From politics and war, to jeans and sneakers: a look at America’s influence on the world from an international perspective On the day after 9/11, foreign newspapers ran headlines announcing “We Are All Americans Now.” Though the sentiment was not new, it was also not quite the same as when Henry Luce announced in 1941, the inauguration of what he called “the American Century,” during which the US was to raise all men “from the level of the beasts to what the Psalmist calls a little lower than angels.” When America suddenly emerged as a global power in the postwar period, the world—with pockets of resistance from France, Russia, and Japan in particular—was happy to be remade in the US image. America dazzled, and sometimes intimidated, older, staler, less innovative cultures. The affluence it placed on display was something to which most other countries aspired, and it was this fantasy that helped win the Cold War. Fast forward to today and the Chinese state news agency Xinhua, days before a possible financial default by the US government, calling for a de-Americanized world. A context for Peter Conrad’s grand tale is, inevitably, politics, war, and commerce, but for the most part he draws on his brilliant repertoire of cultural skills to assess, surprise, invigorate, and delight us with his kaleidoscopic presentation of the movies and music, jeans and sneakers, food and refrigerators, novels and paintings that have shaped so much of the world in our lifetimes.

The Cambridge History of American Music, first published in 1998, celebrates the richness of America's musical life. It was the first study of music in the United States to be written by a team of scholars. American music is an intricate tapestry of many cultures, and the History reveals this wide array of influences from Native, European, African, Asian, and other sources. The History begins with a survey of the music of Native Americans and then explores the social, historical, and cultural events of musical life in the period until 1900. Other contributors examine the growth and influence of popular musics, including film and stage music, jazz, rock, and immigrant, folk, and regional musics. The volume also includes valuable chapters on twentieth-century art music, including the experimental, serial, and tonal traditions.

The Song Index features over 150,000 citations that lead users to over 2,100 song books spanning more than a century, from the 1880s to the 1990s. The songs cited represent a multitude of musical practices, cultures, and traditions, ranging from ehtnic to regional, from foreign to American, representing every type of song: popular, folk, children's, political, comic, advertising, protest, patriotic, military, and classical, as well as hymns, spirituals, ballads, arias, choral symphonies, and other larger works. This comprehensive volume also includes a bibliography of the books indexed; an index of sources from which the songs originated; and an alphabetical composer index.

The ongoing discussions about globalization, American hegemony and September 11 and its aftermath have moved the debate about the export of American culture and cultural anti-Americanism to center stage of world politics. At such a time, it is crucial to understand the process of culture transfer and its effects on local societies and their attitudes toward the United States. This volume presents Germany as a case study of the impact of American culture throughout a period characterized by a totalitarian system, two unusually destructive wars, massive ethnic cleansing, and economic disaster. Drawing on examples from history, culture studies, film, radio, and the arts, the authors explore the political and cultural parameters of Americanization and anti-Americanism, as reflected in the reception and rejection of American popular culture and, more generally, in European-American relations in the "American Century." Alexander Stephan is Professor of German, Ohio Eminent Scholar, and Senior Fellow of the Mershon Center for the Study of International Security and Public Policy at Ohio State University, where he directs a project on American culture and anti-Americanism in Europe and the world.

Pledging allegiance, singing the “Star-Spangled Banner,” wearing a flag pin—these are all markers of modern patriotism, emblems that announce the devotion of American citizens. Most of these nationalistic performances were formulized during the early twentieth century and driven to new heights by the panic surrounding national identity during World War I. In To Become an American Leslie A. Hahner argues that, in part, the Americanization movement engendered the transformation of patriotism during this period. Americanization was a massive campaign designed to fashion immigrants into perfect Americans—those who were loyal in word, deed, and heart. The larger outcome of this widespread movement was a dramatic shift in the nation’s understanding of Americanism. Employing a rhetorical lens to analyze the visual and aesthetic practices of Americanization, Hahner contends that Americanization not only tutored students in the practices of citizenship but also created a normative visual metric that modified how Americans would come to understand, interpret, and judge their own patriotism and that of others.

Now comes an in-depth cultural history of the phonograph in the United States from 1890 to 1945. William Howland Kenney offers a full account of what he calls "the 78 r.p.m. era"--The formative early decades in which the giants of the record industry reigned supreme in the absence of radio, to the postwar proliferation of independent labels, disk jockeys, and changes in popular taste and opinion.

Histories of the Gilded Age and Progressive Era tend to characterize the United States as an expansionist nation bent on Americanizing the world without being transformed itself. In Consumers' Imperium, Kristin Hoganson reveals the other half of the story, demonstrating that the years between the Civil War and World War I were marked by heightened consumption of imports and strenuous efforts to appear cosmopolitan. Hoganson finds evidence of international connections in quintessentially domestic places--American households. She shows that well-to-do white women in this era expressed intense interest in other cultures through imported household objects, fashion, cooking, entertaining, armchair travel clubs, and the immigrant gifts movement. From curtains to clothing, from around-the-world parties to arts and crafts of the homelands exhibits, Hoganson presents a new perspective on the United States in the world by shifting attention from exports to imports, from production to consumption, and from men to women. She makes it clear that globalization did not just happen beyond America's shores, as a result of American military might and industrial power, but that it happened at home, thanks to imports, immigrants, geographical knowledge, and consumer preferences. Here is an international history that begins at home.