Unabashedly Classless
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Auto-Opium
This much needed book is the first to provide a comprehensive history of the profession and aesthetics of American automobile design. The author reveals how the appearance of the automobile was shaped by the social conflicts arising from America's mass production system. He connects the social struggles of American society with the organizational struggles of designers to create symbol-laden substitutes for the American dream. Theoretically sophisticated, lucid and compelling, Auto-Opium will appeal to all interested in the American obsession with the car.
The Reckoning
New York Times Bestseller: “A historical overview of the auto industry in the United States and Japan [and] the gradual decline of U.S. manufacturing” (Library Journal). After generations of creating high-quality automotive products, American industrialists began losing ground to the Japanese auto industry in the decades after World War II. David Halberstam, with his signature precision and absorbing narrative style, traces this power shift by delving into the boardrooms and onto the factory floors of the America’s Ford Motor Company and Japan’s Nissan. Different in every way—from their reactions to labor problems to their philosophies and leadership styles—the two companies stand as singular testaments to the challenges brought by the rise of the global economy. From the Pulitzer Prize–winning author of The Fifties and The Coldest Winter, and filled with intriguing vignettes about Henry Ford, Lee Iacocca, and other visionary industrial leaders, The Reckoning remains a powerful and enlightening story about manufacturing in the modern age, and how America fell woefully behind. This ebook features an extended biography of David Halberstam.
The Grammar of Rock
Author: Alexander Theroux
language: en
Publisher: Fantagraphics Books
Release Date: 2013-02-16
Novelist and critic Alexander Theroux analyzes the pop song. National Book Award nominee, critic and one of America’s least compromising satirists, Alexander Theroux takes a comprehensive look at the colorful language of pop lyrics and the realm of rock music in general in The Grammar of Rock: silly song titles; maddening instrumentals; shrieking divas; clunker lines; the worst (and best) songs ever written; geniuses of the art; movie stars who should never have raised their voice in song but who were too shameless to refuse a mic; and the excesses of awful Christmas recordings. Praising (and critiquing) the gems of lyricists both highbrow and low, Theroux does due reverence to classic word-masters like Ira Gershwin, Jimmy Van Heusen, Cole Porter, and Sammy Cahn, lyricists as diverse as Hank Williams, Buck Ram, the Moody Blues, and Randy Newman, Dylan and the Beatles, of course, and more outré ones like the Sex Pistols, the Clash, Patti Smith, the Fall (even Ghostface Killa), but he considers stupid rhymes, as well ― nonsense lyrics, chop logic, the uses and abuses of irony, country music macho, verbal howlers, how voices sound alike and why, and much more. In a way that no one else has ever done, with his usual encyclopedic insights into the state of the modern lyric, Theroux focuses on the state of language ― the power of words and the nature of syntax ― in The Grammar of Rock. He analyzes its assaults on listeners’ impulses by investigating singers’ styles, pondering illogical lunacies in lyrics, and deconstructing the nature of diction and presentation in the language. This is that rare book of discernment and probing wit (and not exclusively one that is a critical defense of quality) that positively evaluates the very nature of a pop song, and why one over another has an effect on the listener.