This article argues that because a center–periphery model has dominated our understanding of postwar suburban growth we have failed to fully understand the rural dimensions of that growth. That misunderstanding resulted from the urban orientation of sociologists who studied the suburbs. As a consequence, we have also not appreciated the extent to which rural political outlooks shaped the postwar backlash against New Deal liberalism in the suburbs.

Historians have treated the counterculture largely as a white phenomenon and drawn sharp boundaries between its escapism and the political engagement of the Black freedom struggle. A look at the counterculture's origins and growth in the late 1950s and the 1960s reveals that the counterculture intersected with Black culture in many ways. White beats, hipsters, and hippies generally admired the civil rights movement's support for equality and nonviolence, but sometimes scoffed at its effort to gain integration into American society. Hippies considered themselves outsiders from society and imagined that they shared affinity with Black Americans. Blacks’ responses to the counterculture ranged from contempt to curiosity to embrace. Some Blacks despised the hippies’ lifestyle and political apathy, but others considered the counterculture an important challenge to “the System.” American culture, style, literature, and music were all affected by the counterculture's experimentalism. The counterculture changed white culture, Black culture, and American culture. Drawing boundaries between cultural forms proves less instructive than focussing on the connections between them.

BrANCH's Harriet Tubman essay prize seeks to reward the best undergraduate essay or research project by Black, Asian, or other minority ethnic students based in the UK. The prize is generously cosponsored by the Royal Historical Society.