But the song's international popularity is no passing fad. "Gangnam Style" is only one tool in South Korea's extraordinarily elaborate and effective strategy to become a major world superpower by first becoming the world's number one pop culture exporter.As a child, Euny Hong moved from America to the Gangnam neighbourhood in Seoul. She was a witness to the most accelerated part of South Korea's economic development, during which time it leapfrogged from third-world military dictatorship to first-world liberal democracy on the cutting edge of global technology.Euny Hong recounts how South Korea vaulted itself into the twenty-first century, becoming a global leader in business, technology, education, and pop culture. Featuring lively, in-depth reporting and numerous interviews with Koreans working in all areas of government and society, The Birth of Korean Cool reveals how a really uncool country became cool, and how a nation that once banned miniskirts, long hair on men, and rock ‘n' roll could come to mass produce boy bands, soap operas, and the world's most important smart phone.

    This second edition builds upon and updates Omi and Winant's groundbreaking research. In addition to a preface to the new edition, the book provides a more detailed account of the theory of racial formation processes. It includes material on the historical development of race, the question of racism, race-class-gender interrelationships, and everyday life. A final chapter updates the developments in American racial politics up to the present, focusing on such key events as the 1992 Presidential election, the Los Angeles riots, and the Clinton administration's racial politics and policies."…required reading for scholars engaged in historical, sociological, and cultural studies of race. In the new edition, the authors further develop their provocative theory of 'racial formation' and extend their political analyses into the 1990s. They introduce the concept of 'racial project', linking race as representation with race as it is embedded in the social structure." -- Angela Y. Davis

    But what if the problem is not that we are all synchronized to the same motions or moments, but rather dispersed into countless different emotional micro-experiences? What if the effect of so-called social media is to calibrate the interactive spectacle so that we never fully feel the same way as other potential allies at the same time? While one person is fuming about economic injustice or climate change denial, another is giggling at a cute cat video. And, two hours late, vice versa. The nebulous indignation which constitutes the very fuel of true social change can be redirected safely around the network, avoiding any dangerous surges of radical activity. In this short and provocative book, Dominic Pettman examines the deliberate deployment of what he calls 'hypermodulation,' as a key strategy encoded into the contemporary media environment. His account challenges the various narratives that portray social media as a sinister space of synchronized attention, in which we are busily “clicking ourselves to death.” This critical reflection on the unprecedented power of the Internet requires us to rethink the potential for infinite distraction that our latest technologies now allow.

    "Delving into urban planning, psychology, architecture, and economics, as well as the history of technology, Schivelbusch paints a revealing portrait of the role of the railroad in shaping the 19th-century mind."

    After the Last Border is an intimate look at the lives of two women as they struggle for the twenty-first century American dream, having won the golden ticket to settle as refugees in Austin, Texas.Mu Naw, a Christian from Myanmar struggling to put down roots with her family, was accepted after decades in a refugee camp at a time when America was at its most open to displaced families; and Hasna, a Muslim from Syria, agrees to relocate as a last resort for the safety of her family--only to be cruelly separated from her children by a sudden ban on refugees from Muslim countries. Writer and activist Jessica Goudeau tracks the human impacts of America's ever-shifting refugee policy as both women narrowly escape from their home countries and begin the arduous but lifesaving process of resettling in Austin--a city that would show them the best and worst of what America has to offer.After the Last Border situates a dramatic, character-driven story within a larger history--the evolution of modern refugee resettlement in the United States, beginning with World War II and ending with current closed-door policies--revealing not just how America's changing attitudes toward refugees have influenced policies and laws, but also the profound effect on human lives.

