Facing a lengthening recession and massive budget shortfalls, what does a university do with its $350 million art museum? Cashing in on Culture, by Francine Koslow Miller, is a firsthand account of Brandeis University's attempt to close down its famed Rose Art Museum and sell off major pieces from the museum's collection to close budget gaps in other areas of the university. The ill-considered plan caused an uproar in the art community and on campus when it was first proposed in January 2009. The controversy continued for two and a half years, until ongoing protests and a lawsuit by a number of the Rose's overseers brought a stop to the university's plan-at least for the time being-and reaffirmed the Rose as one of the nation's top university art museums. Miller is an alumnus of Brandeis and a respected Boston-area art critic and journalist. Tracking this story was a labor of love and the resulting book tells a very local story with very national implications.

This is the first complete picture of the evolution of hustler culture, from the 1600s on, drawn from many sources, including fifty oral histories from current and former male and transgendered sex workers, details of the work of anti-vice committees, academic research and uncovered materials from archives around the U.S.

This book provides a comprehensive overview of the emerging field of cultural finance. It summarizes research results of cultural differences in financial decision making and financial markets. Many of the results have been published in leading academic journals over the last ten years but some are presented here for the first time. The book is based on an international survey on risk and time preferences — the INTRA study, conducted in 53 countries worldwide. Applications to financial markets include the equity premium puzzle, the value premium, dividend payout policies and asset allocations.

A revealing cultural biography of a self-made American icon.

Throughout his career, Johnny Cash has been depicted—and has depicted himself—as a walking contradiction: social protestor and establishment patriot, drugged wildman and devout Christian crusader, rebel outlaw hillbilly thug and elder statesman. Leigh H. Edwards explores the allure of this paradoxical image and its cultural significance. She argues that Cash embodies irresolvable contradictions of American identity that reflect foundational issues in the American experience, such as the tensions between freedom and patriotism, individual rights and nationalism, the sacred and the profane. She illustrates how this model of ambivalence is a vital paradigm for American popular music, and for American identity in general. Making use of sources such as Cash's autobiographies, lyrics, music, liner notes, and interviews, Edwards pays equal attention to depictions of Cash by others, such as Vivian Cash's publication of his letters to her, documentaries and music journalism about him, Walk the Line, and fan club materials found in the archives at the Country Music Foundation in Nashville, to create a full portrait of Cash and his significance as a cultural icon.

This volume deals with the way in which money is symbolically represented in a range of different cultures, from South and South-east Asia, Africa and South America. It is also concerned with the moral evaluation of monetary and commercial exchanges as against exchanges of other kinds. The essays cast radical doubt on many Western assumptions about money: that it is the acid which corrodes community, depersonalises human relationships, and reduces differences of quality to those of mere quantity; that it is the instrument of man's freedom, and so on. Rather than supporting the proposition that money produces easily specifiable changes in world view, the emphasis here is on the way in which existing world views and economic systems give rise to particular ways of representing money. But this highly relativistic conclusion is qualified once we shift the focus from money to the system of exchange as a whole. One rather general pattern that then begins to emerge is of two separate but related transactional orders, the majority of systems making some ideological space for relatively impersonal, competitive and individual acquisitive activity. This implies that even in a non-monetary economy these features are likely to exist within a certain sphere of activity, and that it is therefore misleading to attribute them to money. By so doing, a contrast within cultures is turned into a contrast between cultures, thereby reinforcing the notion that money itself has the power to transform the nature of social relationships.

"How the world shows it loves Johnny Cash:: a Brazilian records "Hurt" and posts it to YouTube;an elderly shopkeeper in Northern Ireland plays Johnny Cash every day on his tape recorder ; a young man in Tomb, a farm town in southern Norway, sports a Johnny Cash tattoo; a woman in the Netherlands maintains the Johnny Cash Infocenter, an exhaustive resource of Johnny Cash materials worldwide--and gets to wear June Carter's clothing and sleep in Johnny Cash's bedroom. One might have suspected that Johnny Cash's appeal was universal, given his nonstop touring schedule for more than 40 years. But the breadth-and nuance-of his appeal worldwide is stunning, as is the way in which his fans have sought both to further that appeal as well as protect his legacy. International Cash: How the World Loves the Man in Black explores the nature of Johnny Cash's appeal worldwide from the fan perspective, explaining what the worldwide love of the artist tells us about him, the world, the United States, and the nature of fandom. It's also a series of stories about technology and authenticity, as a world easily navigated by the Internet is also one that conceives authenticity as a type of commodity easily displayed. Different eras of technology have also produced different fan behaviours and activities, and they are represented in continuity with one another here. There are Cash superfans who travel extensively to trail Cash's life and perform in homage to him, but there is also another population of Cash fans who express themselves more discreetly, often online. There they are often expressing their love for Cash in uncertain spaces, forums where there are no guarantees that everyone feels the same way as themselves. Here Cash is seen as somebody not only worth admiring, but worth fighting for, and this book shows that Cash fandom is a more active field of politics and commitment than might routinely be assumed"--