. . It's what Marcus calls 'the old, weird America.'" This odd terrain, this strange yet familiar backdrop to our common cultural history--which Luc Sante (in New York magazine) termed the "playground of God, Satan, tricksters, Puritans, confidence men, illuminati, braggarts, preachers, anonymous poets of all stripes"--is the territory that Marcus has discovered in Dylan's most mysterious music. And his analysis of that territory "reads like a thriller" (Ken Tucker, Entertainment Weekly) and exhibits "a mad, sparkling brilliance" (David Remnick, The New Yorker) throughout. This new edition of The Old, Weird America includes an updated discography.

    Among the most prominent members of what became the Frankfurt School were the philosophers Walter Benjamin, Theodor Adorno, Max Horkheimer, and Herbert Marcuse. Not only would they change the way we think, but also the subjects we deem worthy of intellectual investigation. Their lives, like their ideas, profoundly, sometimes tragically, reflected and shaped the shattering events of the twentieth century.Grand Hotel Abyss combines biography, philosophy, and storytelling to reveal how the Frankfurt thinkers gathered in hopes of understanding the politics of culture during the rise of fascism. Some of them, forced to escape the horrors of Nazi Germany, later found exile in the United States. Benjamin, with his last great work—the incomplete Arcades Project—in his suitcase, was arrested in Spain and committed suicide when threatened with deportation to Nazi-occupied France. On the other side of the Atlantic, Adorno failed in his bid to become a Hollywood screenwriter, denounced jazz, and even met Charlie Chaplin in Malibu.After the war, there was a resurgence of interest in the School. From the relative comfort of sun-drenched California, Herbert Marcuse wrote the classic One Dimensional Man, which influenced the 1960s counterculture and thinkers such as Angela Davis; while in a tragic coda, Adorno died from a heart attack following confrontations with student radicals in Berlin.By taking popular culture seriously as an object of study—whether it was film, music, ideas, or consumerism—the Frankfurt School elaborated upon the nature and crisis of our mass-produced, mechanised society. Grand Hotel Abyss shows how much these ideas still tell us about our age of social media and runaway consumption.

    More than 40 million people in the U.S. alone have tattoos, all with unique stories about why they chose to indelibly mark their bodies. Permanence combines photographic tattoo portraits with these stories, told in the subjects' own words and handwriting. Kip Fulbeck brings together young and old of all races, religions, and political persuasionsfrom celebrities to suburban moms to Hells Angels. Including interviews with celebrity tattooers Kat Von D and Oliver Peck (Miami Ink), hardcore legend Evan Seinfeld, and some regular folks, Permanence is an entertaining and enlightening portrait of the tattooed population today.

    Moving away from the Marxist/Freudian approaches that had concerned him earlier, Baudrillard developed in this book a theory of contemporary culture that relies on displacing economic notions of cultural production with notions of cultural expenditure.Baudrillard uses the concepts of the simulacra—the copy without an original—and simulation. These terms are crucial to an understanding of the postmodern, to the extent that they address the concept of mass reproduction and reproduceability that characterizes our electronic media culture.Baudrillard's book represents a unique and original effort to rethink cultural theory from the perspective of a new concept of cultural materialism, one that radically redefines postmodern formulations of the body.Sheila Glaser is an editor at Artforum magazine.

    America was founded by wishful dreamers, magical thinkers, and true believers, by hucksters and their suckers. Fantasy is deeply embedded in our DNA.Over the course of five centuries--from the Salem witch trials to Scientology to the Satanic Panic of the 1980s, from P. T. Barnum to Hollywood and the anything-goes, wild-and-crazy sixties, from conspiracy theories to our fetish for guns and obsession with extraterrestrials--our love of the fantastic has made America exceptional in a way that we've never fully acknowledged. From the start, our ultra-individualism was attached to epic dreams and epic fantasies--every citizen was free to believe absolutely anything, or to pretend to be absolutely anybody. With the gleeful erudition and tell-it-like-it-is ferocity of a Christopher Hitchens, Andersen explores whether the great American experiment in liberty has gone off the rails.

    America’s demand for change in the 2008 election will cause another of our country’s periodic political makeovers. This realignment, like all others before it, will result from the coming of age of a new generation of young Americans—the Millennial Generation—and the full emergence of the Internet-based communications technology that this generation uses so well. Beginning in 2008, almost everything about American politics and government will transform—voting patterns, the fortunes of the two political parties, the issues that engage the nation, and our government and its public policy. Building on the seminal work of previous generational theorists,Morley Winograd and Michael D. Hais demonstrate and describe, for the first time, the two types of realignments—“idealist” and “civic”—that have alternated with one another throughout the nation’s history.  Based on these patterns, Winograd and Hais predict that the next realignment will be very different from the last one that occurred in 1968. “Idealist” realignments, like the one put into motion forty years ago by the Baby Boomer Generation, produce, among other things, a political emphasis on divisive social issues and governmental gridlock. “Civic” realignments, like the one that is coming, and the one produced by the famous GI or “Greatest” Generation in the 1930s, by contrast, tend to produce societal unity, increased attention to and successful resolution of basic economic and foreign policy issues, and institution-building. The authors detail the contours and causes of the country’s five previous political makeovers, before delving deeply into the generational and technological trends that will shape the next.  The book’s final section forecasts the impact of the Millennial Makeover on the elections, issues, and public policies that will characterize America’s politics in the decades ahead. For additional information go to:Millennial Makeover website.