    The book is going to search for the deeper roots of American cultural and musical evolution for the past 150 years by studying what the Western European culture learned from African American culture in a historical progression that reaches from the minstrel era to Bob Dylan. The book begins with America’s first great social critic, Henry David Thoreau, and his fundamental source of social philosophy:---his profound commitment to freedom, to abolitionism and to African-American culture. Continuing with Mark Twain, through whom we can observe the rise of minstrelsy, which he embraced, and his subversive satirical masterpiece Huckleberry Finn. While familiar, the book places them into a newly articulated historical reference that shines new light and reveals a progression that is much greater than the sum of its individual parts. As the first post-Civil War generation of black Americans came of age, they introduced into the national culture a trio of musical forms—ragtime, blues, and jazz— that would, with their derivations, dominate popular music to this day. Ragtime introduced syncopation and become the cutting edge of the modern 20th century with popular dances. The blues would combine with syncopation and improvisation and create jazz. Maturing at the hands of Louis Armstrong, it would soon attract a cluster of young white musicians who came to be known as the Austin High Gang, who fell in love with black music and were inspired to play it themselves. In the process, they developed a liberating respect for the diversity of their city and country, which they did not see as exotic, but rather as art. It was not long before these young white rebels were the masters of American pop music – big band Swing.As Bop succeeded Swing, and Rhythm and Blues followed, each had white followers like the Beat writers and the first young rock and rollers. Even popular white genres like the country music of Jimmy Rodgers and the Carter Family reflected significant black influence. In fact, the theoretical separation of American music by race is not accurate. This biracial fusion achieved an apotheosis in the early work of Bob Dylan, born and raised at the northern end of the same Mississippi River and Highway 61 that had been the birthplace of much of the black music he would study. As the book reveals, the connection that began with Thoreau and continued for over 100 years was a cultural evolution where, at first individuals, and then larger portions of society, absorbed the culture of those at the absolute bottom of the power structure, the slaves and their descendants, and realized that they themselves were not free.

    He was fortunate to have been taught to read by his slave owner mistress, and he would go on to become one of the major literary figures of his time. His very existence gave the lie to slave owners: with dignity and great intelligence he bore witness to the brutality of slavery.Initially mentored by William Lloyd Garrison, Douglass spoke widely, using his own story to condemn slavery. By the Civil War, Douglass had become the most famed and widely travelled orator in the nation. In his unique and eloquent voice, written and spoken, Douglass was a fierce critic of the United States as well as a radical patriot. After the war he sometimes argued politically with younger African Americans, but he never forsook either the Republican party or the cause of black civil and political rights.In this biography, David Blight has drawn on new information held in a private collection that few other historian have consulted, as well as recently discovered issues of Douglass’s newspapers.

    Moses built an empire and lived like an emperor. He personally conceived and completed public works costing 27 billion dollars--the greatest builder America (and probably the world) has ever known. Without ever having been elected to office, he dominated the men who were--even his most bitter enemy, Franklin D. Roosevelt, could not control him--until he finally encountered, in Nelson Rockefeller, the only man whose power (and ruthlessness in wielding it) equalled his own.

    Professor and civil liberties lawyer Alan Dershowitz looks at history through the prism of the trial, because a trial presents a snapshot of what is going on at a particular point in time in the nation's history.

    When Anatole Broyard reveals on his deathbed that he is actually black, it sets his daughter Bliss on a search through New York and New Orleans for the family she never knew.

    Broke, USA is a Fast Food Nation for the “poverty industry” that will also appeal to readers of Barbara Ehrenreich (Nickel and Dimed) and David Shipler (The Working Poor).

    Essential reading for both art enthusiasts and anyone concerned with the environment, the book is the most comprehensive and beautifully illustrated book on the subject.The traditional landscape genre was radically transformed in the 1960s when many artists stopped merely representing the land and made their mark directly in the environment. Drawn by the vast uncultivated spaces of the desert and mountain as well as post-industrial wastelands, artists such as Michael Heizer, Nancy Holt and Robert Smithson moved the earth to create colossal primal symbols. Others punctuated the horizon with man-made signposts, such as Christo's Running Fence or Walter de Maria's Lightning Field. Journeys became works of art for Richard Long while Dennis Oppenheim and Ana Mendieta immersed their bodies in the contours of the land.This book traces early developments to the present day, as artists are exploring eco-systems and the interface between industrial, urban and rural cultures. Survey Brian Wallis discusses the key artists, works and issues that define Land Art historically, as well as its later ramifications.Works This book fully documents the 1960s Land Art movement and surveys examples of Environmental Art to the present day. Earthworks, environments, performances and actions by artists ranging from Ana Mendieta in the 1970s and 80s to Peter Fend in the 1990s are illustrated with breathtaking photographs, sketches and project notes. Documents Jeffrey Kastner has compiled an invaluable archive of statements by all the featured artists alongside related texts by art historians, critics, philosophers and cultural theorists including Jean Baudrillard, Edmund Burke, Guy Debord, Michael Fried, Dave Hickey, Rosalind Krauss, Lucy R Lippard, Thomas McEvilley and Simon Schama.

