Book Description
Liquid Metal brings together a great number of what are regarded to be the 'seminal' essays that have opened up the study of science fiction to serious critical interrogation. It is divided into eight distinct themed sections, including the cyborg in science fiction; the science fiction city; time travel and the primal scene; science fiction fandom; and the 1950s invasion narratives. Important writings by Susan Sontag, Vivian Sobchack, Steve Neale, J.P. Telotte, Peter Biskind and Constance Penley are included.
Customer Reviews:
Repetition.......2007-09-02
This book is broken down into different case studies or critical essays. It is 100% on critical theories. The editor tends to repeat himself incessantly in each chapter (I've even seen a whole two sentences repeatedly word for word). The good part is he keeps up with contemporary films and critiques them with as much enthusiasm as the oldies, but to get the basics of his point, all you need to do is skim each chapter and read the topic sentences. He likes to talk just for the sake of talking.
Book Description
Morton Feldman (1926-1987) is among the most influential American composers of the 20th century. While his music is known for its extreme quiet and delicate beauty, Feldman himself was famously large and loud. His writings are both funny and illuminating, not only about his own music but about the entire New York School of painters, poets, and composers that coalesced in the 1950s, including his friends Jackson Pollock, Philip Guston, Mark Rothko, Robert Rauschenberg, Frank O'Hara, and John Cage. Give My Regards to Eighth Street is an authoritative collection of Feldman's writings, culled from published articles, program notes, LP liners, lectures, interviews, and unpublished writings.
Customer Reviews:
The Ever-Lasting Yes.......2005-01-31
Morton Feldman's essays and liner notes are every bit as challenging as his music. In fact, I would like to turn one of Morty's quotable lines on its ear and say that "Feldman couldn't write a note unless it was literary." Of course, I'm inserting Feldman's name for the orginal Ives (see page 165 of this book), but I have to say that this composer provides in these pages the "narrative dark matter and coherent strange attractors" for his--in the main--disjunctive sounds. With this book Feldman positions himself in the same great tradition of writer-musicians as Berlioz, while all the while disparaging that very tradition! In fact, I would say that of all the recent experimentalists--Cage included--Feldman had to have been the most literary.
What a fine mind, and what a great loss to have only one side of Feldman's legendary conversational powers in this book, but, until everyone in the world has sense enough to stop what they're doing and applaud Morton Feldman's brilliance and the END of TIME COMES and Feldman himself descends from on high seated on a golden bar stool, ready to take on all comers, they will have to be content with this written fossil. And of course the music...but that's another story.
This book includes an appreciation of Morty and his work by Frank O'Hara, another person I wish I'd met.
Essential reading for Feldman fans.......2003-12-17
This book, collecting all of Morton Feldman's published writings--along with four miscellaneous pieces--is an expanded version of a book originally published in a bilingual German/English edition in 1985, edited by Walter Zimmermann. To the original book, the editor, B. H. Friedman has added his own introduction, a postface by the poet Frank O'Hara, a late friend of Feldman's, and various other writings not collected in the original book.
There is much to enjoy here, from Feldman's reminiscences of his New York School colleagues, his admiration for Varese, his not uncritical appreciation of Webern and Stockhausen and his dislike for Boulez and Schoenberg. Equally, there is much interesting material on the visual arts as well: Feldman's passions for Mondrian, Pollock, Guston and Rothko are intimately related to his music and this book illuminates this strongly. Feldman's understanding of the need for a specifically US artistic and musical tradition--and how this tradition came about--is particularly illuminating, as is his writing about his colleague and friend John Cage.
