For the past four decades, increasing numbers of Americans have started paying greater attention to the food they eat, buying organic vegetables, drinking fine wines, and seeking out exotic cuisines. Yet they are often equally passionate about the items they refuse to eat: processed foods, generic brands, high-carb meals. While they may care deeply about issues like nutrition and sustainable agriculture, these discriminating diners also seek to differentiate themselves from the unrefined eater, the common person who lives on junk food. Discriminating Taste argues that the rise of gourmet, ethnic, diet, and organic foods must be understood in tandem with the ever-widening income inequality gap. Offering an illuminating historical perspective on our current food trends, S. Margot Finn draws numerous parallels with the Gilded Age of the late nineteenth century, an era infamous for its class divisions, when gourmet dinners, international cuisines, slimming diets, and pure foods first became fads. Examining a diverse set of cultural touchstones ranging from Ratatouille to The Biggest Loser, Finn identifies the key ways that “good food” has become conflated with high status. She also considers how these taste hierarchies serve as a distraction, leading middle-class professionals to focus on small acts of glamorous and virtuous consumption while ignoring their class’s larger economic stagnation. A provocative look at the ideology of contemporary food culture, Discriminating Taste teaches us to question the maxim that you are what you eat.

Women of Discriminating Taste examines the role of historically white sororities in the shaping of white womanhood in the twentieth century. As national women’s organizations, sororities have long held power on college campuses and in American life. Yet the groups also have always been conservative in nature and inherently discriminatory, selecting new members on the basis of social class, religion, race, or physical attractiveness. In the early twentieth century, sororities filled a niche on campuses as they purported to prepare college women for “ladyhood.” Sorority training led members to comport themselves as hyperfeminine, heterosocially inclined, traditionally minded women following a model largely premised on the mythical image of the southern lady. Although many sororities were founded at non-southern schools and also maintained membership strongholds in many non-southern states, the groups adhered to a decidedly southern aesthetic—a modernized version of Lost Cause ideology—in their social training to deploy a conservative agenda. Margaret L. Freeman researched sorority archives, sorority-related materials in student organizations, as well as dean of women’s, student affairs, and president’s office records collections for historical data that show how white southerners repeatedly called upon the image of the southern lady to support southern racial hierarchies. Her research also demonstrates how this image could be easily exported for similar uses in other areas of the United States that shared white southerners’ concerns over changing social demographics and racial discord. By revealing national sororities as significant players in the grassroots conservative movement of the twentieth century, Freeman illuminates the history of contemporary sororities’ difficult campus relationships and their continuing legacy of discriminatory behavior and conservative rhetoric.

An in-depth look at how democratic values have widened the American arts scene, even as it remains elite and cosmopolitan Two centuries ago, wealthy entrepreneurs founded the American cathedrals of culture—museums, theater companies, and symphony orchestras—to mirror European art. But today’s American arts scene has widened to embrace multitudes: photography, design, comics, graffiti, jazz, and many other forms of folk, vernacular, and popular culture. What led to this dramatic expansion? In Entitled, Jennifer Lena shows how organizational transformations in the American art world—amid a shifting political, economic, technological, and social landscape—made such change possible. By chronicling the development of American art from its earliest days to the present, Lena demonstrates that while the American arts may be more open, they are still unequal. She examines key historical moments, such as the creation of the Museum of Primitive Art and the funneling of federal and state subsidies during the New Deal to support the production and display of culture. Charting the efforts to define American genres, styles, creators, and audiences, Lena looks at the ways democratic values helped legitimate folk, vernacular, and commercial art, which was viewed as nonelite. Yet, even as art lovers have acquired an appreciation for more diverse culture, they carefully select and curate works that reflect their cosmopolitan, elite, and moral tastes.

This second edition of Gary S. Becker's The Economics of Discrimination has been expanded to include three further discussions of the problem and an entirely new introduction which considers the contributions made by others in recent years and some of the more important problems remaining. Mr. Becker's work confronts the economic effects of discrimination in the market place because of race, religion, sex, color, social class, personality, or other non-pecuniary considerations. He demonstrates that discrimination in the market place by any group reduces their own real incomes as well as those of the minority. The original edition of The Economics of Discrimination was warmly received by economists, sociologists, and psychologists alike for focusing the discerning eye of economic analysis upon a vital social problem—discrimination in the market place. "This is an unusual book; not only is it filled with ingenious theorizing but the implications of the theory are boldly confronted with facts. . . . The intimate relation of the theory and observation has resulted in a book of great vitality on a subject whose interest and importance are obvious."—M.W. Reder, American Economic Review "The author's solution to the problem of measuring the motive behind actual discrimination is something of a tour de force. . . . Sociologists in the field of race relations will wish to read this book."—Karl Schuessler, American Sociological Review

Cooper Gillespie, an extremely intelligent and handsome Welsh springer spaniel, is a dog of discriminating taste and strong opinions. Now Cooper, with the assistance of cookbook author Sally Sampson and the transcription services of his favorite human, Susan Orlean, has put together 50 delectable recipes for snacks, meals, and treats for your canine companion. Maybe you're cooking everything because your collie has colitis or your Akita has a wheat allergy or your older dog just isn't thriving on commercial kibble. Maybe you're mixing up the occasional biscuit or treat to help your best fur-bearing friend over that I-just-ate-a-tennis- ball-and-don't-feel-so-good episode. Whatever the reason, the recipes in this book (which have been approved by dog trainer and nutritional consultant Stacy Alldredge) will satisfy the most discerning doggie palate. Many of them, in fact, can be shared with a favorite human (though preferably not from the same dish). Illustrated with more than 50 endearing black-and-white photographs of Cooper and friends by Cami Johnson, and liberally seasoned with stories, quotes, and nutrition tips, Throw Me a Bone makes a dog's dinner something to look forward to.

Acknowledgments -- Introduction: the power of algorithms -- A society, searching -- Searching for Black girls -- Searching for people and communities -- Searching for protections from search engines -- The future of knowledge in the public -- The future of information culture -- Conclusion: algorithms of oppression -- Epilogue -- Notes -- Bibliography -- Index -- About the author

Christians frequently come into conflict with themselves and others over such matters as music, popular culture, and worship style. Yet they usually lack any theology of art or taste adequate to deal with aesthetic disputes. In this provocative book, Frank Burch Brown offers a constructive, "ecumenical" approach to artistic taste and aesthetic judgment--a non-elitist but discriminating theological aesthetics that has "teeth but no fangs." While grounded in history and theory, this book takes up such practical questions as: How can one religious community accommodate a variety of artistic tastes? What good or harm can be done by importing music that is worldly in origin into a house of worship? How can the exercise of taste in the making of art be a viable (and sometimes advanced) spiritual discipline? In exploring the complex relation between taste, religious imagination, and faith, Brown offers a new perspective on what it means to be spiritual, religious, and indeed Christian.