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When United Airlines Flight 93, the fourth plane hijacked in the September 11, 2001 terrorist attacks, crashed into a field near Shanksville, Pennsylvania, the gash it left in the ground became a national site of mourning. The flight's forty passengers became a media obsession, and countless books, movies, and articles told the tale of their heroic fight to band together and sacrifice their lives to stop Flight 93 from becoming a weapon of terror. This book argues that by memorializing these individuals as patriots, we have woven them into the much larger story of our nation—about what it means to be truly American. The book examines the symbolic impact and role of the Flight 93 disaster in the nation's collective consciousness, delving into the spontaneous memorialization efforts that blossomed in Shanksville immediately after news of the crash spread; the ad-hoc sites honoring the victims that in time emerged; and the creation of an official, permanent crash monument in Shanksville like those built for past American wars. The book also analyzes the cultural narratives that evolved in films and in books around the events on the day of the crash and the lives and deaths of its “angel patriot” passengers, uncovering how these representations of the event reflect the myth of the authentic American nation—one that Americans believed was gravely threatened in the 9/11 attacks. The book unveils how, in the wake of 9/11, America mourned much more than the loss of life.

This book explores the convergence of different notions of Asia through the meeting between Rabindranath Tagore and the Japanese art historian and curator Okakura Tenshin in Calcutta in 1902. Set against a panoramic background, it draws on the intersections of the late Meiji period in Japan and the Swadeshi movement in Bengal, weaves through an intricate tapestry of ideas relating to pan-Asianism, nationalism, cosmopolitanism, and friendship, and positions the early modernist tensions of the period within-and against-the spectre of a unified Asia that concealed considerable political differences. In addition to countering the imperialist subtext of Okakura's The Ideals of the East and The Awakening of the East against Tagore's radical critique of Nationalism, it inflects the dominant tropes of postcolonial theory by highlighting the subtleties of beauty and the interstices of homosociality and love. Spanning geographical boundaries, across the cities of Tokyo, Boston, and Calcutta, the book offers new insights into the ways in which the Orient travelled within and beyond Asia, stimulated by emergent modes of vernacular cosmopolitanism.

Answer the Call explores the daily, psychic journeys Indian call center agents undergo as they virtually migrate between India and the U.S. The new time-space relations generated by this virtual contact create conditions for these workers to undergo a global “migration” from India and to America, even as their bodies remain bounded within the national homeland. This temporal arrangement displaces them from the daily rhythms of Indian life, generating a sense of loss, longing, and nostalgia for “India.” Further, while agents experience a sense of distance from India, they also experience a movement toward “America.” Agents’ accounts suggest a feeling of living between worlds, yet their movement is decoupled from physical migration. Call center agents migrate not through space, but through time. While virtual migration has no geographically distant point of arrival, the experience of moving between India and America is not merely imagined. Something is happening to agents’ sense of place and time, and yet this something falls somewhere, as agents explain, in-between: between India and America, migrating and remaining within the homeland, diasporic subject and Indian citizen; between experience and imagination; between class mobility and consumption; between here and there, then and now, past and future, tradition and modernity. Call center agents live and work between these multiple cracks of material culture. Our detailed investigation of their stories unpacks the dense cultural lives agents live as they dwell in the potentiality of virtual migration that affords them spatio-temporal, class, and citizenship mobility.

This book is about the creative work of chefs at elite restaurants in New York City and San Francisco. Based on interviews with chefs and observation of their work in restaurant kitchens, the book examines how and why chefs make choices about the dishes they put on their menus, and how they develop a culinary style. To answer the questions, the book analyzes chefs’ career paths, culinary classifications and categories, how chefs develop their culinary styles and reflectively manage their authorship, cognitive patterns and work processes involved in creating food, and status constraints. Elite chefs face competing pressures to create a distinctive and original culinary style, and conform to tradition as they navigate market forces to run a profitable business. They must make choices, and these limit their autonomy over time, because they constrain the dishes and career moves they can make in the future. Chefs occupy positions in a culinary field through their culinary styles, status, and social networks, and make choices about their food and career moves from such positions. In more general terms, the logic of creation of cultural products is embedded in the positions individuals occupy in a field. This book is about the process of creation, and complements an organizational analysis of the world of high cuisine with a phenomenological examination of chefs’ work. It uses the case study of high cuisine to analyze, more generally, how people in creative occupations navigate a context rife with uncertainty, high pressures, and contradicting forces.

