For most of humanity, most people were destined to live and die anonymously. To be 'somebody' in this world, a somebody whose opinions would be heard in any way beyond close friends, was a privilege very few had enjoyed. In this environment, there would eventually be no point for most people to continue to think of themselves as a 'unique individual'. It surely looks amazing in hindsight, how far we have come in less than two decades. This book is primarily about my journey to become a ‘somebody’ with something to say. Topics covered include how technology has enabled people like myself to have a voice, what it feels like to join the cultural conversation and take cultural stances, and participating in politics and the ‘culture wars’ through citizen journalism. I will also examine the bigger cultural impacts of this democratization of culture creation. Throughout this book, I will be telling my own story so far, as a cultural voice in this rapidly changing world. But I will also be illustrating the wider story of how profoundly the world changed, in these first two decades of the 21st century. The technology changed first, and that was groundbreaking enough, but I think that the greatest change was in the culture.

The early 21st century is a time of unprecedented opportunity for those coming of age. It is a time when many young adults set out to achieve their dreams, be it starting their own business, starting a political movement, or propelling themselves to superstardom. Angelle's dream is to become Cultural Royalty of Pacificland, thus achieving what her mother couldn't. Her vision is based on freedom, dreams, love and fairness for all. However, she soon finds that whilst change appears to be in the air, the resistance is often even greater. While the early 21st century is a time of opportunity for some, many people remain left behind, and tension and dissatisfaction is the order of the day in many areas of life. The increasing pitch of the culture wars, and the influence of global movements from the Tea Party to the Occupy Protests, also combine to make Pacificland a daily ideological warzone. Meanwhile, Pacificland gets caught up in a meaningless political stalemate, with reforms like marriage equality stalled seemingly forever. With her own dreams on the line, will Angelle stay true to her values? And if she does, will it be enough to make a positive difference? Life isn't meant to be easy, but are there rewards for the brave at the end? While Angelle's story is fictional, the perspective taken on the social and political movements of the 2000s and 2010s are inspired by real life accounts, and represent the very real perceptions of real people living today.

Natalie is a young trans woman living in the early 21st century. Her diaries chart both her own transition story, and the cultural and political events of the 2000s and 2010s in the US, UK and Australia. In the beginning, she had felt rejected by feminism all her life, and also decided to reject feminism. Feminism's complicated relationship with marriage equality, something she was passionate about, became yet another reason for her to reject feminism. However, as feminism changed, so did her perspective. Did Natalie ultimately decide to become a feminist? And if so, on what terms? From the author: “I could have written a manifesto of inclusive feminism, but I know that some of you would still be unconvinced. So instead here is a story, inspired by real life stories I have known. I am sure many of you will be convinced of the need for a more inclusive feminism after reading this. While Natalie's story is fictional, the perspective taken on both being trans and the social and political movements of the 2000s and 2010s are inspired by real life accounts, and represent the very real perceptions of real people living today. Stories like Natalie's are out there everywhere, and if feminism is to be truly inclusive and effective, the messages contained in this book should be seriously considered."

All public relations emerges from particular environments, but the specific conditions of Israel offer an exceptional study of the accelerators and inhibitors of professional development in the history of a nation. Documenting and analyzing the contribution of one profession to building one specific nation, this book tells the previously-untold story of Israeli public relations practitioners. It illustrates their often-unseen, often-unacknowledged and often-strategic shaping of the events, narratives and symbols of Israel over time and their promotion of Israel to the world. It links the profession’s genesis – including the role of the Diaspora and early Zionist activists – to today’s private and public sector professionals by identifying their roots in Israel’s cultural, economic, media, political, and social systems. It reveals how professional communicators and leaders nurtured and valued collectivism, high consensus, solidarity, and unity over democracy and free speech. It investigates such key underpinning concepts as Hasbara and criticizes non-democratic and sometimes unethical propaganda practices. It highlights unprecedented fundraising and lobbying campaigns that forged Israeli identity internally and internationally. In situating Israeli ideas on democracy in the context of contemporary public relations theory, Public Relations and Nation Building seeks to point ways forward for that theory, for Israel and for the public relations of many other nations.

