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Hot rods have made legends, taking the spotlight in all aspects of the beach culture, in movies, and in music. They represent youth, rebellion, and a drive to do things a little differently. The hot rod movement has always been a grassroots, groundswell movement, an underground art form that defies a straightforward chronicle succinctly tied up with a bow. The All-American Hot Rod is a history by those who lived it, the numerous voices and images of people who know and love the hot rod like nothing else. It's truly an all-American tale with an exhaust note heard 'round the world. If you're still in awe of that first hot rod, still driving and tuning hot rods, or still dreaming of hot rods, then this book is for you.
Get the full history of the American muscle car in The All-American Muscle Car, from it's origin as an act of descent, to where it sits now.
Robert Williams: The Father of Exponential Imagination is a comprehensive career spanning, comprehensive collection of the iconic painter’s fine art, including every one of his remarkable oil paintings along with a presentation of his drawings, sculptures, and works in other media. Simply put, this is the art book of the decade, and the book that Williams has been working toward his entire career. In the late 20th and early 21st century, diverse forms of commonplace and popular art appeared to be coalescing into a formidable faction of new painted realism. The new school of imagery was a product of art that didn’t fit comfortably into the accepted definition of fine art. It embraced some of the figurative graphics that formal art academia tended to reject: comic books, movie posters, trading cards, surfer art, hot rod illustration, to mention a few. This alternative art movement found its most apt participant in one of America’s most controversial underground artists, the painter, Robert Williams. It was this artist who brought the term “lowbrow” into the fine arts lexicon, with his groundbreaking 1979 book, The Lowbrow Art of Robt. Williams. Williams pursued a career as a fine arts painter years before joining the art studio of Ed “Big Daddy” Roth in the mid-1960s. From this position he moved into the rebellious, anti-war circles of early underground comix, as one of the celebrated ZAP cartoonists. Featuring an introductory essay by Coagula Art Journal founder Mat Gleason along with a new art manifesto and foreword by Williams himself, as well as tons of rare photos and ephemera.
If you've ever wanted to draw or design cars, this book is for you.
Chopped, slammed, channeled, blown . . . in the late '50s and early '60s all of these features lent themselves nicely to the rise of hot rod art that caricaturized the already severe design traits associated with these cars. Usually, the rods and customs in this art were piloted by slobbering, snaggle-toothed "monsters" with bulging, bloodshot eyes. Thanks to the iron-on T-shirt boom of the '70s and a raft of younger artists working today, hot rod monsters have persevered. Now award-winning car-designer Thom Taylor and legendary kustom culture figure Ed Newton reveal the tricks and techniques used by masters past and present to render these whack rods and their warts-and-all drivers. Beginning with a brief history of the form, the authors examine figures like Stanley Mouse, Ed Roth, and Newton himself, then reveal how those pioneers influenced modern artists like Keith Weesner, John Bell, and Dave Deal, to name a few. In addition to offering chapters covering topics like equipment, perspective, light sources, and other technical considerations, Taylor expands on the cartooning, proportion, and color chapters from his previous works, applying them to the subject at hand. Also includes dozens of examples of the form from many of the above-mentioned artists and more.
The killings began in May when the body of a young teacher was discovered in the bedroom of her historic Society Hill home of Philadelphia. The second victim was found seven days later. The number of victims grew incrementally during the uncomfortably wet and humid Spring and Summer. Each of the victims surgically mutilated by a madman possessing the skills of a surgeon. In a city renowned for its medical institutions and thousands of medically-trained professionals, one among them was a killer. For Captain Leo Gromski, of the Special Homicide Unit the pursuit of a phantom leads to the most shocking revelation a persistent investigator could conceptualize. The identity of the killer leads Gromski down the path to the Roach Motel of conspiracies: its tentacles stretching from Philadelphias City Hall to the United States State Department.
God Spoke I Listened is a revealing portrait of a life spent in intimacy with God. Starting with her first battle with cancer, Randy Brown chronicles in a series of intense personal revelations the dramatic intervention of God in her life. God has spoken to Randy through dramatic visions and in a series of modern-day parables, which she shares with her readers in this deeply heartfelt book. Using the simplest everyday objects, situations, and occurrences, God has ministered comfort, healing, and revelation to Randy, and she passes these blessings on to her readers in her powerful writing. Grounded in the Word of God, Randy uses scripture to reinforce the life lessons God has shared with her through years of trials, challenges, and great spiritual victories.
From the late 1800s through the first half of the 1900s, pulp magazines--costing a dime and filled with both fiction and nonfiction--were a staple of American life. Though often overlooked by popular culturalists, sports were one of the staples of the pulp scene; such standards as the National Police Gazette and All-Story carried some sports stories, and several publications, such as Sport Story Magazine, were entirely devoted to them. An overview of the pulps is followed by an examination of those devoted to sports: how they came into being, the development of the genre, the popularity of its heroes, and coverage of real-life events. The roles of editors, writers, artists, and publishers are then fully covered. A chapter on Street & Smith, the foremost publisher of sports pulps, follows, while a concluding chapter discusses the reasons for the demise of the pulps in the early 1950s.