This complete guide analyzes the thousands of options available and shows you how to choose the correct fastener for any application, whether it be racing, street performance or restoration. Plus important information on thread cutting, torque, material selection, inserts, panel fasteners and much more. Pub. 1990.

"Is titanium for you? Can better brakes reduce lap times significantly? How do you choose the rights nuts and bolts? Which is more important, cornering or straight-line speed? Why did it break again? Engineer to Win not only answers these and many other questions, it gives you the reasons why."--Back cover

Store all the answers in your hip pocket! This handy pocket guide written by racing professional Carroll Smith suggests realistic solutions to common race car handling problems. Formatted listing causes and possible effects, and problems and possible causes. Spiralbound, 3 1/2"x 7 3/4", 32 pgs.'

Covers the development and tuning of race car by clearly explaining the basic principles of vehicle dynamics and relating these principles to the input and control functions of the racing driver. An exceptional book written by a true professional.

Hand-selected by racing engineer legend Carroll Smith, the 28 SAE Technical Papers in this book focus on the chassis and suspension design of pure racing cars, an area that has traditionally been - farmed out - to independent designers or firms since the early 1970s. Smith believed that any discussion of vehicle dynamics must begin with a basic understanding of the pneumatic tire, the focus of the first chapter. The racing tire connects the racing car to the track surface by only the footprints of its four tires. Through the tires, the driver receives most of the sensory information needed to maintain or regain control of the race car at high force levels. The second chapter, focusing on suspension design, is an introduction to this complex and fascinating subject. Topics covered include chassis stiffness and flexibility, suspension tuning on the cornering of a Winston Cup race car, suspension kinematics, and vehicle dynamics of road racing cars. Chapter 3 addresses the design of the racing chassis design and how aerodynamics affect the chassis, and the final chapter on materials brings out the fact that the modern racing car utilizes carbon construction to the maximum extent allowed by regulations. These technical papers, written between 1971 and 2003, offer what Smith believed to be the best and most practical nuggets of racing chassis and suspension design information.

Take pole position to learn the ground rules, techniques and procedures of driving perception and evaluation. Racing professional Carroll Smith delivers current state-of-the-art techniques for working with your crew to develop and set up your car so that you'll have a competitive tool with which to practice the art of driving.

Little Cleveland Lee wants to play the trumpet with his big sister's high school marching band, but they just laugh at him until an old bluesman helps them understand what it takes to be a musician.

Celebrating Leonard Bernstein's centenary with an intimate and detailed look at the public and private life of the Maestro written by his former assistant. Foreword by Broadway legend Harold Prince. "An affectionate portrait of an eminent musician who was driven by demons." —Kirkus Reviews "Harmon’s personable and warm account of what it was like to work for one of the twentieth century’s musical giants casts new light on Bernstein and his world." —Booklist "This multifaceted perspective gives readers plenty of salacious gossip paired with insight into Leonard Bernstein’s remarkable artistic achievements later in life." —Library Journal On the Road is a colorfully written, unforgettably entertaining and unputdownable book, and is available just in time for LB’s 100th birthday. Unreservedly recommended. —Fanfare Magazine Leonard Bernstein reeked of cheap cologne and obviously hadn't showered, shaved, or slept in a while. Was he drunk to boot? He greeted his new assistant with "What are you drinking?" Yes, he was drunk. Charlie Harmon was hired to manage the day-to-day parts of Bernstein's life. There was one additional responsibility: make sure Bernstein met the deadline for an opera commission. But things kept getting in the way: the centenary of Igor Stravinsky, intestinal parasites picked up in Mexico, teaching all summer in Los Angeles, a baker's dozen of young men, plus depression, exhaustion, insomnia, and cut-throat games of anagrams. Did the opera get written? For four years, Charlie saw Bernstein every day, as his social director, gatekeeper, valet, music copyist, and itinerant orchestra librarian. He packed (and unpacked) Bernstein's umpteen pieces of luggage, got the Maestro to his concerts, kept him occupied changing planes in Zurich, Anchorage, Tokyo, or Madrid, and learned how to make small talk with mayors, ambassadors, a chancellor, a queen, and a Hollywood legend or two. How could anyone absorb all those people and places? Because there was music: late-night piano duets, or the Maestro's command to accompany an audition, or, by the way, the greatest orchestras in the world. Charlie did it, and this is what it was like, told for the first time.