Feldman's writing style is clear and conversational--if it occasionally lacks in depth this is a minor sin in comparison to the wilfully obfuscatory writings of the young Boulez, for example. Because of its own nature as a collection of unrelated pieces, this book tends to contain a little too much repetition and some very slight pieces (often notes from recordings or performances). I would have liked a little more writing on Feldman's own music--the rare occasions where he explains his techniques are highly interesting--but even with these flaws anyone interested in Feldman's music or the New York School in general will find this book very interesting.
a primary document of the American avant-garde.......2001-02-23
" The day Jackson Pollock died I called a certain man I knew- a very great painter-and told him the news. After a long pause he said, in a voice so low it was barely a whisper,' That son of a b---he did it'. . . . With this supreme gesture Pollock had wrapped up an era and walked away from it." Feldman was very much part of that era, the Fifties when American art was becoming the most important post-war art there was its unique expressions. Sure Europeans tried to copy us but only became more academic about as Boulez and his excursions into chance/aleatoric gesturing. This collection of essays very clearly reveals how important American expeimentalism was to music. Feldman's forever endeavor to merely create, create at a high intensity working like a Dutch diamond cutter,or lens grinder,toying with creative means as his use of indelible ink, this he said makes you think about what your writing than how you are writing, puts the creative process back into the head.Or composing at the piano, which slows you down so you need to think more. He followed the intellectual currents, anything that brought a sense of richness and other dimension to his art, he knew for instance Henri Bergson's concept of memory and time,how that might affect his music,and painterly means was second nature to him hanging out at the Cedar Bar in New York talking for hours on Light,texture,perception,shape,design,concept, facility,gesture,timbre,tone,chiarscuro, there is ample historical data here as well, almost like a subtext of these ,like an unwritten history of the avant-garde, a "Conversation with Stravinsky"(not really),his first meeting with John Cage(after a performance of Webern), Earle Brown, Christian Wolff, also his travels to Berlin, and England and experiencing the avant-garde through Cornelius Cardew, and British experimentalism.His last years was devoted to long durational compositions, and he merely said he had more time to compose in these years,but Feldman here is filled with marvelous quotes,things,items,shapes for the mind"I knew I was going to be a professional the day I first became practical.Practicality took the form of copying out my music neatly,keeping my desk tidy and organized-all the unimportant things that seem unrelated to the work,yet somehow do affect it.". He also knows how to look from greater heights from mountains, tothe substance of modernity, those who stopped creating and became more interested in themselves as Stockhausen were "Modernists"; for Feldman allowing your materials,the shape,structures of your music tell you the secrets of creativity was most important and became a cause.
Average customer rating:
- Good compendium of things missed
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Music of Morton Feldman (Excelsior Profile Series of American Composers)
Thomas DeLio
Manufacturer: Routledge
ProductGroup: Book
Binding: Paperback
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ASIN: 0935016163 |
Book Description
Morton Feldman (1926-1987) is today widely regarded as one of America's foremost experimental composers. His unique body of compositions, as well as his numerous writings and interviews, provide a vast amount of source material for scholarly research. This book begins with a brief work by John Cage written in honor of Morton Feldman. It is followed by a series of essays that challenge some views of Feldman's music and clarify many others. The collection concludes with a selection of essays written by the composer himself; these essays reveal as much about Feldman's own work and attitudes as they do about the work and thought of the many composers and artists about whom he wrote. The volume concludes with a list of Feldman's compositions, a bibliography, and a discography. This study, the first of a series of "Profiles of American Composers," will be invaluable to musicologists and all involved with the music of the 20th century.
