Fierce, raw voices; tormented drifters; deals with the devil at the crossroads at midnight. In this extraordinary reconstruction of the origins of the Delta blues, historian Marybeth Hamilton demonstrates that the story as we know it is largely a myth. The idea of something called Delta blues only emerged in the mid-twentieth century, the culmination of a longstanding white fascination with the exotic mysteries of black music. Hamilton shows that the Delta blues was effectively invented by white pilgrims, seekers, and propagandists who headed deep into America’s south in search of an authentic black voice of rage and redemption. In their quest, and in the immense popularity of the music they championed, we confront America’s ongoing love affair with racial difference.

    Integrating social history with economic and architectural analysis, and taking into account such factors as the availability of cheap land, inexpensive building methods, and rapid transportation, Kenneth Jackson chronicles the phenomenal growth of the American suburb from the middle of the 19th century to the present day. He treats communities in every section of the U.S. and compares American residential patterns with those of Japan and Europe. In conclusion, Jackson offers a controversial prediction: that the future of residential deconcentration will be very different from its past in both the U.S. and Europe.

    Musicians of this genre have developed an often impenetrable sound that teeters on the edge of screaming, incomprehensible noise. Extreme metal circulates on the edge of mainstream culture within the confines of an obscure 'scene', in which members explore dangerous themes such as death, war and the occult, sometimes embracing violence, neo-fascism and Satanism. In the first book-length study of extreme metal, Keith Kahn-Harris draws on first-hand research to explore the global extreme metal scene. He shows how the scene is a space in which members creatively explore destructive themes, but also a space in which members experience the everyday pleasures of community and friendship. Including interviews with band members and fans, from countries ranging from the UK and US to Israel and Sweden, Extreme Metal: Music and Culture on the Edge demonstrates the power and subtlety of an often surprising and misunderstood musical form.

    She finds that the clubs provide an intermediate space—not work, not home—where men can enjoyably experience their bodies and selves through conversation, fantasy, and ritualized voyeurism. At the same time, she shows how the dynamics of male pleasure and privilege in strip clubs are intertwined with ideas about what it means to be a man in contemporary America.Frank’s ethnography draws on her work as an exotic dancer in five clubs, as well as on her interviews with over thirty regular customers—middle-class men in their late-twenties to mid-fifties. Reflecting on the customers’ dual desires for intimacy and visibility, she explores their paradoxical longings for "authentic" interactions with the dancers, the ways these aspirations are expressed within the highly controlled and regulated strip clubs, and how they relate to beliefs and fantasies about social class and gender. She considers how regular visits to strip clubs are not necessarily antithetical to marriage or long-term heterosexual relationships, but are based on particular beliefs about marriage and monogamy that make these clubs desirable venues. Looking at the relative "classiness" of the clubs where she worked—ranging from the city’s most prestigious clubs to some of its dive bars—she reveals how the clubs are differentiated by reputations, dress codes, cover charges, locations, and clientele, and describes how these distinctions become meaningful and erotic for the customers. Interspersed throughout the book are three fictional interludes that provide an intimate look at Frank’s experiences as a stripper—from the outfits to the gestures, conversations, management, coworkers, and, of course, the customers.Focusing on the experiences of the male clients, rather than those of the female sex workers, G-Strings and Sympathy provides a nuanced, lively, and tantalizing account of the stigmatized world of strip clubs.

    The heat index, which measures how the temperature actually feels on the body, would hit 126 degrees by the time the day was over. Meteorologists had been warning residents about a two-day heat wave, but these temperatures did not end that soon. When the heat wave broke a week later, city streets had buckled; the records for electrical use were shattered; and power grids had failed, leaving residents without electricity for up to two days. And by July 20, over seven hundred people had perished-more than twice the number that died in the Chicago Fire of 1871, twenty times the number of those struck by Hurricane Andrew in 1992—in the great Chicago heat wave, one of the deadliest in American history.Heat waves in the United States kill more people during a typical year than all other natural disasters combined. Until now, no one could explain either the overwhelming number or the heartbreaking manner of the deaths resulting from the 1995 Chicago heat wave. Meteorologists and medical scientists have been unable to account for the scale of the trauma, and political officials have puzzled over the sources of the city's vulnerability. In Heat Wave, Eric Klinenberg takes us inside the anatomy of the metropolis to conduct what he calls a "social autopsy," examining the social, political, and institutional organs of the city that made this urban disaster so much worse than it ought to have been.Starting with the question of why so many people died at home alone, Klinenberg investigates why some neighborhoods experienced greater mortality than others, how the city government responded to the crisis, and how journalists, scientists, and public officials reported on and explained these events. Through a combination of years of fieldwork, extensive interviews, and archival research, Klinenberg uncovers how a number of surprising and unsettling forms of social breakdown—including the literal and social isolation of seniors, the institutional abandonment of poor neighborhoods, and the retrenchment of public assistance programs—contributed to the high fatality rates. The human catastrophe, he argues, cannot simply be blamed on the failures of any particular individuals or organizations. For when hundreds of people die behind locked doors and sealed windows, out of contact with friends, family, community groups, and public agencies, everyone is implicated in their demise.As Klinenberg demonstrates in this incisive and gripping account of the contemporary urban condition, the widening cracks in the social foundations of American cities that the 1995 Chicago heat wave made visible have by no means subsided as the temperatures returned to normal. The forces that affected Chicago so disastrously remain in play in America's cities, and we ignore them at our peril.

