Named a Best Book of the Year by The Economist , Financial Times , Inc. , Prospect Magazine , and The Conversation “The most comprehensive and reasonable story of this shift that has yet been attempted . . . Mounk has told the story of the Great Awokening better than any other writer who has attempted to make sense of it.” — The Washington Post “An intellectual tour de force about the origins of identity politics and the threat it presents to genuine, honest, old-fashioned liberalism.” — Bret Stephens, The New York Times “Among the most insightful and important books written in the last decade on American democracy and its current torments, because it also shows us a way out of the trap.” —Jonathan Haidt, author of The Righteous Mind , and coauthor of The Coddling of the American Mind “Outstanding.” — David Brooks, The New York Times A fascinating account of the origins of “wokeness”—and a trenchant explanation for why the noble goals of identity politics are doomed to fail For much of history, societies have violently oppressed ethnic, religious, and sexual minorities. It is no surprise that many came to believe that members of mar­ginalized groups need to take pride in their identity to resist injustice. But over the past decades, a healthy appreciation for the culture and heritage of minority groups transformed into our contemporary form of identity politics, a counterproductive obsession with group identity. This new ideology denies that members of different groups can truly understand each other and insists that the way governments treat their citizens should depend on the color of their skin. This, Yascha Mounk argues, is the identity trap. Those who battle for these ideas are often full of good intentions. But they ultimately stand in the way of the genuine equality we desperately need. Mounk was one of the first to warn of the risks that right-wing populists pose to American democracy, a danger that remains as serious as ever. But as he shows here, the identitarian left and the populist right actually reinforce each other; to vanquish one, it is necessary to oppose both. In The Identity Trap , Mounk provides the most ambitious and comprehensive account to date of the origins, consequences, and limitations of “wokeness.” He shows how postmodernism, postcolonialism, and critical race theory conquered many college campuses and forged an “identity synthesis” that gained tremendous influence in business, media, and government by 2020. Finally, Mounk makes a nuanced philosophical case for why these ideas are so counterproductive—and why universal, humanist values can best serve the vital goal of true equality. The Identity Trap provides truth and clarity where they are needed most.

Includes "Aladdin and the Enchanted Lamp," "The Ebony Horse," "The Tale of Khalifah the Fisherman," and other stories

Crystallizing Public Opinion is a groundbreaking book on public relations, written by Edward Bernays, the father of modern PR. Originally published in 1923, this influential work explores the psychology of mass communication, the power of propaganda, and the strategic methods used to shape public opinion. Bernays, drawing from psychology, sociology, and media influence, reveals how businesses, governments, and organizations can use public relations techniques to sway public perception and control narratives. This book is essential reading for marketing professionals, public relations experts, advertisers, political strategists, and media analysts. Bernays explains the role of group psychology, the herd instinct, and mass persuasion tactics, making it clear that effective public relations is both an art and a science. His insights into media manipulation, corporate branding, and political propaganda remain as relevant today as they were a century ago. Perfect for those interested in marketing strategies, psychological influence, corporate communication, and social influence, Crystallizing Public Opinion provides a historical foundation for the modern PR industry. Whether you are a communications student, business leader, journalist, or historian, this book offers invaluable lessons on the mechanics of shaping public thought and the responsibility of ethical persuasion in an increasingly media-driven world.

Greg Palast digs deep to unearth the ugly facts that few reporters working anywhere in the world today have the courage or ability to cover. From East Timor to Waco, Karachi to Santiago, he has exposed some of the most egregious cases of political corruption, corporate fraud, and financial manipulation, globally. His uncanny investigative skills as well as his acerbic wit and no-holds-barred style have made him an anathema among magnates on four continents and a living legend among his colleagues and his devoted readership, worldwide. This exciting new collection brings together some of Palast's most powerful and influential writing of the past decade. His columns in the Observer have a cult following and he made headline news when he went undercover for the Observer to break open the 'Lobbygate' scandal of corruption inside the Blair Cabinet. Included here are his reports on that story, which earned him the distinction of being the first journalist ever to be personally attacked on the floor of Parliament by a prime minister; his celebrated Washington Post exposé on Jeb Bush and Katherine Harris's stealing of the presidential election in Florida, which made him "a legend and a hero on the Internet" (Alan Colmes / Fox Radio) when it ran in Salon.com; and recent stories on George W. Bush's pay-offs to corporate cronies, and the business-created 'energy crisis.' Also included in this volume are new and previously unpublished material, television transcripts, photographs, and letters.