Diego Rivera’s America revisits a historical moment when the famed muralist and painter, more than any other artist of his time, helped forge Mexican national identity in visual terms and imagined a shared American future in which unity, rather than division, was paramount. This volume accompanies a major exhibition highlighting Diego Rivera’s work in Mexico and the United States from the early 1920s through the mid-1940s. During this time in his prolific career, Rivera created a new vision for the Americas, on both national and continental levels, informed by his time in both countries. Rivera’s murals in Mexico and the U.S. serve as points of departure for a critical and contemporary understanding of one of the most aesthetically, socially, and politically ambitious artists of the twentieth century. Works featured include the greatest number of paintings and drawings from this period reunited since the artist’s lifetime, presented alongside fresco panels and mural sketches. This catalogue serves as a guide to two crucial decades in Rivera’s career, illuminating his most important themes, from traditional markets to modern industry, and devoting attention to iconic paintings as well as works that will be new even to scholars—revealing fresh insights into his artistic process. Published by the San Francisco Museum of Modern Art in association with University of California Press Exhibition dates: San Francisco Museum of Modern Art: July 16, 2022—January 1, 2023 Crystal Bridges Museum of American Art, Bentonville, Arkansas: March 11—July 31, 2023

Providing an innovative conceptualization to extremist political movements founded upon "world-historic" populations and vanguard party organizations, Vanguardism sets out a new path in investigating the intellectual and historical influences that created extremist politics, the totalitarian movements and regimes of the twentieth century, and a framework for interpreting extremism in the present. Expanding its view across the turbulent intellectual currents of the nineteenth century, Philip W. Gray illustrates how these ideas shaped the shared ideational and organizational structures that would develop into Leninism, Fascism, and Nazism in the early twentieth century. Moving beyond the Second World War, the book explicates how vanguardism did not vanish with the war’s conclusion, but was modified throughout the period of national liberation movements and Western extremist groups over the ensuing decades. Concluding in the present with an eye to the future, Gray presents a framework for comprehending the extremist movement of today, and how organizational shifts can give us clues to the forms of totalitarian politics of tomorrow. Original and provocative, Vanguardism will become essential reading for everyone looking to understand totalitarianism and extremist politics of our time.

Slumber Party Massacre. Pet Sematary. Near Dark. American Psycho... These horror movies have heavily contributed to pop culture and are loved by horror fans everywhere. But so many others have been forgotten by history. From the first silent reels to modern independent films, in this book you’ll discover the creepy, horrible, grotesque, beautiful, wrong, good, and fantastic — and the one thing they share in common. This is the true history of women directing horror movies. Having conducted hundreds of interviews and watched thousands of horror films, Heidi Honeycutt defines the political and cultural forces that shape the way modern horror movies are made by women. The women’s rights and civil rights movements, new distribution technology, digital cameras, the destruction of the classic studio system, and the abandonment of the Hays code have significantly impacted women directors and their movies. So, too, social media, modern ideas of gender and racial equality, LGBTQ acceptance, and a new generation of provocative, daring films that take shocking risks in the genre. Includes short films, anthologies, documentaries, animated horror, horror pornography, pink films, and experimental horror. I Spit on Your Celluloid is a first-of-its-kind celebration, study, and “a book that needed to be written” (says cult filmmaker Stephanie Rothman). You will never look at horror movies the same way again!

Through its examination of five quite different art events in cities across Europe, Contemporary Art Biennials in Europe offers a compelling exploration of how public art takes place in the modern city. Roughly tracing a central horizontal trajectory from the western to the eastern edges of the continent, Nicolas Whybrow considers the Folkestone Triennial in the UK, Sculpture Projects Münster in Germany, the Venice Biennale in Italy, Belgrade's Mikser Festival in Serbia and the Istanbul Biennial in Turkey. Writing within the context of a thirty-year international 'biennial boom', Whybrow interrogates the extent to which biennial events and their artworks seek to engage with the socio-cultural and political complexity of cities, in particular the work that is involved in this relationship. With its focus on Europe, he also tells a composite story of continental difference at a moment of high tension, centering on issues of migration, political populism and uncertainty around the future form of the European Union.