This book is about the Hundred Years War of food business, how a mid-nineteenth century American invention, baking powder, replaced yeast as a leavening agent and created a culinary revolution as profound as the use of yeast thousands of years ago. Before government regulation, the force controlling the market was not a visible or invisible hand, but advertising sleight of hand. Four companies—Rumford, Royal, Calumet, and Clabber Girl—fought advertising, trade, legislative, scientific, and judicial wars with proprietary cookbooks, lawsuits, trade cards, and bribes. In the process, they altered or created cake, cupcakes, cookies, biscuits, pancakes, quick breads, waffles, doughnuts, and other foods, and forged a distinct American culinary identity. This new American chemical leavening shortcut also changed the breadstuffs of Native Americans and every immigrant group and was a force for assimilation. The wars continued in spite of scandals exposed by muckraking journalists and investigation by President Theodore Roosevelt, through WWI, the 1920s, the Depression, and WWII in every state, territory, and kitchen in the United States until standardization finally occurred at the end of the twentieth century. Now, global businesses such as McDonald’s and Kentucky Fried Chicken depend on baking powder for their baked goods, and baking powder is in home and commercial kitchens around the world.

Why do some music styles gain mass popularity while others thrive in small niches? This book explores this question and reveals the attributes that together explain the growth of twentieth-century American popular music. Drawing on a vast array of examples from sixty musical styles—ranging from rap and bluegrass to death metal and South Texas polka, and including several created outside the United States—the book uncovers the shared grammar that allows us to understand the cultural language and evolution of popular music. The book discovers four dominant forms—avant-garde, scene-based, industry-based, and traditionalist—and two dominant trajectories that describe how American pop music genres develop. Outside the United States there exists a fifth form: the government-purposed genre, which the book examines in the music of China, Serbia, Nigeria, and Chile. Offering a rare analysis of how music communities operate, the book looks at the shared obstacles and opportunities creative people face and reveals the ways in which people collaborate around ideas, artworks, individuals, and organizations that support their work.

How toxic are the products we consume on a daily basis? Whether it’s triclosan in toothpaste, formaldehyde in baby shampoo, endocrine disruptors in water bottles, or pesticides on strawberries, consumers are increasingly concerned about the chemicals in their food and personal care products. Norah MacKendrick chronicles these concerns, showing how individuals attempt to avoid exposure to toxics in the aisles of the grocery store using a practice she calls “precautionary consumption.” Through an innovative analysis of the history of environmental regulation in the United States, the advocacy work of environmental health groups, the expansion of the corporate health food chain Whole Foods Market, and the words of a diverse group of mothers, MacKendrick ponders why the problem of toxics in the retail landscape has been left to individual shoppers—and to mothers in particular. She reveals how precautionary consumption is a costly and time-intensive practice, one that is connected to cultural ideas of femininity and good motherhood, but is also most available to upper- and middle-class households. Better Safe than Sorry powerfully argues that precautionary consumption places a large and unfair burden of labor on women, and does little to advance environmental justice.

At a time when the bulwarks of the music industry are collapsing, what does it mean to be a successful musician and artist? How might contemporary musicians sustain their artistic communities? Based on interviews with over seventy-five popular-music professionals in Nashville, this book looks at artist activists—those visionaries who create inclusive artist communities in today's individualistic and entrepreneurial art world. Using Nashville as a model, the book develops a theory of artist activism—the ways that artist peers strengthen and build diverse artist communities. The book discusses how genre-diversifying artist activists have arisen throughout the late twentieth-century musician migration to Nashville, a city that boasts the highest concentration of music jobs in the United States. Music City is now home to diverse recording artists—including Jack White, El Movimiento, the Black Keys, and Paramore. The book identifies three types of artist activists: the artist-producer who produces and distributes his or her own and others' work while mentoring early-career artists, the social entrepreneur who maintains social spaces for artist networking, and arts trade union reformers who are revamping collective bargaining and union functions. Throughout, the book examines enterprising musicians both known and less recognized. It links individual and collective actions taken by artist activists to their orientations toward success, audience, and risk and to their original inspirations for embarking on music careers. The book offers a new model of artistic success based on innovating creative institutions to benefit the society at large.