    Jonathan Fleming, Sundhe Moses, Jabbar Washington, and John Bunn were among dozens of innocent New Yorkers who spent decades in prison —guilty until proven innocent. This documentary follows their relentless fight to unveil an insidious pattern of police and prosecutorial corruption in Brooklyn at the height of the war on drugs and a historic peak in violent crime in the 1980s and '90s.

    The tall flats built to replace the old 'slum' houses were unpopular. Social networks were broken up. The book had an immediate impact when it appeared - extracts were published in the newspapers, the sales were a record for a report of a sociological study, Government ministers quoted it. But the approach it advocated was not accepted until the late 1960s, and by then it was too late.This Routledge Revivals reissue includes the authors' introduction from the 1986 reissue, reviewing the impact of the book and its ideas thirty years on. They argue that if the lessons implicit in the book had been learned in the 1950s, London and other British cities might not have suffered the 'anomie' and violence manifested in the urban riots of the 1980s.

    Sociologist Duneier, author of Slim's Table, offers an accessible and compelling group portrait of several poor black men who make their livelihoods on the sidewalks of Greenwich Village selling secondhand goods, panhandling, and scavenging books and magazines.Duneier spent five years with these individuals, and in Sidewalk he argues that, contrary to the opinion of various city officials, they actually contribute significantly to the order and well-being of the Village. An important study of the heart and mind of the street, Sidewalk also features an insightful afterword by longtime book vendor Hakim Hasan. This fascinating study reveals today's urban life in all its complexity: its vitality, its conflicts about class and race, and its surprising opportunities for empathy among strangers.Sidewalk is an excellent supplementary text for a range of courses:INTRODUCTION TO SOCIOLOGY: Shows how to make important links between micro and macro; how a research project works; how sociology can transform common sense.RACE AND ETHNIC RELATIONS: Untangles race, class, and gender as they work together on the street.URBAN STUDIES: Asks how public space is used and contested by men and women, blacks and whites, rich and poor, and how street life and political economy interact.DEVIANCE: Looks at labeling processes in treatment of the homeless; interrogates the "broken windows" theory of policing.LAW AND SOCIETY: Closely examines the connections between formal and informal systems of social control.METHODS: Shows how ethnography works; includes a detailed methodological appendix and an afterword by research subject Hakim Hasan.CULTURAL ANTHROPOLOGY: Sidewalk engages the rich terrain of recent developments regarding representation, writing, and authority; in the tradition of Elliot Liebow and Ulf Hannerz, it deals with age old problems of the social and cultural experience of inequality; this is a telling study of culture on the margins of American society.CULTURAL STUDIES: Breaking down disciplinary boundaries, Sidewalk shows how books and magazines are received and interpreted in discussions among working-class people on the sidewalk; it shows how cultural knowledge is deployed by vendors and scavengers to generate subsistence in public space.SOCIOLOGY OF CULTURE: Sidewalk demonstrates the connections between culture and human agency and innovation; it interrogates distinctions between legitimate subcultures and deviant collectivities; it illustrates conflicts over cultural diversity in public space; and, ultimately, it shows how conflicts over meaning are central to social life.

    Since fieldwork is situated, Raybeck's treatment also includes rich descriptions of Kelantanese society and culture, addressing such topics as kinship, linguistics, gender relations, economics, and political structures. Through the lively pages of this narrative, readers gain insight into the human dimension of the fieldwork undertaking, a sense of how the anthropologist builds rapport in a research setting, and how reliable information is obtained.

    Encounters like this occur thousands of times across the United States in nail salons increasingly owned and operated by Asian immigrants. This study looks closely for the first time at these intimate encounters, focusing on New York City, where such nail salons have become ubiquitous. Drawing from rich and compelling interviews, Miliann Kang takes us inside the nail industry, asking such questions as: Why have nail salons become so popular? Why do so many Asian women, and Korean women in particular, provide these services? Kang discovers multiple motivations for the manicure-from the pampering of white middle class women to the artistic self-expression of working class African American women to the mass consumption of body-related services. Contrary to notions of beauty service establishments as spaces for building community among women, The Managed Hand finds that while tentative and fragile solidarities can emerge across the manicure table, they generally give way to even more powerful divisions of race, class, and immigration.