Customer Reviews:
Good compendium of things missed.......2000-03-24
Since his death in 1988, there has been no shortage of interest in Morton Feldman. While alive there was a small but devoted following. The Brits loved the utter beauty, and simplicity of his work, Composers Howard Skempton, Cornelius Cardew, even the improv ensemble AMM speak deeply of Feldman's influence. With this collection of analytical investigations the rigours of academia as well now are making,staking a claim. And that's illuminating because the Feldman aesthetic is the direct opposite of someone the demeanor of Elliot Carter. But herein all the creative periods in Feldman's life are exposed with ample analytical tools of graphic renderings. Here John Welsh discusses 'Projection 1' a modest cello solo notated on graph paper, considered at the time of writing 1950, an experimental piece and something gleaned from John Cage I suspect. Feldman to my mind never had that kind of aesthetic voice for innovation. His concern was always in the aesthetic object, its attenuation, shape, its design and process, as opposed to Cage where the aesthtic object was a by=product of a larger process, hence it fell or stood,depending on the gifts and vision of the performers. Venturing forward, an important contribution to piano literature is discussed by Paula Kopstick Ames, a work modestly titled 'Piano" from 1977, a 20 minute work where we begin to see Feldman's interest in large scale durational values . And if something is missing here it is an appraisal of these massivly long works like the String Quartet, that Kronos had premiered, or 'Triadic Memories',or 'Cryppled Symmetry', or 'For Christian Wolff' a four hour work for flute and piano. For John Cage(1982) is well rendered with structural definitions and charts which mark its divisions. When you see these divisions its odd how simple it is, you always think an analysis will preserve the complexity we hear, or didn't hear or discover a complexity to exhibit the visual side of analysis, for let's face, this kind of academia work is an end in itself. I know of no performers of this music who consult analyses prior to their performative work, Like wise Elliot Carter. The ultimate highlight here is the inclusion of three essays by Mr. Feldman himself. He was a gifted orator, and verbal communicator. He had a gift for interdiscipline- like approach, where he interjects concepts from Mondrian,Tolstoi, Henri Bergmann, something now we take for granted. 'The Anxiety of Art', is an essay and position statement, on that the American Revolution, in art that is, the Pollock, Abstract Expressionist Revolution which rendered New York the art world center was devoid of bloodshed, hence no banners, and the word of subversion is only now coming through. This book is one example of that revolution.
Average customer rating:
- reveals more of the lifeworld than just music.
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Essays
Morton Feldman
Manufacturer: Beginner Press
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ASIN: 3980051617 |
Customer Reviews:
reveals more of the lifeworld than just music........2004-09-12
Shame these essays and interviews are no longer available or difficult to obtain.
Feldman has, or had many interests verging converging in all directions but all of it seems to have served, to have nurtured his music, and his thinking about the various nefarious processes that music allows one,memory, timbre, texture, register,and finally long durational lengths and rhythm. All this was the lifeworld that challenges the work ethic,sitting down everyday at a table, with pen, to organize oneself is perhaps just as important as what one writes, for we learn the process itself determines the results. Feldman said that one day he would write, and if it went well, the next day he would copy the one page of many yet to write in final form in some indelible ink.
Feldman has much to say about working, that for instance he wrote at the piano to try things out, this it turns out slowed him down, you needed to think before you wrote. Also he utilized indelible inks that simply one could not erase easily, unless the page of score was cut with a pen-razor knife.
Walter Zimmermann had interviewed Feldman, this was a time(the early Eighties) when Zimmermann himself was evaluating his own work in composition, what musical language one may might adopt.
Feldman studied composition with Stefan Wolpe yet was schooled within the mileau of the Abstract Expressionists in New York, where they hung out at the Cedar Bar in New York City speaking about all things commonplace, as density, texture, shape and design of abstraction, also working and process, how does one learn again and again when something is already learned (as for instance drip painting or field colours, largeness and scale, what now does one do to further the process along. Feldman would often accompany painters to other studios to see new creations/directions art was(or did) take. Usually friend painter Philp Guston said when examining a work, ". . . . yes overall it doesn't work, but this moment here (gesturing to the lower right quadrant of the painting) is pure genius."
Feldman had challenged himself constantly with new forms new musical shapes in genre, he simply titled his work , :Durations: or:Music for, , , or named it after a friend, or simply :piano piece", then simplified still "piano". But he did break this with more dramatic titles as "The King of Denmark", a wonderful graphic piece (in numbers) piece for solo percussionist who must play the instruments his/er choice with knuckles and fingers only.
These interviews are well-endowed with selected pages from Feldman's music yet they stop prior to the large scale works the last ten years of his life as the String Quartet, the 6-Hour work, and "For Christian Wolff", the 4 Hour flute and Piano work.I find this late period rather dismal and not thought through enough, enamored over theso-called rhythmic discoveries of Phil Glass. Feldman had a wider pallette to manipulate and survey, he had a deeper understanding of "what works" in timbre in density in register. He had no feel for the market and the cash box as Glass surely did with his repetitive rhythmic harmonic formulaic dribble.
