For several years, Andrew Marantz, a New Yorker staff writer, has been embedded in two worlds. The first is the world of social-media entrepreneurs, who, acting out of naïvete and reckless ambition, upended all traditional means of receiving and transmitting information. The second is the world of the people he calls "the gate crashers"—the conspiracists, white supremacists, and nihilist trolls who have become experts at using social media to advance their corrosive agenda. Antisocial ranges broadly—from the first mass-printed books to the trending hashtags of the present; from secret gatherings of neo-Fascists to the White House press briefing room—and traces how the unthinkable becomes thinkable, and then how it becomes reality. Combining the keen narrative detail of Bill Buford's Among the Thugs and the sweep of George Packer's The Unwinding, Antisocial reveals how the boundaries between technology, media, and politics have been erased, resulting in a deeply broken informational landscape—the landscape in which we all now live. Marantz shows how alienated young people are led down the rabbit hole of online radicalization, and how fringe ideas spread—from anonymous corners of social media to cable TV to the President's Twitter feed. Marantz also sits with the creators of social media as they start to reckon with the forces they've unleashed. Will they be able to solve the communication crisis they helped bring about, or are their interventions too little too late?

    In a new chapter for this edition that brings the story up-to-date, Nicholas Carr revisits the dramatic new world being conjured from the circuits of the "World Wide Computer."

    The globalization of Japanese “cool” is led by youth products: video games, manga (comic books), anime (animation), and cute characters that have fostered kid crazes from Hong Kong to Canada. Examining the crossover traffic between Japan and the United States, Millennial Monsters explores the global popularity of Japanese youth goods today while it questions the make-up of the fantasies and the capitalistic conditions of the play involved. Arguing that part of the appeal of such dream worlds is the polymorphous perversity with which they scramble identity and character, the author traces the postindustrial milieux from which such fantasies have arisen in postwar Japan and been popularly received in the United States.

    Can small artists still thrive in the Internet era? Can giant record labels avoid alienating their audiences? This is a book about the pitfalls and the opportunities that creative industries (and individuals) are confronting today — about how the old models have failed or found new footing, and about what might soon replace them. An essential read for anyone with a stake in the future of the arts, Information Doesn’t Want to Be Free offers a vivid guide to the ways creativity and the Internet interact today, and to what might be coming next.

    But men most of all.We tend to think of the 60s as a decade sprinkled with stardust: a time of space travel and utopian dreams, but above all of sexual abandonment. When the pill was introduced on the NHS in 1961 it seemed, for the first time, that women - like men - could try without buying."It was paradise for men... all these willing girls..."But this book - by 'one of the great social historians of our time' - describes a turbulent power struggle.Here are the voices from the battleground. Meet dollybird Mavis, debutante Kristina, Beryl who sang with the Beatles, bunny girl Patsy, Christian student Anthea, industrial campaigner Mary and countercultural Caroline. From Carnaby Street to Merseyside, from mods to rockers, from white gloves to Black is Beautiful, their stories throw an unsparing spotlight on morals, four-letter words, faith, drugs, race, bomb culture and sex.This is a moving, shocking book about tearing up the world and starting again. It's about peace, love, psychedelia and strange pleasures, but it is also about misogyny, violation and discrimination - half a century before feminism rebranded. For out of the swamp of gropers and groupies, a movement was emerging, and discovering a new cause: equality.The 1960s: this was where it all began. Women would never be the same again.'One of the great social historians of our time. No one else makes makes history this fun' Amanda Foreman'Intimate, immersive, often moving, How Was It For You? subtly but powerfully subverts complacent male assumptions about a legendary decade' David Kynaston'An absorbing study of an extraordinary age. Beautifully written and intensively researched' Selina Hastings'Every baby boomer should read this great and wonderfully revelatory book if only to shout, "Ah yes, that's exactly what it was like for me!"' Anne Sebba'Virginia Nicholson is the outstanding recorder of British lives in the twentieth century... and this account of the 1960s is the most vivid and moving of all her works' Carmen Callil'Essential reading' Marina Lewycka'A dazzling kaleidoscope of facts, feelings and observations' Juliet Nicolson'A hugely ambitious, kaleidoscope of a book' Richard Vinen'Makes it feel like the Sixties have never been away' Hunter Davies'I was there, and she's right' Valerie Grove