    You'll find no tongue-tempting treats within -- unless, of course, you consider Boiled Cow Elbow with Plaid Sauce to be your idea of a tasty meal. No, The Gallery of Regrettable Food is a public service. Learn to identify these dishes. Learn to regard shivering liver molds with suspicion. Learn why curries are a Communist plot to undermine decent, honest American spices. Learn to heed the advice of stern, fictional nutritionists. If you see any of these dishes, please alert the authorities.Now, the good news: laboratory tests prove that The Gallery of Regrettable Food AMUSES as well as informs. Four out of five doctors recommend this book for its GENEROUS PORTIONS OF HILARITY and ghastly pictures from RETRO COOKBOOKS. You too will look at these products of post-war cuisine and ask: "WHAT WERE THEY THINKING?" It's an affectionate look at the days when starch ruled, pepper was a dangerous spice, and Stuffed Meat with Meat Sauce was considered health food.Bon appetit!The Gallery of Regrettable Food is a simple introduction to poorly photographed foodstuffs and horrid recipes from the Golden Age of Salt and Starch. It's a wonder anyone in the 1940s, '50s, and '60s gained any weight. It isn't that the food was inedible; it was merely dull. Everything was geared toward a timid palate fearful of spice. It wasn't nonnutritious -- no, between the limp boiled vegetables, fat-choked meat cylinders, and pink whipped Jell-O desserts, you were bound to find a few calories that would drag you into the next day. It's just that the pictures are so hideously unappealing.Author James Lileks has made it his life's work to unearth the worst recipes and food photography from that bygone era and assemble them with hilarious, acerbic commentary: "This is not meat. This is something they scraped out of the air filter from the engines of the Exxon Valdez." It all started when he went home to Fargo and found an ancient recipe book in his mom's cupboard: Specialties of the House, from the North Dakota State Wheat Commission. He never looked back. Now, they're not really recipe books. They're ads for food companies, with every recipe using the company's products, often in unexpected and horrifying ways. There's not a single appetizing dish in the entire collection.The pictures in the book are ghastly -- the Italian dishes look like a surgeon had a sneezing fit during an operation, and the queasy casseroles look like something on which the janitor dumps sawdust. But you have to enjoy the spirit behind the books -- cheerful postwar perfect housewifery, and folks with the guts to undertake such culinary experiments as stuffing cabbage with hamburger, creating the perfect tongue mousse when you have the fellas over for a pregame nosh, or, best of all, baking peppers with a creamy marshmallow sauce. Alas, too many of these dishes bring back scary childhood memories.

    Yet for all the hours, minutes, and even seconds being saved, we're still filling our days to the point that we have no time for such basic human activities as eating, sex, and relating to our families. Written with fresh insight and thorough research, Faster is a wise and witty look at a harried world not likely to slow down anytime soon.

    Scenes of Subjection examines the forms of domination that usually go undetected; in particular, the encroachments of power that take place through notions of humanity, enjoyment, protection, rights, and consent. By looking at slave narratives, plantation diaries, popular theater, slave performance, freedmen's primers, and legal cases, Hartman investigates a wide variety of "scenes" ranging from the auction block and minstrel show to the staging of the self-possessed and rights-bearing individual of freedom.While attentive to the performance of power--the terrible spectacles of slaveholders' dominion and the innocent amusements designed to abase and pacify the enslaved--and the entanglements of pleasure and terror in these displays of mastery, Hartman also examines the possibilities for resistance, redress and transformation embodied in black performance and everyday practice.This important study contends that despite the legal abolition of slavery, emergent notions of individual will and responsibility revealed the tragic continuities between slavery and freedom. Bold and persuasively argued, Scenes of Subjection will engage readers in a broad range of historical, literary, and cultural studies.