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This article expands on my presidential address to further bolster the case that sociology has, from its inception, been engaged in social justice. I argue that a critical review of our discipline and our Association’s vaunted empiricist tradition of objectivity, in which sociologists are detached from their research, was accomplished by a false history and sociology of sociology that ignored, isolated, and marginalized some of the founders.
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Standard narratives on the relationship between art and urban development detail art networks as connected to sources of dominant economic, social, and cultural capital and complicit in gentrification trends. This research challenges the conventional model by investigating the relationship between grassroots art spaces, tied to marginal and local groups, and the political economy of development in the Chicago neighborhood of Pilsen. Using mixed methods, I investigate Do‐It‐Yourself and Latinx artists to understand the construction and goals of grassroots art organizations.
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Hip-hop has deep historical ties to disadvantaged communities. Resounding success in mainstream and global music markets potentially disrupts those connections. The authors use in-depth interviews with 25 self-defined rap/hip-hop artists to explore the significance of place in modern hip-hop. Bringing together historical studies of hip-hop and sociological neighborhood studies, the authors examine hip-hop artists’ community connections.
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This article analyzes how four Black musical artists make “quiet,” or the inner life of African Americans, legible. Specifically, we consider ways that the quiet found within the lyrics of recent acclaimed albums from two hip-hop artists and two neo-soul artists—Kendrick Lamar’s DAMN (2017) and Rapsody’s Laila’s Wisdom (2017), Solange’s A Seat at the Table (2016) and Maxwell’s blackSUMMERS’night (2016), respectively—offer subtle, quotidian challenges to oppression, dehumanization, and objectification.
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The sociological literature on creativity would suggest that collaboration between newcomers and more experienced members of an art world results in the fruitful combination of novelty and usefulness, though not without some conflict.
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When hundreds of thousands of protesters filled the streets of Hong Kong this summer, central figures reportedly took no selfies, avoided Facebook and Twitter, installed prepaid SIM cards, stuck to secure messaging apps, and used cash instead of rechargeable subway cards or other cashless payments. It is not clear whether this will help them avoid “conspiracy to commit public nuisance” charges, which led to prison sentences for leaders of the 2014 Umbrella movement (including sociologist Kin-man Chan).
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This study uses participant observation to examine how an all‐female collective in Los Angeles uses urban cycling culture as a way to contest inequalities and advocate for social change in communities of color. Bridging the literatures on gentrification and social movements, I examine how the collective uses the bicycle as a unifying tool to draw disparate individuals together and, through the group's practices and rituals, generates a shared sense of collective identity and politicized consciousness embedded within the uneven spatial development of Los Angeles.
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Music consumption imbues a city's neighborhoods with a character all their own, contributing to a vibrant and dynamic map of urban cultures. Brick‐and‐mortar music retailers remain an important site for this consumption, persisting despite challenges posed by digitization. But the landscape of contemporary cultural consumption has been shaped by urban inequality over time.
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Assessing changes in socialization values for children provides a unique window into how Americans perceive the landscape of their society. We examine whether, since the mid-1980s, Americans (1) emphasized survival values, like hard work, for children, as economic precarity rose or (2) prioritized self-expression values, like autonomy and compassion, as expected in postindustrial society.
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In this article, I study role enactment and status relationships in university design studio classrooms. I analyze conversations that take place during discussions of student creative work, and I interpret them in the context of previous studies of learning, classroom discourse, and creativity. I found that professors and students jointly establish and maintain a complex and hybrid participation structure in which they enact dialogic status: they simultaneously perform both an authority relationship and a peer relationship.