The number one New York Times bestselling author of Bias delivers another bombshell—this time aimed at . . . 100 People Who Are Screwing Up America No preaching. No pontificating. Just some uncommon sense about the things that have made this country great—and the culprits who are screwing it up. Bernard Goldberg takes dead aim at the America Bashers (the cultural elites who look down their snobby noses at "ordinary" Americans) . . . the Hollywood Blowhards (incredibly ditzy celebrities who think they're smart just because they're famous) . . . the TV Schlockmeisters (including the one whose show has been compared to a churning mass of maggots devouring rotten meat) . . . the Intellectual Thugs (bigwigs at some of our best colleges, whose views run the gamut from left wing to far left wing) . . . and many more. Goldberg names names, counting down the villains in his rogues' gallery from 100 all the way to 1—and, yes, you-know-who is number 37. Some supposedly "serious" journalists also made the list, including the journalist-diva who sold out her integrity and hosted one of the dumbest hours in the history of network television news. And there are those famous miscreants who have made America a nastier place than it ought to be—a far more selfish, vulgar, and cynical place. But Goldberg doesn't just round up the usual suspects we have come to know and detest. He also exposes some of the people who operate away from the limelight but still manage to pull a lot of strings and do all sorts of harm to our culture. Most of all, 100 People Who Are Screwing Up America is about a country where as long as anything goes, as one of the good guys in the book puts it, sooner or later everything will go. This is serious stuff for sure. But Goldberg will also make you laugh as he harpoons scoundrels like the congresswoman who thinks there aren't enough hurricanes named after black people, and the environmentalist to the stars who yells at total strangers driving SUVs—even though she tools around the country in a gas-guzzling private jet. With Bias, Bernard Goldberg took us behind the scenes and exposed the way Big Journalism distorts the news. Now he has written a book that goes even further. This time he casts his eye on American culture at large—and the result is a book that is sure to become the voice of all those Americans who feel that no one is speaking for them on perhaps the most vital issue of all: the kind of country in which we want to live.

A revealing, forward-looking examination of the outsize influence Google has had on the changing media landscape, telling the story of how it formed and crashed into traditional media businesses--from newspapers to books, to television, to movies, to telephones, to advertising, to Microsoft.

In his most provocative and caustically funny book yet, Greg Palast, author of the national bestseller The Best Democracy Money Can Buy, once again gives us the straight scoop on the stories that Big Media won?t report. Digging up reams of documents marked ?secret? and ?confidential,? Palast provides the latest lowdown on Bush?s secret plans to seize Iraq?s oil, the fix planned for the 2008 election, who drowned New Orleans, and the horror and the humor of the War on Terror. With diligent detective work, moral outrage, and a keen sense of the absurd, Palast takes on the ?armed and dangerous clowns that rule us? as only he can.

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

NEW YORK TIMES BESTSELLER • A fascinating portrait of journalism and the people who make it, told through pieces collected from the incomparable six-decade career of bestselling author and longtime New Yorker writer Calvin Trillin “ The Lede contains profiles . . . that are acknowledged classics of the form and will be studied until A.I. makes hash out of all of us.”—Dwight Garner, The New York Times LONGLISTED FOR THE PEN/DIAMONSTEIN-SPIELVOGEL AWARD I’ve been writing about the press almost as long as I’ve been in the game. At some point, it occurred to me that disparate pieces from various places in various styles amounted to a picture from multiple angles of what the press has been like over the years since I became a practitioner and an observer. Calvin Trillin has reported serious pieces across America for The New Yorker, covered the civil rights movement in the South for Time, and written comic verse for The Nation . But one of his favorite subjects over the years—a superb fit for his unique combination of reportage and humor—has been his own professional environment: the American press. In The Lede, Trillin gathers his incisive, often hilarious writing on reporting, reporters, and the media world that is their orbit. He writes about a legendary crime reporter in Miami, a swashbuckling New York Times reporter, and an erudite film critic in Dallas who once a week transformed himself from an appreciator of the French nouvelle vague into a crude connoisseur of movies like Mother Riley Meets the Vampire . There are pieces on the House of Lords aspirations of a North American press baron, the paucity of gossip columns in Russia, the embroilment of a weekly newspaper in a missing person case, and the founding of a publication called Beautiful Spot: A Magazine of Parking . Uniting all of this is Trillin’s signature combination of empathy, humor, and graceful prose. The Lede is an unparalleled portrait of one of our fundamental American institutions from a master journalist.

A deep dive into the emergence and success of independent filmmaking in America A Los Angeles Times Bestseller The most important development in American culture of the last two decades is the emergence of independent cinema as a viable alternative to Hollywood. Indeed, while Hollywood's studios devote much of their time and energy to churning out big-budget, star-studded event movies, a renegade independent cinema that challenges mainstream fare continues to flourish with strong critical support and loyal audiences. Cinema of Outsiders is the first and only comprehensive chronicle of contemporary independent movies from the late 1970s up to the present. From the hip, audacious early works of maverick David Lynch, Jim Jarmusch, and Spike Lee, to the contemporary Oscar-winning success of indie dynamos, such as the Coen brothers ( Fargo ), Quentin Tarentino ( Pulp Fiction ), and Billy Bob Thornton ( Sling Blade ), Levy describes in a lucid and accessible manner the innovation and diversity of American indies in theme, sensibility, and style. Documenting the socio-economic, political and artistic forces that led to the rise of American independent film, Cinema of Outsiders depicts the pivotal role of indie guru Robert Redford and his Sundance Film Festival in creating a showcase for indies, the function of film schools in supplying talent, and the continuous tension between indies and Hollywood as two distinct industries with their own structure, finance, talent and audience. Levy describes the major cycles in the indie film movement: regional cinema, the New York school of film, African-American, Asian American, gay and lesbian, and movies made by women. Based on exhaustive research of over 1,000 movies made between 1977 and 1999, Levy evaluates some 200 quintessential indies, including Choose Me , Stranger Than Paradise , Blood Simple , Blue Velvet , Desperately Seeking Susan , Slacker , Poison , Reservoir Dogs , Gas Food Lodging , Menace II Society , Clerks , In the Company of Men , Chasing Amy , The Apostle , The Opposite of Sex , and Happiness . Cinema of Outsiders reveals the artistic and political impact of bold and provocative independent movies in displaying the cinema of "outsiders"-the cinema of the "other America."