    It is among mankind’s great masterpieces—a massive work of art. As an idea, it rivals monotheism. We all inhabit this fascinating place. But its deep logic, its cultural potential, and its societal impact often elude us. In this deep and thoughtful book, Virginia Heffernan presents an original and far-reaching analysis of what the Internet is and does. Life online, in the highly visual, social, portable, and global incarnation rewards certain virtues. The new medium favors speed, accuracy, wit, prolificacy, and versatility, and its form and functions are changing how we perceive, experience, and understand the world.

    Love is, as everyone knows, a mysterious and all-controlling force, with vast power over our thoughts and life decisions.But is there something a bit worrisome about all this uniformity of opinion? Is this the one subject about which no disagreement will be entertained, about which one truth alone is permissible? Consider that the most powerful organized religions produce the occasional heretic; every ideology has its apostates; even sacred cows find their butchers. Except for love.Hence the necessity for a polemic against it. A polemic is designed to be the prose equivalent of a small explosive device placed under your E-Z-Boy lounger. It won't injure you (well not severely); it's just supposed to shake things up and rattle a few convictions.

    One of punk rock's foundational documents, the archetype for indie obsession and all but disowned by its author, The Modern Lovers was an album doomed by its own coolness from day one. Powered by the two-chord wonder “Roadrunner” and its proclamation that “I'm in love with rock 'n' roll,”The Modern Lovers is the essential document of American alienation, an escape route from the cultural wasteland of postwar suburbia. The Modern Lovers is the bridge connecting the Velvet Underground and the Sex Pistols; they were peers of the New York Dolls and friends with Gram Parsons and they would splinter into Talking Heads, The Cars, and The Real Kids.But The Modern Lovers was never meant to be an album. A collection of demos, recorded in fits and starts as Jonathan Richman and his band negotiate modernity and the music industry. It is a collection of songs about a city and a society in flux, grappling with ancient corruptions and bright-eyed idealism. Richman observes a city all but abandoned by adults, ravaged by white flight and urban renewal, veering towards anarchy as old world social moors collide with new attitudes. It is a city stands in stark contrast to the the ranchstyle bedroom community where he was raised. All of these conflicts are churned through Richman's intellectual acuity and emotional unrest to create one of the 20th century's most enduring documents of post-adolescent malaise.

    In this eloquent, persuasive book, Neil Postman alerts us to the real and present dangers of this state of affairs, and offers compelling suggestions as to how to withstand the media onslaught. Before we hand over politics, education, religion, and journalism to the show business demands of the television age, we must recognize the ways in which the media shape our lives and the ways we can, in turn, shape them to serve out highest goals.

    Placing current family dilemmas in the context of far-reaching economic, political, and demographic changes, Coontz sheds new light on such contemporary concerns as parenting, privacy, love, the division of labor along gender lines, the black family, feminism, and sexual practice.

    This book looks closer at the patterns and similarites between those who are the eldest or the youngest or the middle child in a family and explains exactly how we are affected by not only our own siblings but even our parents and their siblings.

    Geoghegan makes his argument for labor with stories, sometimes humorous but more often chilling, about the problems working people like his own clients—from cabdrivers to schoolteachers—now face, increasingly powerless in our union-free economy. He explains why a new kind of labor movement (and not just more higher education) is the real program the Democrats should push—not just to save the middle class from bankruptcy but to revive Keynes’s original and sometimes forgotten ideas for getting the rich to invest and reducing our balance of trade, and to promote John Dewey’s vision of a “democratic way of life,” one that would start in the schools and continue in our places of work.A “public policy” book that is compulsively readable, Only One Thing Can Save Us is vintage Geoghegan, blending acerbic, witty commentary with unparalleled insight into the real dynamics (and human experience) of working in America today.

    It has been translated into every major language on Earth and dozens of minor ones; it has spawned entire genres of animation, and had more books written about it than all but a handful of American Presidents. Even its minor characters have become iconic, and the titular family is recognizable in almost every corner of the planet. It is a definitive and truly global cultural phenomenon, perhaps the biggest of the television age. As of this writing, if you flip on FOX at 8pm on Sundays, you will see a program that bills itself as "The Simpsons". It is not "The Simpsons". That show, the landmark piece of American culture that debuted on 17 December 1989, went off the air more than a decade ago. The replacement is a hopelessly mediocre imitation that bears only a superficial resemblance to the original. It is the unwanted sequel, the stale spinoff, the creative dry hole that is kept pumping in the endless search for more money. It is Zombie Simpsons.

    From Mary Pickford and Charlie Chaplin to Archie Leach (a.k.a. Cary Grant) and Marion Morrison (a.k.a. John Wayne), Tom Cruise and Julia Roberts, and such no-cal stars of today as the Kardashians and the new online celebrity (i.e., you and me), Burr takes us on an insightful and entertaining journey through the modern fame game at its flashiest, most indulgent, occasionally most tragic, and ultimately, its most revealing.