Feldman also speaks here of how memory works and Henri Bergson, how the mind retains "data", or music, what happens to a musical idea before and after it is transformed and within the context of what surrounds it and itself., during as well, and how all this affects the "composition" of how we remember music, their/its events and gestures. Although Fedlamn did not think of his music as gesture, simply relationships of timbres and intervals where they reside for how long what comes before and after. He sought real unadorned beauty of the aesthetic object, something that set him quite apart from his indeterminate innovative brethren as John Cage, Earle Brown and Christian Wolff, unofficialy referred to as the Cage School. Well Cage had the drive, Feldman tells us he knew how to organize and event send out :mailers:, and postcards, schedule rehearsals and the performance space. Coordinate the logistics of what is needed, as say four pianos, or simply a string quartet.
Book Description
Explores the concept of open structure as it has evolved in the music of the American avant-garde throughout the 1960s and 1970s. The works of five composers are examined in detail: John Cage, Morton Feldman, Christian Wolff, Robert Ashley and Alvin Lucier.
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Conversation with Morton Feldman
John Cage
Manufacturer: Peabody Museum of Archaeology and Ethnology, Harvard University]
ProductGroup: Book
Binding: Unknown Binding
Cage, John
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ASIN: B00073ABEA |
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Crippled symmetry
Morton Feldman
Manufacturer: Peabody Museum of Archaeology and Ethnology, Harvard University]
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ASIN: B00073ABF4 |
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Grenzgange: Musik und bildende Kunst im New York der 50er Jahre
Ulrike Rausch
Manufacturer: Pfau
ProductGroup: Book
Binding: Paperback
Cage, John
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ASIN: 3897270668 |
Customer Reviews:
beauty in the thuds, clucks, pams, slaps ticks.......2005-05-23
This is one of Feldman's number graph pieces for a solo percussionist. You get to select your own instruments, decide the range/register of the the three regions High, Middle and Low, once you decide you need to keep the same instruments ,but I doubt if anyone would mind if you changed in midstream, the piece is a good 10 minutes, a durational length Feldman came to believe was a good frame for American avant-garde music, 20 minutes would be the the primary obtimum durational length fora musical work more serious in dimensions. The fascinating aspect of the King here is the percussionists cannot utilize sticks, only his/her fingers to tap,scrap,ping,hit thump the instruments, so the beauty is furthered I think in a magical, way, it also reduces the overall dynamic level down,so this piece is like listening to timbre under a microscope, you attention is drawn in on small particles, and fragments of timbre.The numbers situated within the three regions are the number of times the player strikes the instrument(s) depending on the ground rules you select, there is a metronome marking that should be strictly followed. (Feldman also had similar pieces for piano solo, the "Intersections", and a few chamber works to be realized in sound.So the overall effect/affect of this work is quite interesting. I know percussionist Eddie Prevost in particular of AMM who utilizes his knuckles, with tape on them for the repeated practice of the work can take its told on delicate fingers.The title is acutally arbitrary, it has no realtion to any King, at least to me anyways the title detracts from the overall beauty of the work, unless Feldman in some rush of false elitism considered himself an aristocrat as Chopin who he had discussed in that vein, But I don't think so.The title is pretencious. Simply listen to the results!
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Sound, noise, Varese, Boulez
Morton Feldman
Manufacturer: Second Half Publishing
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Binding: Unknown Binding
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ASIN: B0007I589I |
Customer Reviews:
excellent match to the game.......2006-09-25
Just by itself the artwork and the layout of this book is exceptional.
The walkthrough is given in a loose story format(There are a couple of different ways one of the characters can be introduced,) with all the specs on the creatures and bosses and seed palaces in the back.
In the higher levels some of the orb chests can be easy to miss and the book has helpful land maps, weapon and creature information. I also like the way the major bosses and mana palace creatures are given their own introductions at the end of each chapter.
I wish every guide was as nice as this one.
Wonderful!!.......2006-07-11
I wish guides for RPG's were still written like this!! It doesn't give away every conceivable tid-bit of info, it actually makes you think in order to figure those things out. It's very well written and I actually found it fun to read without playing the game, like a good book if you will. The beastiary was very helpful too. Buy this, you won't be dissapointed unless you like your guides to absolutely flesh-out your games (which kind of ruins the fun for me).