Black Radio is a window into the most famous radio show you never heard of. The Tom Joyner Morning Show is a quarter-century-old syndicated black morning radio show reaching more than eight million adult, largely working-class listeners. It offers progressive political talk, soul music, humor, advice, philanthropy, and celebrity gossip. But the TJMS is not just an adult “old-school music” radio show: it is an on-air organizer, fusing progressive politics and aesthetics. It focuses on specific political issues affecting and enraging African Americans. Black Radio analyzes the TJMS’s rise in the Clinton era, and its coverage of key events—9/11, Hurricane Katrina, President Obama’s elections and terms, the murders of unarmed black Americans and the rise of Black Lives Matter, and the shocking 2016 Donald Trump electoral triumph. It showcases the varied, contentious, and blackly humorous voices of anchors, guests, and audience members. Finally, it investigates the new synergistic set of cross-medium ties and political connections now affecting print, broadcast, and online politics in anti-racist directions. Despite the dismal present, this new multiracial progressive public sphere has extraordinary potential for shaping future American politics. Black Radio, then, is more than the project of making the invisible visible, bringing to light a major counterpublic phenomenon unjustly ignored for reasons of color, class, generation, and medium. It tunes us in to an alternative understanding of the black public sphere in the digital age. Like the show itself, Black Radio is politically progressive, music-drenched, angry, and blisteringly funny.

National governments around the world are turning to branding consultants, public relations advisers, and strategic communications experts to help them “brand” their jurisdiction. Using the tools, techniques, and expertise of commercial branding is believed to help nations articulate a more coherent and cohesive identity, attract foreign capital, and maintain citizen loyalty. In short, the goal of nation branding is to make the nation matter in a world where borders and boundaries appear increasingly obsolete. But what actually happens to the nation when it is reconceived as a brand? How does nation branding change the terms of politics and culture in a globalized world? Through case studies in twelve countries and in-depth interviews with nation-branding experts and their national clients, Melissa Aronczyk argues that the social, political, and cultural discourses constitutive of the nation have been harnessed in new and problematic ways, with far-reaching consequences for both our concept of the nation and our ideals of national citizenship. Branding the Nation challenges the received wisdom about the power of brands to change the world, and offers a critical perspective on these new ways of conceiving value and identity in the globalized twenty-first century.

The emergence of a visible, commodified leisure culture in the form of cafés, targeted at and appropriated by, young adults from the middle classes, is a striking phenomenon in the transformation of urban life in India since economic liberalization in 1991. Café Culture in Pune is an ethnographic snapshot, taken in 2008, tracing the effects of globalization from the perspective of young middle class urbanites in post-liberalization Pune, India. Documenting with meticulous detail their lifeworld, from clothing to hanging out, friendship, dating, education, and marriage, it captures new forms of socializing, consumption, self-improvement and relationship-management. These practices set the young generation apart–the first to grow up with mass-consumerism – as a group in historical time, in relation to other lifeworlds in India, to ‘western’ versions and as a rounded life world in itself. The study considers two questions: How do free global market economy and ‘globalization’ change the way people see themselves and the world? And to what extent might Indian practices modify the practices of ‘western’ individualism implicit in Indian modernity? The young café culture crowd in its practices was domesticating ‘the global’ while transcending ‘the local’. They were negotiating to follow their hearts, while preserving strong family bonds and inter-generational dependencies. They were thus modifying what it meant to be middle class Indians in our contemporary globalized world. The Indian middle class was reinventing India as a global player in a post-Cold war world by constructing a narrative of pivotal change.

Channelling Cultures: Television Studies from India is a seminal collection of essays on regional, national and global itineraries of Indian television in the twenty-first century. At a time when the television landscape in India is undergoing a second wave of change with compulsory digitization, new interactivity and convergence, unforeseen forms of televisual publicness and renewed debates on self-censorship, media ethics and the code of content, the essays in the volume seek to provoke a fresh understanding of television as a crucial player in Indian culture and politics. Featuring work by leading experts in the field, it locates the study of television within the myriad histories of the nation as well as various trajectories in global culture and politics. With a special focus on the genres of news, reality TV and soap opera, it addresses issues such as postcoloniality, citizenship, democracy, development, globalization, consumerism, liveness, affect, and gender. The volume demonstrates that Indian television provides an indispensable context for interrogating and critically engaging with the standard assumptions of television studies and more broadly global media studies.

