The New Roaring Twenties: Prosper in Volatile Time

Human capital and organizational capital are icreasingly important as a source of value in many firms, yet at the same time employment practices appear to be changing in ways that reduce loyalty and commitment and encourage mobility on the part of employees. The essays presented in this volume provide new evidence of the degree to which job stability is declining and the costs of job-loss to long-term workers. They also provide a historical perspective on changes to the workforce at the end of the 20th century and explore why the structure of work and employment is being reorganized.

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People around the world are confused and concerned. Is it a sign of strength or of weakness that the US has suddenly shifted from a politics of consensus to one of coercion on the world stage? What was really at stake in the war on Iraq? Was it all about oil and, if not, what else was involved? What role has a sagging economy played in pushing the US into foreign adventurism? What exactly is the relationship between US militarism abroad and domestic politics? These are the questions taken up in this compelling and original book. In this closely argued and clearly written book, David Harvey, one of the leading social theorists of his generation, builds a conceptual framework to expose the underlying forces at work behind these momentous shifts in US policies and politics. The compulsions behind the projection of US power on the world as a "new imperialism" are here, for the first time, laid bare for all to see.

Enjoy a visit to MoMA and see masterworks from the museum's collection of modern and contemporary art. What do the superstars of modern art—van Gogh, Matisse, Picasso, Pollock, and Warhol—have in common with the Vincent Black Shadow motorcycle and an Apple iPod? All share the stage at New York's Museum of Modern Art. Here the two big questions are: What makes it modern AND what makes it art? MoMA's scholars, along with David Rockefeller (son of MoMA founder Abby Rockefeller), prove that the modern art of any age is not the newest; it's the next.