    Born in the mid-1990s to the mid-2000s and later, iGen is the first generation to spend their entire adolescence in the age of the smartphone. With social media and texting replacing other activities, iGen spends less time with their friends in person—perhaps why they are experiencing unprecedented levels of anxiety, depression, and loneliness. But technology is not the only thing that makes iGen distinct from every generation before them; they are also different in how they spend their time, how they behave, and in their attitudes toward religion, sexuality, and politics. They socialize in completely new ways, reject once sacred social taboos, and want different things from their lives and careers. More than previous generations, they are obsessed with safety, focused on tolerance, and have no patience for inequality. iGen is also growing up more slowly than previous generations: eighteen-year-olds look and act like fifteen-year-olds used to. As this new group of young people grows into adulthood, we all need to understand them: Friends and family need to look out for them; businesses must figure out how to recruit them and sell to them; colleges and universities must know how to educate and guide them. And members of iGen also need to understand themselves as they communicate with their elders and explain their views to their older peers. Because where iGen goes, so goes our nation—and the world.

    No sooner had this new culture emerged than it was beaten down by church groups, community bluestockings, and a McCarthyish Congress--only to resurface with a crooked smile on its face in "Mad "magazine. The story of the rise and fall of those comic books has never been fully told--until "The Ten-Cent Plague." David Hajdu's remarkable new book vividly opens up the lost world of comic books, its creativity, irreverence, and suspicion of authority. When we picture the 1950s, we hear the sound of early rock and roll. "The Ten-Cent Plague "shows how--years before music--comics brought on a clash between children and their parents, between prewar and postwar standards. Created by outsiders from the tenements, garish, shameless, and often shocking, comics spoke to young people and provided the guardians of mainstream culture with a big target. Parents, teachers, and complicit kids burned comics in public bonfires. Cities passed laws to outlaw comics. Congress took action with televised hearings that nearly destroyed the careers of hundreds of artists and writers.

    This provocative book tackles some of the enduring 'sacred truths' surrounding the high cultural status of the live event.

    Now, with this collection of his essays, Americans can appreciate the range of this rising literary star and get a fascinating trip through Chinese culture. This Generation gathers his essays and blogs dating from 2006 to the present, telling the story of modern China through Han Han’s unique perspective. Writing on topics as diverse as racing, relationships, the Beijing Olympics, and how to be a patriot, he offers a brief, funny, and illuminating trip through a complex nation that most Westerners view as marching in lockstep. As much a millennial time capsule as an entertaining and invaluable way for English readers to understand our rising Eastern partner and rival, This Generation introduces a dazzling talent to American shores.

    Once-powerful newspapers have lost their clout or been purchased by owners with particular agendas. Algorithms select which stories we see. The Internet allows consequential revelations, closely guarded secrets, and dangerous misinformation to spread at the speed of a click.In Breaking News, Alan Rusbridger demonstrates how these decisive shifts have occurred, and what they mean for the future of democracy. In the twenty years he spent editing The Guardian, Rusbridger managed the transformation of the progressive British daily into the most visited serious English-language newspaper site in the world. He oversaw an extraordinary run of world-shaking scoops, including the exposure of phone hacking by London tabloids, the Wikileaks release of U.S.diplomatic cables, and later the revelation of Edward Snowden's National Security Agency files. At the same time, Rusbridger helped The Guardian become a pioneer in Internet journalism, stressing free access and robust interactions with readers. Here, Rusbridger vividly observes the media's transformation from close range while also offering a vital assessment of the risks and rewards of practicing journalism in a high-impact, high-stress time.