"An unprecedented and historic new book, The First Homosexuals traces the evolution of the homosexual identity through an archive of hundreds of artworks in a wide variety of media. Organized geographically, each chapter highlights a different part of the world and includes an insightful essay by an expert in the art and sexuality of that region. Ranging from well-known masterpieces to works by unknown artists and pieces rarely considered in the context of sexuality, The First Homosexuals offers a stunning and illuminating look at the first self-consciously queer art"--

In this groundbreaking work of ethnography, Opler provides a detailed and comprehensive account of the culture and society of the Chiricahua Apache people. Drawing on years of fieldwork, Opler offers a unique perspective on the spiritual, economic, and social structures that shaped the Chiricahua way of life. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

In this impressive book, Edward S. Herman and David Peterson examine the uses and abuses of the word “genocide.” They argue persuasively that the label is highly politicized and that in the United States it is used by the government, journalists, and academics to brand as evil those nations and political movements that in one way or another interfere with the imperial interests of U.S. capitalism. Thus the word “genocide” is seldom applied when the perpetrators are U.S. allies (or even the United States itself), while it is used almost indiscriminately when murders are committed or are alleged to have been committed by enemies of the United States and U.S. business interests. One set of rules applies to cases such as U.S. aggression in Vietnam, Israeli oppression of Palestinians, Indonesian slaughter of so-called communists and the people of East Timor, U.S. bombings in Serbia and Kosovo, the U.S. war of “liberation” in Iraq, and mass murders committed by U.S. allies in Rwanda and the Republic of Congo. Another set applies to cases such as Serbian aggression in Kosovo and Bosnia, killings carried out by U.S. enemies in Rwanda and Darfur, Saddam Hussein, any and all actions by Iran, and a host of others. With its careful and voluminous documentation, close reading of the U.S. media and political and scholarly writing on the subject, and clear and incisive charts, The Politics of Genocide is both a damning condemnation and stunning exposé of a deeply rooted and effective system of propaganda aimed at deceiving the population while promoting the expansion of a cruel and heartless imperial system.

The story of a journalist's life in the midst of important world events

Michael Wolff knows Rupert Murdoch, Barry Diller, Jean-Marie Messier, Steve Ross and Ted Turner. He knows what they want, what fuels their appetites and what they can and can't see when they look in the mirror (or the financial pages). And he tells us all he knows in this report.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

"Global Sex is the first major work to take the issues of globalization and sexuality head on. Dennis Altman looks at how pleasures of the body are framed, shaped, commercialized, and even commodified in our new global economy, exploring the impact of globalization on gender relations, political power, public health, migration, and the ways in which we imagine our own sense of self and place. Ranging from U.N. debates over abortion, to the advent of cybersex, to the rapid spread of AIDS in Africa, to the sex scandals that rocked both Malaysian Deputy Prime Minister Anwar Ibrahim and President Bill Clinton, Global Sex sheds new light on how the personal and the political are now, more than ever, indistinguishable."--BOOK JACKET.

"If there is one genre that has captured the imagination of people in all walks of life throughout the world, it is the fairy tale. Yet we still have great difficulty understanding how it originated, evolved, and spread--or why so many people cannot resist its appeal, no matter how it changes or what form it takes. In this book, renowned fairy-tale expert Jack Zipes presents a provocative new theory about why fairy tales were created and retold--and why they became such an indelible and infinitely adaptable part of cultures around the world. Drawing on cognitive science, evolutionary theory, anthropology, psychology, literary theory, and other fields, Zipes presents a nuanced argument about how fairy tales originated in ancient oral cultures, how they evolved through the rise of literary culture and print, and how, in our own time, they continue to change through their adaptation in an ever-growing variety of media. In making his case, Zipes considers a wide range of fascinating examples, including fairy tales told, collected, and written by women in the nineteenth century; Catherine Breillat's film adaptation of Perrault's "Bluebeard"; and contemporary fairy-tale drawings, paintings, sculptures, and photographs that critique canonical print versions. While we may never be able to fully explain fairy tales, The Irresistible Fairy Tale provides a powerful theory of how and why they evolved--and why we still use them to make meaning of our lives."--Jacket.