    Historic neighborhoods in Detroit, St. Louis, Cleveland, and Chicago were wiped off the map so that middle-class whites could flee for the suburbs on a highway. Deindustrialization, racism, and urban renewal were joining forces to send the Midwest’s proudest cities on a decades-long path of decline. But just north of Chicago’s Loop, the story was different. Artists and countercultural types — and increasingly young professional whites as well — were buying old homes and renovating them in a recently renamed neighborhood: “Old Town.” In 1958, the Chicago Tribune introduced the neighborhood to its readers as “Chicago’s Left Bank,” a bohemian paradise. Soon, affluent suburbanites were taking the train into the city to visit the cafes and bookstores on Wells Street. Some of them even moved in. But as Old Town’s popularity grew, so did its housing prices. Meanwhile, urban renewal projects under the name of “slum clearance” demolished much of the cheapest housing. By 1973, the paper reported that “skyrocketing rents” had chased the bohemians north, to a neighborhood they renamed “New Town,” where they told stories of what had been lost on Wells St. and swore they wouldn’t let it happen again.Today, almost fifty years later, what happened on Chicago's North Side usually goes by the name “gentrification.” But though few changes to the urban environment get more attention, researchers and neighbors still debate exactly what changes when a neighborhood gentrifies, why, and what role both newcomers and established residents play in shaping that change.This will be the first book to critically examine the history of Old Town as the beginning of a process that fundamentally transformed what kind of city Chicago is. It tells the stories of those who first began “upgrading” homes in Old Town, why they moved there, how they used both private activism and leveraged public policy to remake the neighborhood to their own tastes; and how both these newcomers and older residents struggled against competing forces to preserve what they valued in Old Town—and why so many of them felt that they lost.

    But in the late 1980s, activists rose up to tackle the social problems that had plagued the area for decades. Black on the Block tells the remarkable story of how these residents laid the groundwork for a revitalized and self-consciously black neighborhood that continues to flourish today. But theirs is not a tale of easy consensus and political unity, and here Pattillo teases out the divergent class interests that have come to define black communities like North Kenwood–Oakland. She explores the often heated battles between haves and have-nots, home owners and apartment dwellers, and newcomers and old-timers as they clash over the social implications of gentrification. Along the way, Pattillo highlights the conflicted but crucial role that middle-class blacks play in transforming such districts as they negotiate between established centers of white economic and political power and the needs of their less fortunate black neighbors. “A century from now, when today's sociologists and journalists are dust and their books are too, those who want to understand what the hell happened to Chicago will be finding the answer in this one.”—Chicago Reader “To see how diversity creates strange and sometimes awkward bedfellows . . . turn to Mary Pattillo's Black on the Block.”—Boston Globe

    At the Boston Tea Party, colonial rebels played Indian in order to claim an aboriginal American identity. In the nineteenth century, Indian fraternal orders allowed men to rethink the idea of revolution, consolidate national power, and write nationalist literary epics. By the twentieth century, playing Indian helped nervous city dwellers deal with modernist concerns about nature, authenticity, Cold War anxiety, and various forms of relativism. Deloria points out, however, that throughout American history the creative uses of Indianness have been interwoven with conquest and dispossession of the Indians. Indian play has thus been fraught with ambivalence—for white Americans who idealized and villainized the Indian, and for Indians who were both humiliated and empowered by these cultural exercises. Deloria suggests that imagining Indians has helped generations of white Americans define, mask, and evade paradoxes stemming from simultaneous construction and destruction of these native peoples. In the process, Americans have created powerful identities that have never been fully secure.

    Ward's eight and a half years in Los Angeles conducting participant observation with MS-13, Gangsters Without Borders: An Ethnography of a Salvadoran Street Gang takes an inside look at gang life in the United States and in a global context.Taking us through their journey from their homeland in El Salvador to the mean streets of Los Angeles, Gangsters Without Borders offers a perspective from the point of view of the hard-core members who live this hard, fast, and dangerous life.A powerful and engaging overview of gang dynamics, Gangsters Without Borders contextualizes the sources and severity of the marginalization felt by Salvadoran immigrants and debunks myths about street gangs in the United States. This account of gangsters' lives before, during, and after theirinvolvement with the gang delivers an intimate and analytical portrait unlike any other.

    And I make my analogy through the slave citizen's music—through the music that is most closely associated with him: blues and a later, but parallel development, jazz... [If] the Negro represents, or is symbolic of, something in and about the nature of American culture, this certainly should be revealed by his characteristic music."So says Amiri Baraka in the Introduction to Blues People, his classic work on the place of jazz and blues in American social, musical, economic, and cultural history. From the music of African slaves in the United States through the music scene of the 1960's, Baraka traces the influence of what he calls "negro music" on white America—not only in the context of music and pop culture but also in terms of the values and perspectives passed on through the music. In tracing the music, he brilliantly illuminates the influence of African Americans on American culture and history.