Co-opting Culture: Culture and Power in Sociology and Cultural Studies represents a collection of new scholarship on culture from the social sciences and from work done under the rubric of "cultural studies." Working from the idea that Sociology and Cultural Studies have developed distinct and valuable toolkits for understanding culture, the editors have brought together a collection of essays that address the ways in which the cultures around race, sex, and gender are mediated through or intersect with politics, society, and economy. Some essays deal directly with the theoretical nature of this mediation, while others adopt these theoretical approaches to investigate specific cultural objects or communities. In doing so, these essays call attention to the particularities of form that constitute a kind of cultural logic around the objects under consideration.

It has been over 60 years since David Riesman's most famous work The Lonely Crowd brought him international acclaim. While this remains a best-selling sociology book, Riesman's expertise and publications spanned far beyond the treatment of the American social character type offered there. This volume recasts and reintroduces Riesman by presenting newly discovered and unpublished manuscripts of his work, including excerpts from a previously unpublished critical biography of Freud that Riesman began with this assistant at the time, Philip Rieff, an interview in which Riesman describes in detail his early biography and his route into the social sciences, and other research notes and memoranda. With additional chapters analyzing the unpublished works, as well as discussions of Riesman as a public intellectual, his multi-disciplinary method of understanding society and his connections with figures such as Goffman and Fromm, this book will appeal to scholars of sociology, social theory and the history of American social science.

Co-opting Culture: Culture and Power in Sociology and Cultural Studies represents a collection of new scholarship on culture from the social sciences and from work done under the rubric of 'cultural studies'. Working from the idea that Sociology and Cultural Studies have developed distinct and valuable toolkits for understanding culture, the editors have brought together a collection of essays that address the ways in which the cultures around race, sex, and gender are mediated through or intersect with politics, society, and economy. Some essays deal directly with the theoretical nature of this mediation, while others adopt these theoretical approaches to investigate specific cultural objects or communities. In doing so, these essays call attention to the particularities of form that constitute a kind of cultural logic around the objects under consideration.

Singer-Songwriters and Musical Open Mics is an ethnographic exploration of New York City's live music events where musicians signup and perform short sets. This sociological study dispels the common assumption that open mics are culturally monolithic and reserved for novice musicians. Open mics allow musicians at different locations within their musical development and career to interactively perform, practice, and network with other musicians. Important themes in the book include: the tension between self and society in the creative process, issues of creative authenticity and authorship, and on-going cultural changes central to the Do-It-Yourself cultural zeitgeist of the early 21st century. The open mic's cultural antecedents include a radio format, folk hootenannies, and the jazz jam session. Drawing from multiple qualitative methods, Aldredge describes how open mics have etched a vital organizational place in the western and urban musical landscape. Open mics represent a creative place where the boundaries of practicing and performing seemingly blur. This allows for a range of social settings from more competitive, stratified, and homogenous music scenes to culturally diverse weekly events often stretching late into the night.

It has been over 60 years since David Riesman's most famous work The Lonely Crowd brought him international acclaim. While this remains a best-selling sociology book, Riesman's expertise and publications spanned far beyond the treatment of the American social character type offered there. This volume recasts and reintroduces Riesman by presenting newly discovered and unpublished manuscripts of his work, including excerpts from a previously unpublished critical biography of Freud that Riesman began with this assistant at the time, Philip Rieff, an interview in which Riesman describes in detail his early biography and his route into the social sciences, and other research notes and memoranda. With additional chapters analyzing the unpublished works, as well as discussions of Riesman as a public intellectual, his multi-disciplinary method of understanding society and his connections with figures such as Goffman and Fromm, this book will appeal to scholars of sociology, social theory and the history of American social science.

Singer-Songwriters and Musical Open Mics is an ethnographic exploration of New York City's live music events where musicians signup and perform short sets. This sociological study dispels the common assumption that open mics are culturally monolithic and reserved for novice musicians. Open mics allow musicians at different locations within their musical development and career to interactively perform, practice, and network with other musicians. Important themes in the book include: the tension between self and society in the creative process, issues of creative authenticity and authorship, and on-going cultural changes central to the Do-It-Yourself cultural zeitgeist of the early 21st century. The open mic's cultural antecedents include a radio format, folk hootenannies, and the jazz jam session. Drawing from multiple qualitative methods, Aldredge describes how open mics have etched a vital organizational place in the western and urban musical landscape. Open mics represent a creative place where the boundaries of practicing and performing seemingly blur. This allows for a range of social settings from more competitive, stratified, and homogenous music scenes to culturally diverse weekly events often stretching late into the night.