrieved communities do not passively acquiesce to racism. He recognizes the people and communities that have reimagined segregated spaces in expressive culture as places for congregation.
How Racism Takes Place not only exposes the degree to which this white spatial imagining structures our society but also celebrates the black artists and activists who struggle to create a just and decent society.
Insubordinate spaces are places of possibility, products of acts of accompaniment and improvisation that deepen capacities for democratic social change. Barbara Tomlinson and George Lipsitz’s Insubordinate Spaces explores the challenges facing people committed to social justice in an era when social institutions have increasingly been reconfigured to conform to the imperatives of a market society.
In their book, the authors argue that education, the arts, and activism are key terrains of political and ideological conflict. They explore and analyze exemplary projects responding to current social justice issues and crises, from the Idle No More movement launched by Indigenous people in Canada to the performance art of Chingo Bling, Fandango convenings, the installation art of Ramiro Gomez, and the mass protests proclaiming “Black Lives Matter" in Ferguson, MO. Tomlinson and Lipsitz draw on key concepts from struggles to advance ideas about reciprocal recognition and co-creation as components in the construction of new egalitarian and democratic social relations, practices, and institutions.
George Lipsitz’s classic book The Possessive Investment in Whiteness argues that public policy and private prejudice work together to create a possessive investment in whiteness that is responsible for the racialized hierarchies of our society. Whiteness has a cash value: it accounts for advantages that come to individuals through profits made from housing secured in discriminatory markets, through the unequal educational opportunities available to children of different races, through insider networks that channel employment opportunities to the friends and relatives of those who have profited most from past and present discrimination, and especially through intergenerational transfers of inherited wealth that pass on the spoils of discrimination to succeeding generations. White Americans are encouraged to invest in whiteness, to remain true to an identity that provides them with structured advantages.
In this twentieth anniversary edition, Lipsitz provides a new introduction and updated statistics; as well as analyses of the enduring importance of Hurricane Katrina; the nature of anti-immigrant mobilizations; police assaults on Black women, the killings of Trayvon Martin, Michael Brown, and Freddie Gray; the legacy of Obama and the emergence of Trump; the Charleston Massacre and other hate crimes; and the ways in which white fear, white fragility, and white failure have become drivers of a new ethno-nationalism.
As vital as it was upon its original publication, the twentieth anniversary edition of The Possessive Investment in Whiteness is an unflinching but necessary look at white supremacy.
Inspired by the University of Illinois's celebration of the Brown v. Board of Education decision's fiftieth anniversary, this collection addresses the significance of Brown in the contributors' lives or work in education and civil rights. Several authors describe their personal roles in the Brown case or similar cases, while others examine and illustrate events, performances, and exhibitions that were part of the anniversary commemoration. The book not only explores the repercussions of the Brown decision, but also stands as a historic document in its own right, preserving the reactions of many prominent intellectuals, artists, and activists fifty years after the decision.
Contributors are Kal Alston, Margaret L. Andersen, Kathryn H. Anthony, Nathaniel C. Banks, Bernice McNair Barnett, Christopher Benson, Ed Blankenheim, Julian Bond, Orville Vernon Burton, Jason Chambers, Constance Curry, Joseph A. De Laine Jr., Mary L. Dudziak, Joe R. Feagin, John Hope Franklin, Ophelia De Laine Gona, Lani Guinier, Darlene Clark Hine, Freeman A. Hrabowski III, John Jennings, Ralph Lemon, George Lipsitz, Jim Loewen, Laughlin McDonald, David O'Brien, James C. Onderdonk, Sekou Sundiata, Christopher Teal, Nicholas Watkins, Carrie Mae Weems, Juan Williams, and Joy Ann Williamson.
The classic work on collective memory and popular culture in the United States.
Probes the complicated relationship between postwar America between historical memory and commercial culture—popular television, music, and film.
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