Good guide but not for THAT much money!.......2003-09-12
You must be crazy to think I'd pay more money for the GUIDE when the GAME goes for cheaper! I'm not paying nearly fifty dollars for a book (and I think I saw it reach seventy-five) when the game I could buy for nearly have the price of the maximum amount listed here! I'd rather head over to Ebay where the average SOM guide ranges from ten to twenty dollars. Don't buy any of these guides here.
As far as I can see this guide is a great guide and you'll more than likely need it for this incredible game. It's easy to get lost in the game and the detailed maps help out a lot. So if you really do need a guide for Secret of Mana then get this one! But please DO NOT buy it here! Find it cheaper!
whats wrong with it?????????.......2002-02-16
How can anybody even diss this guide it is like a novel and players guide for the greatest game ever i don't see what more you can ask for its the best detailed pictures enemy descriptions and a very helpful walkthrough i don,t see what the problem is if this review was out of ten i would give it an eleven heres a little tip for everyone who has sense buy this book while you still can som is the best bye :)
Okay if you really need the help..........2001-06-02
I do not own this book but I saw it at a friend's house. It is useless unless you are really desperate for some help, which should not happen. It is always better to explore the game on your own! Using guides such as this ruin the game fun and the challenges Square wanted to put you through.
Book Description
After carving up the once lovingly cared-for downtowns of Small Town America, Wal-Mart launched a frontal assault on mom-and-pop businesses all over the globe. With 1.5 million employees operating more than 3, 500 stores, Wal-Mart is now the world's largest private employer. In this third edition of HOW WAL-MART IS DESTROYING AMERICA (AND THE WORLD), intrepid Texas newspaperman Bill Quinn continues the fight. Featuring detailed accounts of Wal-Mart's questionable business practices and the latest information on Wal-Mart lawsuits, vendor issues, and efforts to stop expansion, Quinn shows why Wal-Mart Stores, Inc., is arguably the most feared and despised corporation in the world. Whether you're a customer fed up with Wal-Mart's false claims, a vendor squeezed by strong-arm tactics, a worker pushed to increase the Waltons' bottom line, or a concerned citizen trying to save your hometown, this book will show you how to get Wal-Mart off your back and out of your backyard.
Customer Reviews:
pamphlet that accuses Wal-Mart of, well, everything BAD.......2006-01-03
This is an activists' handbook for those who want to attack Wal-Mart, which is not only the world's biggest retailer but the world's largest nongovernmental employer. The author sees Wal-Mart as bearing the principal responsibility for an awful lot of terrible things that are happening to small-town America and that are now spilling into the rest of the world as WM invests in stores overseas.
There is no denying that WM is a catalyst for a lot of distrubing trends: the use of scale economies to underbid mom&pop shops in America's rural areas, its transforming impact on communities (heavier traffic, depopulation of traditional downtown areas, etc), its heavy-handed approach to negotiations with sometimes desperate local authorities, and lastly, its use of near-minimum wage labor while crushing labor union activity in its stores.
But as a catalyst, it is much more the instrument of fundamental economic forces - globalisation and also vast integrated operational networks - than the sole or even the governing cause. In my view, that throws the questions into the political arena. Sure, you can attack WM, but what its managers are doing only makes business sense to them: expand shops that are incredibly profitable while selling at far lower prices than traditional outlets could because they lack the scale and organization of WM. That cannot be fought at the moment.
The bottom line then becomes: WM will continue to win unless there is some kind of concerted political action that changes the fundamental economic logic that is operating behind it - and that is way beyond just blocking the change of zoning laws or boycotting the company. I am not arguing that WM's impact is good or inevitable and unstoppable, but that the current economic environment favors it.
As such, I believe this book fails to look at most of the deeper problems. Instead, the reader is served up with a simplistic villain, WM, and urged to protest and buy elsewhere. The assumption is: get rid of WM and we can go a long way back to how things were. Alas, that is a strawman.
