What ever happened with that liberal intellectual "boom" of the 1980s and 1990s? In The Disappearing Liberal Intellectual, Eric Lott--author of the prizewinning Love and Theft--shows that the charter members of the "new left" are suffering from a condition that he has dubbed "boomeritis." Too secure in their university appointments, lecture tours, and book deals, the once rising stars of the liberal elite--including Richard Rorty, Todd Gitlin, Michael Lind, Paul Berman, Greil Marcus, and Henry Louis Gates, Jr.--have drifted away from their radical moorings toward the political center. At once a chronicle of recent intellectual life and a polemic against contemporary liberalism's accommodations of the conservative status quo, The Disappearing Liberal Intellectual eviscerates the complacency that has seeped into the politics of the would-be vanguard of American intellectual thought. Lott issues a wake-up call to the great public intellectuals of our day and challenges them to reinvigorate political debate on campus, in their writing, and on the airwaves.
For over two centuries, America has celebrated the same African-American culture it attempts to control and repress, and nowhere is this phenomenon more apparent than in the strange practice of blackface performance. Born of extreme racial and class conflicts, the blackface minstrel show appropriated black dialect, music, and dance; at once applauded and lampooned black culture; and, ironically, contributed to a "blackening of America." Drawing on recent research in cultural studies and social history, Eric Lott examines the role of the blackface minstrel show in the political struggles of the years leading up to the Civil War. Reading minstrel music, lyrics, jokes, burlesque skits, and illustrations in tandem with working-class racial ideologies and the sex/gender system, Love and Theft argues that blackface minstrelsy both embodied and disrupted the racial tendencies of its largely white, male, working-class audiences. Underwritten by envy as well as repulsion, sympathetic identification as well as fear--a dialectic of "love and theft"--the minstrel show continually transgressed the color line even as it enabled the formation of a self-consciously white working class. Lott exposes minstrelsy as a signifier for multiple breaches: the rift between high and low cultures, the commodification of the dispossessed by the empowered, the attraction mixed with guilt of whites caught in the act of cultural thievery. This new edition celebrates the twentieth anniversary of this landmark volume. It features a new foreword by renowned critic Greil Marcus that discusses the book's influence on American cultural studies as well as its relationship to Bob Dylan's 2001 album of the same name, "Love & Theft." In addition, Lott has written a new afterword that extends the study's range to the twenty-first century.
Blackface and blackness : the minstrel show in American culture -- Love and theft : "racial" production and the social unconscious of blackface -- White kids and no kids at all : working-class culture and languages of race -- The blackening of America : popular culture and national cultures -- "The seeming counterfeit" : early blackface acts, the body, and social contradiction -- "Genuine Negro fun" : racial pleasure and class formation in the 1840s -- California gold and European revolution : Stephen Foster and the American 1848 -- Uncle Tomitudes : racial melodrama and modes of production.
Blackness is a prized commodity in American pop culture. Marketed to white consumers, it invites whites to view themselves in a mirror of racial difference, while remaining “wholly” white. From sports to literature, film, and music to investigative journalism, Eric Lott reveals the hidden dynamics of this self-and-other racial mirroring.
For over two centuries, America has celebrated the very black culture it attempts to control and repress, and nowhere is this phenomenon more apparent than in the strange practice of blackface performance. Born of extreme racial and class conflicts, the blackface minstrel show sometimes usefully intensified them. Based on the appropriation of black dialect, music, and dance, minstrelsy at once applauded and lampooned black culture, ironically contributing to a "blackening of America." Drawing on recent research in cultural studies and social history, Eric Lott examines the role of the blackface minstrel show in the political struggles of the years leading up to the Civil War. Reading minstrel music, lyrics, jokes, burlesque skits, and illustrations in tandem with working-class racial ideologies and the sex/gender system, Love and Theft argues that blackface minstrelsy both embodied and disrupted the racial tendencies of its largely white, male, working-class audiences. Underwritten by envy as well as repulsion, sympathetic identification as well as fear--a dialectic of "love and theft"--the minstrel show continually transgressed the color line even as it enabled the formation of a self-consciously white working class. Lott exposes minstrelsy as a signifier for multiple breaches: the rift between high and low cultures, the commodification of the dispossessed by the empowered, the attraction mixed with guilt of whites caught in the act of cultural thievery.
