In 1964, President Lyndon Johnson declared an "unconditional war" on poverty in the form of sweeping federal programs to assist millions of Americans. Two decades later, President Reagan drastically cut such programs, claiming that welfare encouraged dependency and famously quipping, "Some years ago, the federal government declared war on poverty, and poverty won." These opposing policy positions and the ideologies informing them have been well studied. Here, the focus turns to the influence of popular art and entertainment on beliefs about poverty's causes and potential cures. These new essays interrogate the representation of poverty in film, television, music, photography, painting, illustration and other art forms from the late 19th century to the present. They map when, how, and why producers of popular culture represent--or ignore--poverty, and what assumptions their works make and encourage.

This book analyzes the discourse generated by pundits, politicians, and artists to examine how poverty and the income gap is framed through specific modes of representation. Set against the dichotomy of the structural narrative of poverty and the opportunity narrative, Lemke's modified concept of precarity reveals new insights into the American situation as well as into the textuality of contemporary demands for equity. Her acute study of a vast range of artistic and journalistic texts brings attention to a mode of representation that is itself precarious, both in the modern and etymological sense, denoting both insecurity and entreaty. With the keen eye of a cultural studies scholar her innovative book makes a necessary contribution to academic and popular critiques of the social effects of neoliberal capitalism.

This timely collection provides a historical overview of violence in American popular culture from the Puritan era to the present and across a range of media. Few topics are discussed more broadly today than violence in American popular culture. Unfortunately, such discussion is often unsupported by fact and lacking in historical context. This two-volume work aims to remedy that through a series of concise, detailed essays that explore why violence has always been a fundamental part of American popular culture, the ways in which it has appeared, and how the nature and expression of interest in it have changed over time. Each volume of the collection is organized chronologically. The first focuses on violent events and phenomena in American history that have been treated across a range of popular cultural media. Topics include Native American genocide, slavery, the Civil Rights Movement, and gender violence. The second volume explores the treatment of violence in popular culture as it relates to specific genres—for example, Puritan "execution sermons," dime novels, television, film, and video games. An afterword looks at the forces that influence how violence is presented, discusses what violence in pop culture tells us about American culture as a whole, and speculates about the future.

This four-volume encyclopedia contains compelling and comprehensive information on African American popular culture that will be valuable to high school students and undergraduates, college instructors, researchers, and general readers. From the Apollo Theater to the Harlem Renaissance, from barber shop and beauty shop culture to African American holidays, family reunions, and festivals, and from the days of black baseball to the era of a black president, the culture of African Americans is truly unique and diverse. This diversity is the result of intricate customs forged in tightly woven communities—not only in the United States, but in many cases also stemming from the traditions of another continent. Encyclopedia of African American Popular Culture presents information in a traditional A–Z organization, capturing the essence of the customs of African Americans and presenting this rich cultural heritage through the lens of popular culture. Each entry includes historical and current information to provide a meaningful background for the topic and the perspective to appreciate its significance in a modern context. This encyclopedia is a valuable research tool that provides easy access to a wealth of information on the African American experience.

Examines the economic underworld of migrant farm workers, the aged, minority groups, and other economically underprivileged groups.

In this thought-provoking historical and economic analysis, Laurel A. Rockefeller takes on poverty culture head-on, exploring what it means to be poor in the United States. She also takes a look at how America's closest, and much more economically successful, allies (Canada, Germany, France, and the United Kingdom) take care of their poor.Student - Teacher edition adds questions to the front of each of the book's three parts to guide the reading experience with focus on reading comprehension and critical thinking skills.

Spanning more than three centuries, from the colonial era to the present, Van Deburg's overview analyzes the works of American historians, dramatists, novelists, poets, lyricists, and filmmakers -- and exposes, through those artists' often disquieting perceptions, the cultural underpinnings of American current racial attitudes and divisions. Crucial to Van Deburg's analysis is his contrast of black and white attitudes toward the Afro-American slave experience. There has, in fact, been a persistent dichotomy between the two races' literary, historical, and theatrical representations of slavery. If white culture-makers have stressed the "unmanning" of the slaves and encouraged such steteotypes as the Noble Savage and the comic minstrel to justify the blacks' subordination, Afro-Americans have emphasized a counter self-image that celebrates the slaves' creativity, dignity, pride, and assertiveness. ISBN 0-299-09634-3 (pbk.) : $12.50.

Latin American Popular Culture: An Introduction is a collection of articles that explores a wide range of compelling cultural subjects in the region, including carnival, romance, funerals, medicine, monuments and dance, among others. The introduction lays out the most important theoretical approaches to the culture of Latin America, and the chapters serve as illustrative case studies. Featuring the latest scholarship in cultural history most of the chapters have not previously been published Latin American Popular Culture is an important resource for courses in Latin American history, civilization, popular culture, and anthropology.

Rock Music in American Popular Culture III: More Rock ’n’Roll Resources explores the fascinating world of rock music and examines how this medium functions as an expression of cultural and social identity. This nostalgic guide explores the meanings and messages behind some of the most popular rock ’n’roll songs that captured the American spirit, mirrored society, and reflected events in our history. Arranged by themes, Rock Music in American Popular Culture III examines a variety of social and cultural topics with related songs, such as: sex and censorship--“Only the Good Die Young” by Billy Joel and “Night Moves” by Bob Seger and The Silver Bullet Band holiday songs--“Rockin’Around the Christmas Tree” by Brenda Lee and “The Christmas Song” by Nat King Cole death--“Leader of the Pack” by The Shangri-Las and “The Unknown Soldier” by The Doors foolish behavior--“When a Man Loves a Woman” by Percy Sledge and “What Kind of Fool” by Barbra Streisand and Barry Gibb jobs and the workplace--“Don’t Stand So Close to Me” by The Police and “Dirty Laundry” by Don Henley military involvements--“Boogie Woogie Bugle Boy” by the Andrews Sisters and “War” by Edwin Starr novelty recordings--“The Purple People Eater” by Sheb Wooley and “Eat It” by Weird Al Yankovic letters and postal images--“P. S. I Love You” by The Beatles and “Return to Sender” by Elvis Presely In addition, a discography and a bibliography after each section give further examples of the themes and resources being discussed, as do extensive lists of print references at the end of the text.

This thesis discusses representations of American homelessness as they are currently being deployed in mass popular culture. Common discourses of urban poverty tend to reduce diverse unsheltered populations to either masculine, white, lazy deviants, or seek to portray destitute individuals as specifically racialised and gendered survivors of the urban environment who are either homeless by choice, or resourceful enough to improve their situation by themselves. Generic images work hard to patholigise the wider issue of inequality for a dominant culture and homeless populations become effectively "othered" regardless of their distinct racial, regional, age and gender, identities. Tracing popular constructions of unsheltered Americans since the end of the Civil War, I argue that the homeless have at various times been cast as "apolitical others" on which many social prejudices can be projected, or as nostalgic heroes whose subversive upward mobility is lauded as the embodiment of national mythologies. Popular culture has gradually evolved to project a minimal individualism, and an almost measured diversity, onto what remain largely homogenous constructions of urban outcasts. By openly highlighting established diagnostic traits of homelessness--mental illness, dirtiness, whiteness, failed masculinity, and antisocial behaviour--new media representations of homelessness stake their territory quietly, with no explicit reference to inequality, and yet leave little ambiguity as to the cultural pathologies they invoke.