As one of the founding figures of cultural studies, Lawrence Grossberg was an early participant in the Birmingham Centre for Contemporary Cultural Studies’ project, one which sought to develop a critical practice adequate to the complexities of contemporary culture. The essays in Bringing It All Back Home bring a sense of history, depth, and contestation to the current success of cultural studies while charting Grossberg’s intellectual and theoretical developments from his time at Birmingham to the present day. Written over a twenty-year period, these essays—which helped introduce British cultural studies to the United States—reflect Grossberg’s ongoing effort to find a way of theorizing politics and politicizing theory.

The essays collected here recognize both the specificity of cultural studies, by locating it in a range of alternative critical perspectives and practices, and its breadth, by mapping the extent of its diversity. By discussing American scholars’ initial reception of cultural studies, its relation to communication studies, and its origins in leftist politics, Grossberg grounds the development of cultural studies in the United States in specific historical and theoretical context. His criticism of "easy" identification of cultural studies with the theories, models, and issues of communications and his challenge to some of cultural studies’ current directions and preoccupations indicates what may lie ahead for this dynamic field of study. Bringing together the Gramscian tradition of British cultural studies with the antimodernist philosophical positions of Foucault, Deleuze, and Guattari, Grossberg articulates an original and important vision of the role of the political intellectual in the contemporary world and offers an essential overview of the emerging field of cultural studies by one of its leading practitioners and theorists.

The publication of Cultural Studies 1983 is a touchstone event in the history of Cultural Studies and a testament to Stuart Hall's unparalleled contributions. The eight foundational lectures Hall delivered at the University of Illinois in 1983 introduced North American audiences to a thinker and discipline that would shift the course of critical scholarship. Unavailable until now, these lectures present Hall's original engagements with the theoretical positions that contributed to the formation of Cultural Studies. Throughout this personally guided tour of Cultural Studies' intellectual genealogy, Hall discusses the work of Richard Hoggart, Raymond Williams, and E. P. Thompson; the influence of structuralism; the limitations and possibilities of Marxist theory; and the importance of Althusser and Gramsci. Throughout these theoretical reflections, Hall insists that Cultural Studies aims to provide the means for political change.

Lawrence Grossberg is one of the leading figures in cultural studies internationally. In Cultural Studies in the Future Tense, he offers a powerful critique of the present state of cultural studies and, more broadly, of the intellectual left, especially in the Anglo-American academy. He develops a vision for the future of cultural studies as conjunctural analysis, a radically contingent and contextual study of the articulations of lived, discursive, and material contexts. Proposing a compelling analysis of the contemporary political problem space as a struggle over modernity, he suggests the possibility of multiple ways of being modern as an analytic and imaginative frame. He elaborates an ontology of the modern as the potentialities of multiple configurations of temporalities and spatialities, differences, territorialities, and powers, and argues that euro-modernity is a specific geohistorical realization of this complex diagram. Challenging the euro-modern fragmentation of the social formation, he discusses the rigorous conceptual and empirical work that cultural studies must do—including rethinking fundamental concepts such as economy, culture, and politics as well as modernity—to reinvent itself as an effective political intellectual project. This book offers a vision of a contemporary cultural studies that embraces complexity, rigorous interdisciplinary practice and experimental collaborations in an effort to better explain the present in the service of the imagination of other futures and the struggles for social transformation.

In Dancing in Spite of Myself, Lawrence Grossberg—well known as a pioneering figure in cultural studies—has collected essays written over the past twenty years that have also established him as one of the leading theorists of popular culture and, specifically, of rock music. Grossberg offers an original and sophisticated view of the growing power of popular culture and its increasing inseparability from contemporary structures of economic and political power and from our everyday lives.
In the course of conducting this exploration into the meaning of "popularity," he investigates the nature of fandom, the social effects of rock music and youth culture, and the possibilities for understanding the history of popular texts and practices. Describing what he calls "the postmodernity of everyday life," Grossberg offers important insights into the relation of pop music to issues of postmodernity and inton the growing power of the new cultural conservatism and its relationship to "the popular." Exploring the limits of existing theories of hegemony in cultural studies, Grossberg reveals the ways in which popular culture is being mobilized in the service of economic and political struggles. In articulating his own critical practice, Grossberg surveys and challenges some of the major assumptions of popular culture studies, including notions of domination and resistance, mainstream and marginality, and authenticity and incorporation.
Dancing in Spite of Myself provides an introduction to contemporary theories of popular culture and a clear statement of relationships among theories of the nature of rock music, postmodernity, and conservative hegemony.

This volume brings together sixteen essays on key and intersecting topics in critical cultural studies from major scholars in the field. Taking into account the vicissitudes of political, social, and cultural issues, the contributors engage deeply with the evolving understanding of critical concepts such as history, community, culture, identity, politics, ethics, globalization, and technology. The essays address the extent to which these concepts have been useful to scholars, policy makers, and citizens, as well as the ways they must be rethought and reconsidered if they are to continue to be viable.

Each essay considers what is known and understood about these concepts. The essays give particular attention to how relevant ideas, themes, and terms were developed, elaborated, and deployed in the work of James W. Carey, the "founding father" of cultural studies in the United States. The contributors map how these important concepts, including Carey's own work with them, have evolved over time and how these concepts intersect. The result is a coherent volume that redefines the still-emerging field of critical cultural studies.

Contributors are Stuart Allan, Jack Zeljko Bratich, Clifford Christians, Norman Denzin, Mark Fackler, Robert Fortner, Lawrence Grossberg, Joli Jensen, Steve Jones, John Nerone, Lana Rakow, Quentin J. Schultze, Linda Steiner, Angharad N. Valdivia, Catherine Warren, Frederick Wasser, and Barbie Zelizer.

One of the ways that people—voters, other politicians, and members of the media—have dealt with the rise of Donald Trump has been to dismiss him as an outlier, treating his irrationality, cruelty, and bombast as marks of his own character rather than signs of anything larger. Lawrence Grossberg’s Under the Cover of Chaos makes that argument impossible. In damning detail, Grossberg here lays bare the deep roots of Trumpism in the broader history of postwar US conservatism.
            Rather than a break with some imagined pure, nuanced conservatism, Grossberg shows, Trump’s manic nonsense is actually a continuation, the result of a long struggle between the new right and the reactionary right. What is new, he shows, is that the reactionary right has been legitimated—and has brought its political strategy of sowing chaos into the heart of mainstream politics. From there, Grossberg goes on to analyze the national mood—and to explain how that plays out in the actions of both Trump supporters and opponents—and lays out a possible nightmare future: a vision of a political system controlled by corporate interests, built on a deliberate dismantling of modern politics.