What we need to do is change the playing field. And this book will not help much in that. WM and its imitators need to be regulated and channeled into certain areas of competition that are less destructive to traditional communities and their economies, and that is as complicated and difficult to effect as it would sound. Of course, WM must also be forced to provide healthcare, allow unionization, and take the environment into consideration in its decisions.
Nonetheless, from the evidence as it appears to me, WM has not yet become a responsive corporate citizen. THe incredible size and power that it has attained is a relatively recent phenomenon, and there are many managers inside of it who are arguing that it needs to change, including CEO Lee Scott. But it needs to evolve and pay attention to what the outside world thinks of its practices, which leave a lot to be desired to put it mildly. That is where protest comes in and where books like this have a vital part to play. If WM leaders are smart, they will see that it makes business sense for them to listen to consumers and adapt their practices as far as they can while maintaining profitability.
Later, if the company has a culture that is capable of learning, the protests may become a more productive kind of negotiation, as it has with some companies such as adidas or even McDonald's. But to blame everything on just one company is as silly as holding McDonald's alone as responsible for America's obesity epidemic - they play a role to be sure, but are only cogs in a far greater economic and cultural phenomenon.
Recommended as this is a piece of the debate, but it is badly incomplete and simplistic.
Some good points made; but...........2005-12-09
This book caught my eye at a rummage sale for twenty-five cents. Many folks on my wife's side of the family are big supporters of Wal-Mart, so naturally when I brought this book home my wife wanted nothing to do with it. I'm indifferent to the large retailer, so I kept an open mind, and decided to read it anyway.
The book's biggest problem is that Quinn spends too much time ranting and raving about how horrible Wal-Mart is. It's like listening to a cantankerous old man who just got fired from his position as a Wal-Mart greeter. Sure, he raises some good points, but Wal-Mart does not need to "Burn in Hell" as it seems he wishes it would.
If the author wants to point out how Wal-Mart is destroying America, he out to provide solutions and alternatives to the problem. So you hate Wal-Mart...okay; we've established that. Now how about telling me some actual good things the retailer is doing? There are very few things in the world that are totally corrupt, and Wal-Mart is not one of them. Wal-Mart has good and bad points, and not pointing out some of it's good points is what makes this book's bias so distasteful.
While the book will give you pause, I doubt this will be a thorn in Wal-Mart's side. The book is just too personal. It reminds me of a child who was picked on by a school bully, and now he is crying to his parents instead of confronting the problem head-on.
If you don't want to shop at Wal-Mart, then don't! There's not one thing you can buy at Wal-Mart that you can't get somewhere else. You don't need a 165 page book to tell you that.
An easy read with some good points.......2005-12-08
This is a fairly simple book outlining many of the problems with Wal-Mart and the practices that they've created or improved on (many started by Sears) which have gutted America's downtown and factories.
This book isn't very deep, and doesn't have as much reference material as I'd like. I recommend The Case Against Wal-Mart by Al Norman if you're looking for more about Wal-Mart's practices.
I think Bill Quinn is very passionate about his subject, which makes him seem less reliable. Nevertheless, if he was libeling Wal-Mart, rest-assured, this book would be out of print. Wal-Mart is very litigious, and I'm sure they would not hesitate to sue the publisher.
This is a great book if you're wondering why everyone is so upset about Wal-Mart. It isn't about just cheaper prices or lower wages. Wal-Mart is a revolutionary company that has completely changed the American landscape in the last ten years.
If you haven't read this book, I recommend it.
This Book is Jerry-Built.......2005-09-03
This book was horribly written. Don't get me wrong, I loved the analogies used... describing the American consumer as Wal-Mart's whores... that was great. However, a lot of the author's claims were highly unsubstantiated. As a Wal-Mart associate, I know that a lot of what he said is untrue. We are NOT allowed to work off the clock, and we are not victims of Wal-Mart's corporate greed. I really like my job, and while I don't approve of all Wal-Mart's policies, I certainly don't think they're as bad as they are portrayed in this book. I'm sure many of the stories ARE true. However, if the author spent half as much time spotlighting GOOD things Wal-Mart did, this book would be much more balanced. I'm not impressed by his research, the book is lacking in fact, and is full of baloney. The research he did do could have been much better presented. The book was rambling, he repeated himself constantly, and it just felt like the book was slapped together last minute to be rushed out onto Target shelves...
