Money Talks Ren Faire Kelsi Monroe Kira Perez Nia Bleu Emerald Loves

Abkhasians: the Long-living People of the Caucasus

On Paradise Drive

The author of the acclaimed bestseller Bobos in Paradise, which hilariously described the upscale American culture, takes a witty look at how being American shapes us, and how America's suburban civilization will shape the world's future. Take a look at Americans in their natural habitat. You see suburban guys at Home Depot doing that special manly, waddling walk that American men do in the presence of large amounts of lumber; super-efficient ubermoms who chair school auctions, organize the PTA, and weigh less than their children; workaholic corporate types boarding airplanes while talking on their cell phones in a sort of panic because they know that when the door closes they have to turn their precious phone off and it will be like somebody stepped on their trachea. Looking at all this, you might come to the conclusion that we Americans are not the most profound people on earth. Indeed, there are millions around the world who regard us as the great bimbos of the globe: hardworking and fun, but also materialistic and spiritually shallow. They've got a point. As you drive through the sprawling suburbs or eat in the suburban chain restaurants (which if they merged would be called Chili's Olive Garden Hard Rock Outback Cantina), questions do occur. Are we really as shallow as we look? Is there anything that unites us across the divides of politics, race, class, and geography? What does it mean to be American? Well, mentality matters, and sometimes mentality is all that matters. As diverse as we are, as complacent as we sometimes seem, Americans are united by a common mentality, which we have inherited from our ancestors and pass on, sometimes unreflectingly, to our kids. We are united by future-mindedness. We see the present from the vantage point of the future. We are tantalized, at every second of every day, by the awareness of grand possibilities ahead of us, by the bounty we can realize just over the next ridge. This mentality leads us to work feverishly hard, move more than any other people on earth, switch jobs, switch religions. It makes us anxious and optimistic, manic and discombobulating. Even in the superficiality of modern suburban life, there is some deeper impulse still throbbing in the heart of average Americans. That impulse is the subject of this book.

Hollywood Highbrow

Today's moviegoers and critics generally consider some Hollywood products--even some blockbusters--to be legitimate works of art. But during the first half century of motion pictures very few Americans would have thought to call an American movie "art." Up through the 1950s, American movies were regarded as a form of popular, even lower-class, entertainment. By the 1960s and 1970s, however, viewers were regularly judging Hollywood films by artistic criteria previously applied only to high art forms. In Hollywood Highbrow, Shyon Baumann for the first time tells how social and cultural forces radically changed the public's perceptions of American movies just as those forces were radically changing the movies themselves. The development in the United States of an appreciation of film as an art was, Baumann shows, the product of large changes in Hollywood and American society as a whole. With the postwar rise of television, American movie audiences shrank dramatically and Hollywood responded by appealing to richer and more educated viewers. Around the same time, European ideas about the director as artist, an easing of censorship, and the development of art-house cinemas, film festivals, and the academic field of film studies encouraged the idea that some American movies--and not just European ones--deserved to be considered art.