    In the late 1990s and early 2000s, the landscape of television began an unprecedented transformation. While the networks continued to chase the lowest common denominator, a wave of new shows, first on premium cable channels like HBO and then basic cable networks like FX and AMC, dramatically stretched television’s narrative inventiveness, emotional resonance, and artistic ambition. No longer necessarily concerned with creating always-likable characters, plots that wrapped up neatly every episode, or subjects that were deemed safe and appropriate, shows such as The Wire, The Sopranos, Mad Men, Deadwood, The Shield, and more tackled issues of life and death, love and sexuality, addiction, race, violence, and existential boredom. Just as the Big Novel had in the 1960s and the subversive films of New Hollywood had in 1970s, television shows became the place to go to see stories of the triumph and betrayals of the American Dream at the beginning of the twenty-first century. This revolution happened at the hands of a new breed of auteur: the all-powerful writer-show runner. These were men nearly as complicated, idiosyncratic, and “difficult” as the conflicted protagonists that defined the genre. Given the chance to make art in a maligned medium, they fell upon the opportunity with unchecked ambition. Combining deep reportage with cultural analysis and historical context, Brett Martin recounts the rise and inner workings of a genre that represents not only a new golden age for TV but also a cultural watershed. Difficult Men features extensive interviews with all the major players, including David Chase (The Sopranos), David Simon and Ed Burns (The Wire), Matthew Weiner and Jon Hamm (Mad Men), David Milch (NYPD Blue, Deadwood), and Alan Ball (Six Feet Under), in addition to dozens of other writers, directors, studio executives, actors, production assistants, makeup artists, script supervisors, and so on. Martin takes us behind the scenes of our favorite shows, delivering never-before-heard story after story and revealing how cable TV has distinguished itself dramatically from the networks, emerging from the shadow of film to become a truly significant and influential part of our culture.

    This account of an American institution explores the possibility that the magazine, in purporting to teach about distant cultures, actually tells us much more about our own. Lutz & Collins go inside the Nat'l Geographic Society to investigate how its photographers, editors & designers select images & text to produce representations of 3rd World cultures. Thru interviews with editors, they describe the process as one of negotiating standards of balance, objectivity, informational content & visual beauty. Then, in a close reading of some 600 photos, they examine issues of race, gender, privilege, progress & modernity thru an analysis of the way such things as color, pose, framing & vantage point are used in representations of non-Western peoples. Finally, interviewing readers, they assess how the magazine's cultural narratives are received & interpreted, & identify a tension between the desire to know about other peoples' ways & the wish to validate middle-class American values. The result is a complex portrait of an institution & its role in promoting a kind of conservative humanism that acknowledges universal values & celebrates diversity while allowing readers to relegate non-Western peoples to earlier stages of progress. We see the magazine & the Society as a middlebrow arbiter of taste, wealth & power. We get a telling glimpse into middle-class culture & all the wishes, assumptions & fears it brings to bear on armchair explorations of the world.

    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.

    Carol Clover argues, however, that these films work mainly to engage the viewer in the plight of the victim-hero - the figure, often a female, who suffers pain and fright but eventually rises to vanquish the forces of oppression.

    In Enlightened Sexism, Susan J. Douglas, one of America's most entertaining and insightful cultural critics, takes readers on a spirited journey through the television programs, popular songs, movies, and news coverage of recent years, telling a story that is nothing less than the cultural biography of a new generation of American women.Revisiting cultural touchstones from Buffy the Vampire Slayer to Survivor to Desperate Housewives, Douglas uses wit and wisdom to expose these images of women as mere fantasies of female power, assuring women and girls that the battle for equality has been won, so there's nothing wrong with resurrecting sexist stereotypes—all in good fun, of course. She shows that these portrayals not only distract us from the real-world challenges facing women today but also drive a wedge between baby-boom women and their "millennial" daughters.In seeking to bridge this generation gap, Douglas makes the case for casting aside these retrograde messages, showing us how to decode the mixed messages that restrict the ambitions of women of all ages. And what makes Enlightened Sexism such a pleasure to read is Douglas's unique voice, as she blends humor with insight and offers an empathetic and sisterly guide to the images so many women love and hate with equal measure.