For the past several decades, the United States has witnessed a profound transformation in what Americans do with the guns they own. While hunting used to dominate American gun culture, now the top reason for owning a gun is protection, and today, there are over eleven million concealed carry licensees. Why are millions of Americans—disproportionately American men—choosing to carry guns as part of their everyday lives? And what are the effects of gun carry on contemporary notions of citizenship, governance, and crime? This book examines these questions. Focusing on southeastern Michigan, particularly Metro Detroit, as a window into broader processes of socioeconomic decline in the United States, the book analyzes how men use guns to navigate contexts of social insecurity and how men’s use of guns is shaped by socio-legal structures supported by the National Rifle Association (NRA). The book draws on in-depth interviews with gun carriers and NRA-certified instructors and ethnography at firearms classes, activist events, and shooting ranges; and online gun forums. The author also obtained a concealed-pistol license, carried a gun on a regular basis, and became certified as an NRA instructor.

In City of Islands, Dr. Tammy L. Brown uses the life stories of Caribbean intellectuals as “windows” into the dynamic history of immigration in New York and the long battle for racial equality in modern America. This is an important book because it is the first interdisciplinary, book-length study of how specific Caribbean intellectuals—Ethelred Brown, Richard B. Moore, Pearl Primus, Shirley Chisholm, and Paule Marshall, used the written, spoken and performed word in the cause of racial equality in the United States and in the Caribbean throughout the entire twentieth century. In the discipline of History, Caribbean immigrants living in the United States is surprisingly understudied. We have only four book-length historical accounts, and they only cover Caribbean contributions to the tradition of black political radicalism during the first half of the twentieth century. In contrast, City of Islands includes original analysis of sermons, speeches, poetry, short stories, novels, and choreography, to provide insights into each individual’s personality and intellectual style of self-presentation.

How do real individuals live together in real societies in the real world? What binds societies together and how can these social orders be structured in a fair way? This book addresses this central paradox of modern life. Feelings for others—the solidarity that is ignored or underplayed by theories of power or self-interest—are at the heart of this novel inquiry into the meeting place between normative theories of what we think we should do and empirical studies of who we actually are. The book demonstrates that solidarity creates inclusive and exclusive social structures, and shows how they can be repaired. It is not perfect, it is not absolute, and the horrors which occur in its lapses have been seen all too frequently in the forms of discrimination, genocide, and war. Despite its worldly flaws and contradictions, however, solidarity and the project of civil society remain our best hope—the antidote to every divisive institution, every unfair distribution, and every abusive and dominating hierarchy. A grand and sweeping statement, the book is a major contribution to our thinking about the real but ideal world in which we all reside.

As a subject of study, “comfort food” is relevant to a number of scholarly disciplines, most obviously food studies, folkloristics, and anthropology, but also American culture studies, cultural studies, global and international studies, tourism, marketing, and public health. This volume explores the concept of “comfort food” primarily within a western context with examples from Atlantic Canada, Indonesia, England, and various ethnic, regional, and religious populations as well as rural and urban residents in the U.S. It includes studies of a wide range of dishes—bologna to chocolate, sweet and savory puddings, fried bread with an egg in the center, dairy products, fried rice, cafeteria fare, sugary fried dough, soul food, and others—exploring ways in which they comfort or in some instances cause discomfort and how they are connected to a sense of emotional well-being. Some essays analyze the phenomenon in daily life; others consider comfort food in the context of cookbooks, films, Internet blogs, literature, marketing, and tourism. Recognizing that what heartens one person might discomfort another, the collection is organized accordingly, from pleasant and comforting to unpleasant or discomforting food experiences. Those foods and food experiences are then related to concepts and issues such as identity, family, community, nationality, ethnicity, class, sense of place, tradition, stress, health, discomfort, guilt, betrayal, and loss, contributing to a deeper understanding of comfort food as a significant social category of human behavior.

