America is in civic chaos, its politics rife with conspiracy theories and false information. Nationalism and authoritarianism are on the rise, while scientists, universities, and news organizations are viewed with increasing mistrust. Its citizens reject scientific evidence on climate change and vaccinations while embracing myths of impending apocalypse. And then there is Donald Trump, a presidential candidate who won the support of millions of conservative Christians despite having no moral or political convictions. What is going on? The answer, according to J. Eric Oliver and Thomas J. Wood, can be found in the most important force shaping American politics today: human intuition. Much of what seems to be irrational in American politics arises from the growing divide in how its citizens make sense of the world. On one side are rationalists. They use science and reason to understand reality. On the other side are intuitionists. They rely on gut feelings and instincts as their guide to the world. Intuitionists believe in ghosts and End Times prophecies. They embrace conspiracy theories, disbelieve experts, and distrust the media. They are stridently nationalistic and deeply authoritarian in their outlook. And they are the most enthusiastic supporters of Donald Trump. The primary reason why Trump captured the presidency was that he spoke about politics in a way that resonated with how Intuitionists perceive the world. The Intuitionist divide has also become a threat to the American way of life. A generation ago, intuitionists were dispersed across the political spectrum, when most Americans believed in both God and science. Today, intuitionism is ideologically tilted toward the political right. Modern conservatism has become an Intuitionist movement, defined by conspiracy theories, strident nationalism, and hostility to basic civic norms. Enchanted America is a clarion call to rationalists of all political persuasions to reach beyond the minority and speak to intuitionists in a way they understand. The values and principles that define American democracy are at stake.

The North American continent stretches over 9.5 million square miles, and is home to more than 500 million people, who share it with hundreds of thousands of species of mammals, birds, insects, and plants -- many of them extraordinary, unforgettable, and unique. With 150,000 miles of coastline, North America also has the longest and most abundant shores of any continent on Earth. In the stunning seven-part series from Discovery Channel, renowned nature producer Huw Cordey travels from the Arctic to the Tropics, revealing the wonders of the most dynamic continent on Earth -- from the stunning glow of the Aura Borealis in Alaska to the thousands of tornadoes that batter the Great Plains each year to the 55-ton crystals in Mexico's Crystal Cave. North America, the companion book to the television series, follows the producers as they tell the story of this rich and eclectic land through more than 250 gorgeous full-color photographs and engaging essays. Chock-full of interesting facts about the various ecology and wildlife of the many regions of the continent -- Prairies, Coasts, Mountains, Freshwater, Deserts, and Forests -- North America exposes the continent as you've never seen it before.

These are certainly troubled times in which neoliberal capitalist patriarchy and the tyranny of racism and domination are continually reinscribed on the bodies and lives of so many. However, critical researchers understand the necessity for, as well as the difficulty of, using research to facilitate public transformations that lead to increased justice and equity. The authors contributing to Making Research Public in Troubled Times: Pedagogy, Activism, and Critical Obligations recognize the importance of diverse pedagogies, activism, and ethical choices regarding an environment that supports critical research in oppressive times. Diverse pedagogies that can facilitate the education of critical public researchers across disciplines are illustrated in the first set of chapters addressing questions like: What is important in teaching critical qualitative inquiry? How do students, materials, histories, and the public influence this teaching? What have we learned over years of attempting to teach critical qualitative research methods? The authors in the second section are activist local scholars sharing their projects and explaining what this work means for critical qualitative inquiry. This work includes methods used to incorporate critical qualitative inquiry into community activism. Finally, chapters in the last section focus on future steps and most important actions for the ways critical qualitative inquiry can be conceptualized to address concerns in these troubled times. Perfect for courses such as: Qualitative Research, Curriculum Studies, Women and Gender Studies, International Studies, Social Work, Sociology, Higher Education, Community Engagement, Policy Studies, Service Learning, and Social Justice.

Many listeners first heard “Hound Dog” when Elvis Presley’s single topped the pop, country, and R&B charts in 1956. But some fans already knew the song from Big Mama Thornton’s earlier recording, a giant but exclusively R&B hit. In Hound Dog Eric Weisbard examines the racial, commercial, and cultural ramifications of Elvis’s appropriation of a Black woman’s anthem. He rethinks the history and influences of rock music in light of Rolling Stone's replacement of Presley’s “Hound Dog” with Thornton’s version in its 2021 “500 Greatest Songs of All Time” list. Taking readers from Presley and Thornton to Patti Page’s “Doggie in the Window,” the Stooges’ “I Wanna Be Your Dog,” and other dog ditties, Weisbard uses “Hound Dog” to reflect on one of rock’s fundamental dilemmas: the whiteness of the wail.

Thousands of shows have opened on Broadway. Why do we remember some and not others? The musical theatre repertory is not composed of titles popular in the theatre but by those with successful cast recordings, movie versions, or even illegal bootlegs on YouTube. The shows audiences know, and the texts and music they expect to hear when they attend a production, are defined by media consumed at home more than by memories of performances witnessed in the theatre. For example, author Doug Reside shows that it is no accident that the serious book musical with a fixed score developed in the 1940s - when commercially pressed and marketed record albums made it possible to record most of the score of a new musical in a fixed medium. And Hamilton, a musical with dense lyrics and revolutionary musical style, would not have been as easily accessible to world audiences if most hadn't already had the opportunity to learn the score by listening to free digital streams of the original cast recording. The technologies that made these media possible developed concurrently with and shaped the American musical as an art form. Reside uncovers how the affordances and limitations of these technologies established a repertory of titles that are most frequently performed and defined by the texts used in these performances. Fixing the Musical argues that the musicals we most remember are those which most effectively used their era's best recording and distribution technologies to document and share the work with those who would never see the original production on Broadway.