Results by title

While the youth counterculture remains the most evocative and best-remembered symbol of the cultural ferment of the 1960s, the revolution that shook American business during those boom years has gone largely unremarked. In this fascinating and revealing study, Thomas Frank shows how the youthful revolutionaries were joined—and even anticipated —by such unlikely allies as the advertising industry and the men's clothing business.

"[Thomas Frank is] perhaps the most provocative young cultural critic of the moment."—Gerald Marzorati, New York Times Book Review

"An indispensable survival guide for any modern consumer."—Publishers Weekly, starred review

"Frank makes an ironclad case not only that the advertising industry cunningly turned the countercultural rhetoric of revolution into a rallying cry to buy more stuff, but that the process itself actually predated any actual counterculture to exploit."—Geoff Pevere, Toronto Globe and Mail

"The Conquest of Cool helps us understand why, throughout the last third of the twentieth century, Americans have increasingly confused gentility with conformity, irony with protest, and an extended middle finger with a populist manifesto. . . . His voice is an exciting addition to the soporific public discourse of the late twentieth century."—T. J. Jackson Lears, In These Times

"An invaluable argument for anyone who has ever scoffed at hand-me-down counterculture from the '60s. A spirited and exhaustive analysis of the era's advertising."—Brad Wieners, Wired Magazine

"Tom Frank is . . . not only old-fashioned, he's anti-fashion, with a place in his heart for that ultimate social faux pas, leftist politics."—Roger Trilling, Details

The Consumer Trap blows the lid off the trillion-dollar-a-year business marketing industry, explaining how it continues to soak up economic and environmental resources and dominate the personal lives of citizens. Flouting conventional mainstream and radical thinking about consumer culture, Michael Dawson reveals how corporate marketing embodies and extends into personal life the scientific management principles famously enunciated by Frederick Winslow Taylor, whose earliest disciples predicted the big business marketing revolution.

After revealing why corporate capitalism fuels an ever-increasing marketing race, Dawson provides a step-by-step account of how this behemoth works and expands. Using firsthand evidence, he explains in detail how big business marketing campaigns penetrate and profoundly affect the lives of ordinary Americans.

Dawson argues that if people are to escape the costly consumer trap set by the overclass, they will need to renew class struggle from below, inventing new institutions for democratically governing and implementing major economic decisions. A blueprint for reinventing the study and debate of the sociocultural effects of corporate marketing practices, The Consumer Trap makes big business marketing a target of direct historical and sociological scrutiny.

 

Beginning with “The Writer’s Wonderland—Or: A Warning” and ending with “You’ve Published a Book—Now What?” The Creative Writer’s Survival Guide is a must-read for creative-writing students and teachers, conference participants, and aspiring writers of every stamp. Directed primarily at fiction writers but suitable for writers of all genres, John McNally’s guide is a comprehensive, take-no-prisoners blunt, highly idiosyncratic, and delightfully subjective take on the writing life.

McNally has earned the right to dispense advice on this subject. He has published three novels, two collections of short fiction, and hundreds of individual stories and essays. He has edited six anthologies and worked with editors at university presses, commercial houses, and small presses. He has earned three degrees, including an MFA from the Iowa Writers’ Workshop, and taught writing to thousands of students at nine different universities. But he has received far more rejections than acceptances, has endured years of underpaid adjunct work, and is presently hard at work on a novel for which he has no guarantee of publication. In other words, he’s been at the writing game long enough to rack up plenty of the highs and lows that translate into an invaluable guide for anyone who wants to become a writer or anyone who is already a writer but doesn’t know how to take the next step toward the writing life.

In the sections The Decision to Become a Writer, Education and the Writer, Getting Published, Publicity, Employment for Writers, and The Writer’s Life, McNally wrestles with writing degrees and graduate programs, the nuts and bolts of agents and query letters and critics, book signings and other ways to promote your book, alcohol and other home remedies, and jobs for writers from adjunct to tenure-track. Chapters such as “What Have You Ever Done That’s Worth Writing About?” “Can Writing Be Taught?” “Rejection: Putting It in Perspective,” “Writing as a Competitive Sport,” “Seven Types of MLA Interview Committees,” “Money and the Writer,” and the all-important “Talking about Writing vs. Writing” cover a vast range of writerly topics from learning your craft to making a living at it. McNally acts as the writer’s friendly drill sergeant, relentlessly honest but bracingly cheerful as he issues his curmudgeonly marching orders. Alternately cranky and philosophical, full of to-the-point anecdotes and honest advice instead of wonkish facts and figures, The Creative Writer’s Survival Guide is a snarky, truthful, and immensely helpful map to being a writer in today’s complex world.

This critical account of the fair trade movement explores the vast gap between the rhetoric of fair trade and its practical results for poor countries, particularly those of Africa. In the Global North, fair trade often is described as a revolutionary tool for transforming the lives of millions across the globe. The growth in sales for fair trade products has been dramatic in recent years, but most of the benefit has accrued to the already wealthy merchandisers at the top of the value chain rather than to the poor producers at the bottom.

Ndongo Sylla has worked for Fairtrade International and offers an insider’s view of how fair trade improves—or doesn’t—the lot of the world’s poorest. His methodological framework first describes the hypotheses on which the fair trade movement is grounded before going on to examine critically the claims made by its proponents. By distinguishing local impact from global impact, Sylla exposes the inequity built into the system and the resulting misallocation of the fair trade premium paid by consumers. The Fair Trade Scandal is an empirically based critique of both fair trade and traditional free trade; it is the more important for exploring the problems of both from the perspective of the peoples of the Global South, the ostensible beneficiaries of the fair trade system.

The Great Art Hoax exposes the real fakery and hypocrisy of the art world: how art is manufactured and marketed; how the pathology of private possession drives up the price; and how false art is hyped as true art to the tune of millions of dollars. Jon Huer demonstrates convincingly that what the art market deals as art need not be “art” at all.

Through a detailed economic assessment of the current business of professional sports and prospects for the future in the United States, Scully examines the factors that determine players' salaries; management practices and franchise values; and long-term, short-term, and corporate ownership. Scully shows, for example, that while the economic growth of the last two decades was fueled primarily by sales of television rights, the broadcast market has become saturated and teams will have to look elsewhere for income in the 1990s.

This book offers technical insights that will interest business economists and professionals in sports management.