Since its founding by Jacques Waardenburg in 1971, Religion and Reason has been a leading forum for contributions on theories, theoretical issues and agendas related to the phenomenon and the study of religion. Topics include (among others) category formation, comparison, ethnophilosophy, hermeneutics, methodology, myth, phenomenology, philosophy of science, scientific atheism, structuralism, and theories of religion. From time to time the series publishes volumes that map the state of the art and the history of the discipline.
No one knows this better than Eric Dezenhall and John Weber, who help companies, politicians, and celebrities get out of various kinds of trouble. In this brutally honest and eye-opening guide, they take you behind the scenes of some of the biggest public relations successes—and debacles—of modern business, politics, and entertainment. You’ll discover: • Why the 1982 Tylenol cyanide-poisoning case is always cited as the best model for damage control, when in fact it has no relevance to the typical corporate crisis. • Why Audi never fully recovered from driver accusations of “sudden acceleration”—despite evidence that nothing was wrong with their cars. • What the crises faced by George W. Bush, Jim McGreevey, Sammy Sosa, Lance Armstrong, Martha Stewart, Coca-Cola, and the Catholic Church have in common . . . and what they don’t. This new revised edition includes an additional chapter "Our Permanent Leakocracy" including information about WikiLeaks and what that notorious case means for business.
For over two centuries, America has celebrated the same African-American culture it attempts to control and repress, and nowhere is this phenomenon more apparent than in the strange practice of blackface performance. Born of extreme racial and class conflicts, the blackface minstrel show appropriated black dialect, music, and dance; at once applauded and lampooned black culture; and, ironically, contributed to a "blackening of America." Drawing on recent research in cultural studies and social history, Eric Lott examines the role of the blackface minstrel show in the political struggles of the years leading up to the Civil War. Reading minstrel music, lyrics, jokes, burlesque skits, and illustrations in tandem with working-class racial ideologies and the sex/gender system, Love and Theft argues that blackface minstrelsy both embodied and disrupted the racial tendencies of its largely white, male, working-class audiences. Underwritten by envy as well as repulsion, sympathetic identification as well as fear--a dialectic of "love and theft"--the minstrel show continually transgressed the color line even as it enabled the formation of a self-consciously white working class. Lott exposes minstrelsy as a signifier for multiple breaches: the rift between high and low cultures, the commodification of the dispossessed by the empowered, the attraction mixed with guilt of whites caught in the act of cultural thievery. This new edition celebrates the twentieth anniversary of this landmark volume. It features a new foreword by renowned critic Greil Marcus that discusses the book's influence on American cultural studies as well as its relationship to Bob Dylan's 2001 album of the same name, "Love & Theft." In addition, Lott has written a new afterword that extends the study's range to the twenty-first century.
For over two centuries, America has celebrated the very black culture it attempts to control and repress, and nowhere is this phenomenon more apparent than in the strange practice of blackface performance. Born of extreme racial and class conflicts, the blackface minstrel show sometimes usefully intensified them. Based on the appropriation of black dialect, music, and dance, minstrelsy at once applauded and lampooned black culture, ironically contributing to a "blackening of America." Drawing on recent research in cultural studies and social history, Eric Lott examines the role of the blackface minstrel show in the political struggles of the years leading up to the Civil War. Reading minstrel music, lyrics, jokes, burlesque skits, and illustrations in tandem with working-class racial ideologies and the sex/gender system, Love and Theft argues that blackface minstrelsy both embodied and disrupted the racial tendencies of its largely white, male, working-class audiences. Underwritten by envy as well as repulsion, sympathetic identification as well as fear--a dialectic of "love and theft"--the minstrel show continually transgressed the color line even as it enabled the formation of a self-consciously white working class. Lott exposes minstrelsy as a signifier for multiple breaches: the rift between high and low cultures, the commodification of the dispossessed by the empowered, the attraction mixed with guilt of whites caught in the act of cultural thievery.
