Introducing The Black and White Factory, an interactive and entertaining picture book in the vein of Hervé Tullet's Press Here and Mix It Up! Welcome to the Black and White Factory! Penguin, zebra, and panda will take you on a top-secret tour to see some black and white products that are made here, like salt and pepper shakers, dice, half decks of playing cards (only spades and clubs!), chess pieces, and tuxedos, in addition to a few special experimental projects. There are a few rules, though: No messes. No colors. No surprises allowed. EVER. But when the tour gets to the bar code room, some color has seeped in! It's up to the reader to try and rub it off and tilt the book so that it comes off, but nothing works! The animals then use a giant cleaning contraption and need you to help blow into the nozzle to power the machine, and it starts to work! But there's too much color to clean, and it blows color all over the factory. And the animals love it! But of course, they'll have to change the rules a bit now: messes, colors, surprises allowed. forEVER!

Factory Made: Warhol and the Sixties is a fascinating look at the avant-garde group that came together—from 1964 to 1968—as Andy Warhol’s Silver Factory, a cast that included Lou Reed, Nico, Edie Sedgwick, Gerard Malanga, Paul Morrissey, Joe Dallesandro, Billy Name, Candy Darling, Baby Jane Holzer, Brigid Berlin, Ultra Violet, and Viva. Steven Watson follows their diverse lives from childhood through their Factory years. He shows how this ever-changing mix of artists and poets, musicians and filmmakers, drag queens, society figures, and fashion models, all interacted at the Factory to create more than 500 films, the Velvet Underground, paintings and sculpture, and thousands of photographs. Between 1961 and 1964 Warhol produced his most iconic art: the Flower paintings, the Marilyns, the Campbell’s Soup Can paintings, and the Brillo Boxes. But it was his films—Sleep, Kiss, Empire, The Chelsea Girls, and Vinyl—that constituted his most prolific output in the mid-1960s, and with this book Watson points up the important and little-known interaction of the Factory with the New York avant-garde film world. Watson sets his story in the context of the revolutionary milieu of 1960s New York: the opening of Paul Young’s Paraphernalia, Truman Capote’s Black and White Ball, Max’s Kansas City, and the Beautiful People Party at the Factory, among many other events. Interspersed throughout are Watson’s trademark sociogram, more than 130 black-and-white photographs—some never before seen—and many sidebars of quotes and slang that help define the Warholian world. With Factory Made, Watson has focused on a moment that transformed the art and style of a generation.

The Factory Question and Industrial England addresses the continuing controversy over industrialisation. It investigates different perceptions of the 'factory system' either as a threat or a promise, and the contested meanings of waged work in industry. Making use of a great variety of sources, such as sermons, medical treatises, fictional and visual representations, Robert Gray places the languages of debate in their cultural contexts, paying particular attention to the shifting constructions of class and gender in the rhetoric of reform, and the ambiguities and tensions inherent in 'protective' legislation. He then relates patterns of conflict over factory legislation to the features of specific industrial towns. The combination of regional, cultural and textual analysis makes this book a coherent and original contribution to the study of industrial Britain in the nineteenth century.

The instant New York Times bestseller about one man's battle to save hundreds of jobs by demonstrating the greatness of American business. The Bassett Furniture Company was once the world's biggest wood furniture manufacturer. Run by the same powerful Virginia family for generations, it was also the center of life in Bassett, Virginia. But beginning in the 1980s, the first waves of Asian competition hit, and ultimately Bassett was forced to send its production overseas. One man fought back: John Bassett III, a shrewd and determined third-generation factory man, now chairman of Vaughan-Bassett Furniture Co, which employs more than 700 Virginians and has sales of more than $90 million. In Factory Man, Beth Macy brings to life Bassett's deeply personal furniture and family story, along with a host of characters from an industry that was as cutthroat as it was colorful. As she shows how he uses legal maneuvers, factory efficiencies, and sheer grit and cunning to save hundreds of jobs, she also reveals the truth about modern industry in America.

Focusing on the menhaden fishermen of the southern coastal regions, The Fish Factory is an engaging and insightful exploration of what work means to different social groups employed within the same industry. Since the nineteenth century, the menhaden industry in the South has been traditionally split between black crews and white captains. Using life histories, historical research, and anthropological fieldwork in Reedville, Virginia, and Beaufort, North Carolina, Barbara Garrity-Blake examines the relationship between these two groups and how the members of each have defined themselves in terms of their work. The author finds that for the captains and other white officers of the menhaden vessels--men "born and bred" for a life on the water--work is a key source of identity. Black crewmen, however, have insisted on a separation between work and self; they view their work primarily as a means of support rather than an end in itself. In probing the implications of this contrast, Garrity-Blake describes captain/crew relations within both an occupational context and the context of race relations in the South. She shows how those at the bottom of the shipboard hierarchy have exercised a measure of influence in a relationship at once asymmetrical and mutually dependent. She also explores how each group has reacted to the advent of technology in their industry and, most recently, to the challenges posed by those proclaiming a conservationist ethic.

From the vital voice of Elijah Anderson, Black in White Space sheds fresh light on the dire persistence of racial discrimination in our country. A birder strolling in Central Park. A college student lounging on a university quad. Two men sitting in a coffee shop. Perfectly ordinary actions in ordinary settings—and yet, they sparked jarring and inflammatory responses that involved the police and attracted national media coverage. Why? In essence, Elijah Anderson would argue, because these were Black people existing in white spaces. In Black in White Space, Anderson brings his immense knowledge and ethnography to bear in this timely study of the racial barriers that are still firmly entrenched in our society at every class level. He focuses in on symbolic racism, a new form of racism in America caused by the stubbornly powerful stereotype of the ghetto embedded in the white imagination, which subconsciously connects all Black people with crime and poverty regardless of their social or economic position. White people typically avoid Black space, but Black people are required to navigate the “white space” as a condition of their existence. From Philadelphia street-corner conversations to Anderson’s own morning jogs through a Cape Cod vacation town, he probes a wealth of experiences to shed new light on how symbolic racism makes all Black people uniquely vulnerable to implicit bias in police stops and racial discrimination in our country. An unwavering truthteller in our national conversation on race, Anderson has shared intimate and sharp insights into Black life for decades. Vital and eye-opening, Black in White Space will be a must-read for anyone hoping to understand the lived realities of Black people and the structural underpinnings of racism in America.

Based on dozens of interviews and previously unpublished material, Factory Made is the most comprehensive account to date of the artistic aura in the 60s. During the period Warhol was producing his most iconic art: Marilyn, Campbell Soup and Brillo boxes, Steven Watson shows how the ever-changing cast of characters at the Silver Factory - an eclectic and eccentric mix of artists, poets, musicians, filmmakers, hustlers and drag queens - interacted to create more than five hundred movies, a now-classic rock album and thousands of photographs and paintings.

This is where the KKK and Back Legion congregated in the 1920s and 1930s. This is where America’s most racist suburb bread. By centuries end, this is where the white extremists control the city some sixty miles out. This is a racist hell. These are the Detroit Northwestern Heydays.