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Powerful and important, My City Was Gone is the cautionary tale of how a hardworking small town was destroyed by the very forces that created it. Anniston, Alabama, was once a thriving industrial hub, home to a Monsanto chemical plant as well as a federal depot for chemical weapons. Now its notoriety comes from its exceptionally high cancer rate—some 25 percent above the state norm—and the town's determined citizens who joined together and struck back at the corporation. As provocative and timely as Erin Brockovich or A Civil Action, My City Was Gone is a magnificently told true story of ordinary citizens in a small Southern town who led a legendary fight against corporate pollution and wrongdoing.
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The metropolis is a site of endless making and unmaking. From the attempt to imagine a 'city-symphony' to the cinematic tradition that runs from Walter Ruttmann to Terence Davies, Restless Cities traces the idiosyncratic character of the metropolitan city from the nineteenth century to the twenty-first-century megalopolis. With explorations of phenomena including nightwalking, urbicide, property, commuting and recycling, this wide-ranging new book identifies and traces the patterns that have defined everyday life in the modern city and its effect on us as individuals. Bringing together some of the most significant cultural writers of our time, Restless Cities is an illuminating, revelatory journey to the heart of our metropolitan world.
"Smart and defiant. Rich with characters and anecdote and heart. A great success." --Anthony Swofford, New York Times Book Review Has the futureever more people with their houses, stores, roads, and sprawlbeen wrecking your past? Melissa Holbrook Pierson, with unalloyed insight, elucidates how it feels to lose that landscape of home. In the past twenty years, like countless towns it resembles, Akron, Ohio, has lost its singularity, and much of what native-daughter Pierson loves about it. She then moves to Hoboken, New Jersey, a forgotten appendage of New Yorkuntil stockbrokers discover it. Finally, she speaks of rural areas, telling of the thousands of upstate New Yorkers displaced by city reservoirs. A unique book uniquely of our moment: This is what it feels like to lose the place you love.
Based off the popular podcast, this book collects one man’s conversations with an outspoken social critic on the negative effects of the suburbs. James Howard Kunstler has been described as “one of the most outrageous commentators on the American built environment.” An outspoken critic of suburban sprawl, Kunstler is often controversial and always provocative. The KunstlerCast is based on the popular weekly podcast of the same name, which features Kunstler in dialogue with author Duncan Crary, offering a personal window into Kunstler’s worldview. Presented as a long-form conversational interview, The KunstlerCast revisits and updates all the major ideas contained in Kunstler’s body of work, including: The need to rethink current sources of transportation and energy The failure of urban planning, architecture and industrial society America’s plastic, dysfunctional culture The reality of peak oil Whether sitting in the studio, strolling city streets, visiting a suburban mall or even “Happy Motoring,” the grim predictions Kunstler makes about America’s prospects are leavened by his signature sharp wit and humor. This book is rounded out by commentary, footnotes and supplemental vignettes told from the perspective of an “embedded” reporter on the Kunstler beat. Readers may or may not agree with the more dystopian of Kunstler’s visions. Regardless, The KunstlerCast is bound to inspire a great deal of thought, laughter, and hopefully, action. Praise for The KunstlerCast “A bracing dose of reality for an unreal world.” —Stephen J. Dubner, co-author of Freakonomics and SuperFreakonomics “Erudite, eloquent . . . with good humor about the hilariously grotesque North American nightmare of car-addicted suburban sprawl.” —Dmitry Orlov, author of Reinventing Collapse “Prepare to be enlightened, infuriated and amused.” —Gregory Greene, Director, The End of Suburbia “So enlightening yet casual that the reader feels like they’re eavesdropping into the den of Kunstler’s prodigious mind.” —Andrew D. Blechman, author of Leisureville
Chrissie Hynde, for nearly four decades the singer/songwriter/ undisputed leader of the Pretenders, is a justly legendary figure. Few other rock stars have managed to combine her swagger, sexiness, stage presence, knack for putting words to music, gorgeous voice and just all-around kick-assedness into such a potent and alluring package. From “Tatooed Love Boys” and “Brass in Pocket” to “Talk of the Town” and “Back on the Chain Gang,” her signature songs project a unique mixture of toughness and vulnerability that millions of men and women have related to. A kind of one- woman secret tunnel linking punk and new wave to classic guitar rock, she is one of the great luminaries in rock history. Now, in her no-holds-barred memoir Reckless, Chrissie Hynde tells, with all the fearless candor, sharp humor and depth of feeling we’ve come to expect, exactly where she came from and what her crooked, winding path to stardom entailed. Her All-American upbringing in Akron, Ohio, a child of postwar power and prosperity. Her soul capture, along with tens of millions of her generation, by the gods of sixties rock who came through Cleveland—Mitch Ryder, David Bowie, Jeff Back, Paul Butterfield and Iggy Pop among them. Her shocked witness in 1970 to the horrific shooting of student antiwar protestors at Kent State. Her weakness for the sorts of men she calls “the heavy bikers” and “the get-down boys.” Her flight from Ohio to London in 1973 essentially to escape the former and pursue the latter. Her scuffling years as a brash reviewer for New Musical Express, shop girl at the Malcolm McLaren and Vivienne Westwood boutique 'Craft Must Wear Clothes But The Truth Loves To Go Naked', first-hand witness to the birth of the punk movement, and serial band aspirant. And then ,at almost the last possible moment, her meeting of the three musicians who comprised the original line-up of The Pretenders, their work on the indelible first album “The Pretenders,” and the rocket ride to “Instant” stardom, with all the disorientation and hazards that involved. The it all comes crashing back down to earth with the deaths of lead guitarist James Honeyman Scott and bassist Peter Farndon, leaving her bruised and saddened, but far from beaten. Because Chrissie Hynde is, among other things, one of rock’s great survivors. We are lucky to be living in a golden age of great rock memoirs. In the aptly titled Reckless, Chrissie Hynde has given us one of the very best we have. Her mesmerizing presence radiates from every line and page of this book.