When George W. Bush became president in January 2001, he took office with a comfortably familiar surname, bipartisan rhetoric, and the promise of calming a public shaken by the convulsions of impeachment and a contested election. Then nine months later, after the tragedy of 9/11, both the country and the world looked to him for leadership that could unite people behind great common goals. Instead, three years into his term, George W. Bush squandered the goodwill felt toward America, turned allies into adversaries, and ran the most radical and divisive administration in the history of the presidency. The Book On Bush was the first comprehensive critique of a president who governed on a right wing and a prayer. In carefully documented and vivid detail, Eric Alterman and Mark Green, two of the leading progressive authors/advocates in the country, not only trace the guiding ideology that ran through a wide range of W.’s policies but also expose a presidential decision-making process that, rather than weighing facts to arrive at conclusions, began with conclusions and then searched for supporting facts.
In The Best of Evil, Aramis Black uncovered family secrets and historical conspiracies, hoping that his own dark past had come to certain resolution. But now, in the dark of night, he finds his brother unconscious and tied to a statue in Nashville’s Music Row …with the initials AX carved into his back. A shadow from his former life has reappeared, casting threats of violence and retribution. And soon the attacker is swinging his blade of self-righteous judgment directly at Aramis, calling upon him to “face his sins.” Can Aramis finally break free from the guilt of his old ways… or will he succumb to the vengeance of an arrogant sociopath?
Describes how the impact of corporate ownership and control of local media has transformed American political and cultural life, leading to an age of canned programming and virtual DJs.
What explains the great variability in economic growth and political development across countries? Institutional and organizational analysis has developed since the 1970s into a powerful toolkit, which argues that institutions and norms rather than geography, culture, or technology are the primary causes of sustainable development. Institutions are rules that recognized authorities create and enforce. Norms are rules created by long-standing patterns of behavior, shared by people in a society or organization. They combine to play a role in all organizations, including governments, firms, churches, universities, gangs, and even families. This introduction to the concepts and applications of institutional and organizational analysis uses economic history, economics, law, and political science to inform its theoretical framework. Institutional and organizational analysis becomes the basis to show why the economic and political performance of countries worldwide have not converged, and reveals the lessons to be learned from it for business, law, and public policy.
In Songbooks, critic and scholar Eric Weisbard offers a critical guide to books on American popular music from William Billings's 1770 New-England Psalm-Singer to Jay-Z's 2010 memoir Decoded. Drawing on his background editing the Village Voice music section, coediting the Journal of Popular Music Studies, and organizing the Pop Conference, Weisbard connects American music writing from memoirs, biographies, and song compilations to blues novels, magazine essays, and academic studies. The authors of these works are as diverse as the music itself: women, people of color, queer writers, self-educated scholars, poets, musicians, and elites discarding their social norms. Whether analyzing books on Louis Armstrong, the Beatles, and Madonna; the novels of Theodore Dreiser, Gayl Jones, and Jennifer Egan; or varying takes on blackface minstrelsy, Weisbard charts an alternative history of American music as told through its writing. As Weisbard demonstrates, the most enduring work pursues questions that linger across time period and genre—cultural studies in the form of notes on the fly, on sounds that never cease to change meaning.
