A sophisticated, persuasive argument that “Made in America” means a stronger America.
In a series of essays, a team of experts argues that a robust manufacturing sector is necessary to keep the American dream alive.
Following up on the notable 2009 work Manufacturing a Better Future for America, editor McCormack (Lean Machines, 2002, etc.) and like-minded business wonks suggest ways to nurture a renaissance in U.S. manufacturing. The book comes at a pivotal moment; the sector has lost nearly 6 million jobs in the 21st century, and its contribution to the gross domestic product declined to 11.9 percent in 2012 from 22.7 percent in 1970. Renewed interest in rebuilding America’s manufacturing base, however, offers a chance to change course. The book’s 10 contributing authors—including business executives, engineers and journalists—contend that the United States must adopt new policies regarding trade, infrastructure, taxes, education and energy and develop a comprehensive strategy to encourage domestic production while leveling the international playing field. McCormack opens with a sobering assessment of the state of American manufacturing, and his survey of key industries such as semiconductors, chemicals and automobiles reveals the United States as a diminished giant, outstripped by global rivals. In an equally compelling chapter, trade lawyer Eric Garfinkel calls for stronger enforcement of World Trade Organization rules to prevent some nations from bending them. Journalist Harold Meyerson is perhaps the group’s biggest skeptic, as he points to Germany’s vibrant manufacturing culture to argue that an industrial revival without labor unions is no revival at all. This articulate, well-sourced and skillfully constructed anthology covers an impressive amount of ground. The authors tackle thorny issues, such as value-added taxation, labor relations and Chinese currency manipulation, and often challenge prevailing wisdom; for example, manufacturing advocate Harry Moser contends that corporations’ narrow focus on labor costs has led them to overlook the sizable hidden costs of shifting production overseas. Although none of the proposed remedies are easy fixes, the book’s main message—that manufacturing is critical to the future of American prosperity—is gaining traction among economic observers. The chapters are long and densely packed, and McCormack wisely gives each chapter a synopsis for quick reference.
A sophisticated, persuasive argument that “Made in America” means a stronger America.Pub Date: July 10, 2013
ISBN: 978-0989257411
Page Count: 380
Publisher: Alliance for American Manufacturing
Review Posted Online: July 26, 2013
Kirkus Reviews Issue: Sept. 1, 2013
Review Program: Kirkus Indie
An enjoyable slice of 20th-century music journalism almost certain to provide something for most readers, no matter one’s...
Music journalist and musician Wald (Talking 'Bout Your Mama: The Dozens, Snaps, and the Deep Roots of Rap, 2014, etc.) focuses on one evening in music history to explain the evolution of contemporary music, especially folk, blues, and rock.
The date of that evening is July 25, 1965, at the Newport Folk Festival, where there was an unbelievably unexpected occurrence: singer/songwriter Bob Dylan, already a living legend in his early 20s, overriding the acoustic music that made him famous in favor of electronically based music, causing reactions ranging from adoration to intense resentment among other musicians, DJs, and record buyers. Dylan has told his own stories (those stories vary because that’s Dylan’s character), and plenty of other music journalists have explored the Dylan phenomenon. What sets Wald's book apart is his laser focus on that one date. The detailed recounting of what did and did not occur on stage and in the audience that night contains contradictory evidence sorted skillfully by the author. He offers a wealth of context; in fact, his account of Dylan's stage appearance does not arrive until 250 pages in. The author cites dozens of sources, well-known and otherwise, but the key storylines, other than Dylan, involve acoustic folk music guru Pete Seeger and the rich history of the Newport festival, a history that had created expectations smashed by Dylan. Furthermore, the appearances on the pages by other musicians—e.g., Joan Baez, the Weaver, Peter, Paul, and Mary, Dave Van Ronk, and Gordon Lightfoot—give the book enough of an expansive feel. Wald's personal knowledge seems encyclopedic, and his endnotes show how he ranged far beyond personal knowledge to produce the book.
An enjoyable slice of 20th-century music journalism almost certain to provide something for most readers, no matter one’s personal feelings about Dylan's music or persona.Pub Date: July 25, 2015
ISBN: 978-0-06-236668-9
Page Count: 368
Publisher: Dey Street/HarperCollins
Review Posted Online: May 15, 2015
Kirkus Reviews Issue: June 1, 2015
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BOOK TO SCREEN
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Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...
Privately published by Strunk of Cornell in 1918 and revised by his student E. B. White in 1959, that "little book" is back again with more White updatings.
Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis (whoops — "A bankrupt expression") a unique guide (which means "without like or equal").Pub Date: May 15, 1972
ISBN: 0205632645
Page Count: 105
Publisher: Macmillan
Review Posted Online: Oct. 28, 2011
Kirkus Reviews Issue: May 1, 1972
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