“Sobsey truly does deliver the goods with this biography . . . This work is as gloriously comprehensive as it gets on the subject of Chrissie Hynde.” —PopMatters A musical force across four decades, a voice for the ages, and a great songwriter, Chrissie Hynde is one of America’s foremost rockers. Inducted into the Rock and Roll Hall of Fame in 2005, she and her band The Pretenders have released ten albums since 1980. The Pretenders’ debut LP has been acclaimed as one of the best albums of all time by VH1 and Rolling Stone. In a business filled with “pretenders” and posers, Hynde remains unassailably authentic. Although she blazed the trail for countless female musicians, Hynde has never embraced the role of rock-feminist and once remarked, “It’s never been my intention to change the world or set an example for others to follow.” Instead, she pursued her own vision of rock—a band of “motorcycles with guitars.” Chrissie Hynde: A Musical Biography traces this legend’s journey from teenage encounters with rock royalty to the publication of her controversial memoir Reckless in 2015. Adam Sobsey digs deep into Hynde’s catalog, extolling her underrated songwriting gifts and the greatness of The Pretenders’ early classics and revealing how her more recent but lesser-known records are not only underappreciated but actually key to understanding her earlier work, as well as her evolving persona. Sobsey hears Hynde’s music as a way into her life outside the studio, including her feminism, signature style, vegetarianism, and Hinduism. She is “a self-possessed, self-exiled idol with no real forbears and no true musical descendants: a complete original.”
The mid-Eighties. No cell phones, no email, no caller ID, no GPS. It was easier then to pass without notice, to be out of touch, to get lost. The Berlin Wall still stood, as did the World Trade Center, and Michael Reid embarks on what even he concedes to be a spate of obsessive travel: Scandinavia, the Persian Gulf, South Asia, back home to the Ozarks, then off again to Greece, Eastern Europe and Egypt. Along the way, he writes letters about what he’s seeing and what he’s thinking to three friends: Anna Browning, a mathematician in Tallahassee, who thinks of Michael less fondly than he thinks of her; Richard Randolph, Michael’s baseball-watching pal, who leads a comfortable—perhaps too comfortable—life as a law professor in Albuquerque; and Marie Cochran, a middle-school social studies teacher in rural New Mexico, who is Michael’s on-again-off-again lover. These three all know Michael, but they don’t know each other. And, against the background of Michael’s travels and his letters, their lives become curiously, even mysteriously, intertwined, changed in ways that Michael himself can’t imagine.
After his wife’s betrayal, Mark jumps on the first flight out, heading for Central America. He soon joins Aaron, a South African dive master, and Kendal, a quirky fellow American. But their friendships get more complicated by the day. Kendal finds Mark’s needy misery a welcome diversion from her problems. Her husband, Charlie, is thirty years her senior and dying, and Kendal has sought solace in the arms of Charlie’s best friend, Aaron. Charlie may be dying, but he’s not blind, and his tickle of suspicion becomes an unbearable scratch. He’s always been Kendal’s protector, and now he must struggle with his illness and the risks of finding out the truth. Funny, heartwarming, and tragic, this poignant story is ultimately about love, survival, and redemption as Mark, Kendal, and Aaron navigate the rough seas of life.
A Mind Full of Music contemplates and celebrates the mysterious, powerful, dynamic relationship between ourselves and the songs we love: the way in which songs work upon our minds and in which our minds, because of the inevitable creative force of our imaginations and memories, work upon them. The book does not propose or develop a unified argument, nor does it tell, chronologically, the story of the author's life of listening. Instead, in recognition of the varied, fluid, and ultimately mysterious ways in which our minds respond to songs, it is structured associatively, with one topic inspiring thoughts of another; the book begins with a song drifting into the author's mind, and it ends with that mind still in the midst of listening, waiting for a beat that will never come.