Sometimes you just want to yell "I hate Wal-Mart".......2005-06-03
I've hardly ever been in a Wal-Mart. Despite not liking to shop at Wal-Mart myself I don't have any stronger feelings against them than against other "big box" stores such as Home Depot, Target, K-Mart or Lowe's. As far as I'm concerned they're all temples of materialism that blight the landscape and cause traffic jams.
So what's wrong with Wal-Mart in particular? Bill Quinn, the curmudgeon author of this blog-like diatribe, relies on unnamed sources, data (some of it improbable) without references and lots of anecdotes that may or may not be true. His redundant message is that the Bentonville blankety-blanks, as he repeatedly refers to Wal-Mart, possesses the (in)human characteristics of "evil" and "greed" and manages, apparently thorough some satanic process, to violate the laws of economics and simultaneously treat all employees, vendors AND customers like dirt and single handedly destroy small town America's utopia-like "mom and pop" main street commerce (whatever that meant in the 1990s after decades of Sears, K-Mart, etc.).
But every so-called shady or dirty tactic the author singles out to revile Wal-Mart with is practiced in some form by all aggressive, professional retailers. And do so-called "mom and pop" stores always provide health insurance and pay more than minimum wage? Hardly. And if vendors and service suppliers lose money selling to Wal-Mart then 1) why did they sign the deal and 2) why are they selling to Wal-Mart more than once? These complaints make no sense.
Quinn's suggestions for "fighting" Wal-Mart range from common sense (storekeepers update your business skills) to ineffective (letters to the editor) to improbable (running for political office). This moonbat even suggests such retro-60s touches as forming a protest to chant (I'm not kidding here) "one, two, three, four, we don't want your lousy store."
Quinn is a fanatic. He sums up by writing, "The long and the short of it for me is, I hate Wal-Mart." And that, in essence, is all he says in 171 pages with lots of white space that reads like it was written over a long weekend and is six years out of date.
If you're a Wal-Mart hater you might enjoy this. Otherwise save your money and fight Wal-Mart by spending the same amount on something fun at a "mom and pop" store. Or from Wal-Mart or an Internet retailer, whichever you like, because in America we're not only free to say what we want but we're free to shop where we want.
No index, no references for many key assertions, no new information since 1999.
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- Macromedia Flash MX 2004 Advanced for Windows and Macintosh: Visual QuickPro Guide
- Macromedia Studio MX: Step-by-Step Projects for Flash MX, Dreamweaver MX, Fireworks MX, and FreeHand 10
- Mammies No More: The Changing Image of Black Women on Stage and Screen
- Miller's Movie Collectibles
- MOVIE WESTERNS: Hollywood Films the Wild, Wild West
- Moving Image Technology From Zoetrope to Digital
- Nazi Propaganda Films: A History and Filmography
- Off-Off-Broadway Explosion: How Provocative Playwrights of the 1960's Ignited a New American Theater
- OSCAR DEAREST SIX DECADES OF SCANDAL, POLITICS AND GREED BEHIND HOLLYWOOD'S ACADEMY AWARDS 1927-1986
Books Index
Books Home
Recommended Books
- Why Didn't I Learn This in College
- Starting Out Right: A Guide to Promoting Children's Reading Success
- iMovie 3 Fast & Easy
- Globalisation, Domestic Politics and Regionalism: The ASEAN Free Trade Area
- Made to Stick: Why Some Ideas Survive and Others Die
- Team of Rivals: The Political Genius of Abraham Lincoln
- Mountains Beyond Mountains: The Quest of Dr. Paul Farmer, a Man Who Would Cure the World
- Firm Retreats: A Step by Step Guide for Cpa Firms
- Global Money, Capital Restructuring and the Changing Patterns of Labour
- Ripley Bogle
The Science Fiction Film Reader
Screening Space: The American Science Fiction Film
Science Fiction Film (Genres in American Cinema)
Alien Zone II: The Spaces of Science-Fiction Cinema
From Alien to The Matrix: Reading Science Fiction Film