Lapdogs is the first book to demonstrate that, for the entire George W. Bush presidency, the news media have utterly failed in their duty as watchdog for the public. In blistering prose, Eric Boehlert reveals how, time after time, the press chose a soft approach to covering the government, and as a result reported and analyzed crucial events incompletely and even inaccurately. From WMDs to Valerie Plame to the NSA's domestic spying, mainstream fixtures such as The New York Times, CBS, CNN, and Time magazine too often ignored the administration's missteps and misleading words, and did not call out the public officials who betrayed the country's trust. Throughout both presidential campaigns and the entire Iraq war to date, the media acted as a virtual mouthpiece for the White House, giving watered-down coverage of major policy decisions, wartime abuses of power, and egregious mistakes -- and sometimes these events never made it into the news at all. Finally, in Lapdogs, the press is being held accountable by one of its own. Boehlert homes in on the reasons the press did not do its job: a personal affinity for Bush that journalists rarely displayed toward his predecessor, Bill Clinton; a Republican White House that threatened to deny access to members of the media who asked challenging questions or voiced criticism; and a press that feared being tainted by accusations of liberal bias. Moreover, journalists -- who may have wanted to report accurately on the important stories -- often found themselves at cross-purposes with media executives, many of whom were increasingly driven by economic concerns. Cowed by all of these factors, the media abandoned their traditional role of stirring up meaningful public debate. Boehlert asserts that the Bush White House never subscribed to the view -- commonly held by previous administrations -- that a relationship with the press is an important part of the democratic process. Instead, it saw the press as just another special interest group that needed to be either appeased or held at bay -- or, in some cases, squashed. The administration actively undermined the basic tenets of accurate and fair journalism, and reporters and editors accepted their reduced roles without a whimper. To an unprecedented degree, journalists too often stopped asking uncomfortable questions of people in power. In essence, the entire purpose and pursuit of journalism was sacrificed. Riveting in its sharp denouncement, supported by dozens of glaring and troubling examples of journalistic malpractice, Lapdogs thoroughly dissects the press's misconduct during Bush's presidency and gives voice to the growing public dismay with the mainstream media.
His style was iconic, and vintage ‘80s: aviator goggles, Jheri curls, neck roll, boxy pads. Eric Dickerson is the greatest player in Los Angeles Rams history and the NFL’s single season record holder for most rushing yards. In 2019, Dickerson was named to the National Football League’s 100th Anniversary All-Time Team. With an elegant upright running style that produced some of football’s most-watched highlights, it was said he was so smooth you couldn’t hear his pads clack as he glided past you. But during his Hall of Fame career, his greatness was often overshadowed by his contentious disputes with Rams management about his contract. In the pre-free agency era, tensions over his exploitative contract often overshadowed his accomplishments. What’s his problem? went the familiar refrain from the media. Can’t he just shut up and run? It’s time to reexamine how Eric Dickerson was portrayed. For the first time, he’s telling his story. And he’s not holding anything back.
In Morality, Leadership, and Public Policy, Eric Weber argues for an experimentalist approach to moral theory in addressing practical problems in public policy. The experimentalist approach begins moral inquiry by examining public problems and then makes use of the tools of philosophy and intelligent inquiry to alleviate them. Part I surveys the uses of practical philosophy and answers criticisms - including religious challenges - of the approach, presenting a number of areas in which philosophers' intellectual efforts can prove valuable for resolving public conflicts. Part II presents a new approach to experimentalism in moral theory, based on the insights of John Dewey's pragmatism. Focusing on the elements of good public inquiry and the experimentalist attitude, Weber discusses ways of thinking about the effective construction and reconstruction of particular problems, including practical problems of public policy prioritization. Finally, in Part III the book examines real-world examples in which the experimentalist approach to ethics proves useful, including instances of "bandwidth theft" and the controversies surrounding activist judges in the US Supreme Court.
In a study developed from his 1997 Ph.D. dissertation for the State University of New York-Buffalo, Banking and Politics in New York, 1784-1829, Wright (money and banking, U. of Virginia) investigates why American banking arose when it did and with the particular characteristics it did. c. Book News Inc.
A capacious and stimulating tour de force of the mainstream music industry that reveals the cultural import of even the most deliberately banal performers and songs. Weisbard finds depths in our culture s shallows as he investigates and articulates the cultural construction of such phenomena as Dolly Parton, Elton John, the Isley Brothers, A&M Records, and the rise of radio populism. He further sheds new light on the upheavals in the music industry over the last fifteen years and the implications of them for the audiences the industry has shaped. Each chapter brings us to see afresh precisely that music and those musicians that have become the most familiar and overexposed, by delving into the minutiae of how pop stars and their music were made and framed for repeated consumption in the era dominated by radio.
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