Traditional markers of adulthood have become increasingly delayed, disorderly, reversible, or even forgone in the latter half of the twentieth century. This book draws upon 100 interviews with working-class men and women in their twenties to early thirties to investigate the changing meanings and practices of adulthood. Looked at through the eyes of young working-class men and women, the transition to adulthood emerges as a very grim picture, one characterized by economic instability, precarious employment, uncertainty surrounding marriage and family, and deepening inequality. Working-class young people—the majority of whom bounce from one unstable service job to the next, bearing the burden of risks such as illness or education on their own, and racking up credit card debt just to make ends meet—have in large part abandoned the American Dream. Experiences of confusion and betrayal within the labor market, institutions, and the family teach young working-class men and women that they are completely alone, responsible for their own fates and dependent on outside help only at their peril. In the absence of the traditional rites of passage, the majority of respondents told therapeutic coming of age stories, framing their journeys to adulthood as a struggle to triumph over personal demons and reconstruct an emancipated and transformed self. However, there is a darker side to this new adulthood, which threatens to make self-reliance—and severing social ties—the only imaginable path to a life of dignity.

This book brings together studies of cultural institutions in Manchester from 1850 to the present day, giving an unprecedented account of the city’s cultural evolution. These bring to light the remarkable range of Manchester’s contribution to modern cultural life, including the role of art education, popular theatre, religion, pleasure gardens, clubs and societies. The chapters show the resilience and creativity of Manchester’s cultural institutions since 1850, challenging any simple narrative of urban decline following the erosion of Lancashire’s industrial base, at the same time illustrating the range of activities across the social classes. The essays are organized chronologically. They consider the role of calico printers in the rise of art education in Britain; the origins and early years of the Belle Vue Zoological Gardens; the formation of the Manchester Dante Society in 1906; the importance of theatre architecture in the social life of the city; the place of religion in early twentieth-century Manchester, in the case of its Methodist Mission; the cosmopolitan nature of the Manchester International Club, founded in 1937; cultural participation in contemporary Manchester; and questions of culture and class in the case of a contemporary theatre group.

This book studies the rise of social media in the first decade of the twenty-first century, up until 2012. It provides both a historical and a critical analysis of the emergence of networking services in the context of a changing ecosystem of connective media. Such history is needed to understand how the intricate constellation of platforms profoundly affects our experience of online sociality. In a short period of time, services like Facebook, YouTube and many others have come to deeply penetrate our daily habits of communication and creative production. While most sites started out as amateur-driven community platforms, half a decade later they have turned into large corporations that do not just facilitate user connectedness, but have become global information and data mining companies extracting and exploiting user connectivity. Offering a dual analytical prism to examine techno-cultural as well as socio-economic aspects of social media, the author dissects five major platforms: Facebook, Twitter, Flickr, YouTube, and Wikipedia. Each of these microsystems occupies a distinct position in the larger ecosystem of connective media, and yet, their underlying mechanisms for coding interfaces, steering users, filtering content, governance and business models rely on shared ideological principles. Reconstructing the premises on which these platforms are built, this study highlights how norms for online interaction and communication gradually changed. “Sharing,” “friending,” “liking,” “following,” “trending,” and “favoriting” have come to denote online practices imbued with specific technological and economic meanings. This process of normalization is part of a larger political and ideological battle over information control in an online world where everything is bound to become “social.”

In the contemporary era we have seen a proliferation of storytelling activities, from the phenomenon of TED talks and Humans of New York to a plethora of story-coaching agencies and consultants. Curated Stories seeks to understand the rise of this storytelling culture alongside a broader shift to neoliberal free market economies. The book shows how in the turn to free market orders, stories have been reconfigured to promote liberal and neoliberal self-making and are restructured as easily digestible soundbites mobilized toward utilitarian ends. The reader is taken to several sites around the world where we can hear stories and observe varied contemporary modes of storytelling: the online Afghan Women’s Writing Project, the domestic workers movement and the undocumented student Dreamer movement in the United States, and the Misión Cultura storytelling project in Venezuela. Curated stories are often heartbreaking accounts of poverty and mistreatment that may move us deeply. But what do they move us to? What are the stakes, and for whom, in the crafting and mobilization of storytelling? A careful analysis of the conditions under which the stories are told, the tropes through which they are narrated, and the ways in which they are responded to shows how stories may actually work to disguise the deeper contexts of global inequality in which these marginal lives are situated. The book is also concerned with how we might reclaim storytelling as a craft that allows for the fullness and complexity of experience to be expressed in pursuit of transformative social change.