Here are 100 books that Populuxe fans have personally recommended if you like
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I’m an author and former journalist with a fascination with design and consumer culture. I’ve been writing about design and pop culture since completing an assignment on Jack Telnack’s Ford Taurus and Thunderbird designs for a national news magazine. My interest deepened when I moved to daily journalism and wrote about Raymond Loewy’s design for the S-1 Pennsylvania Railroad locomotive. When the newspaper industry began cratering in a blizzard of mergers, buyouts, and bad management, I spent 25 years working in media relations at Penn State and Juniata College. I looked for an involving side project as a respite from writing professorial profiles and found safe haven with the life and legacy of Raymond Loewy.
Randall Rothenberg, an advertising industry reporter for The New York Times, applied the Tracy Kidder Method of journalistic immersion in a process or profession to a single advertising campaign from start to finish. He chose wisely, focusing on the then up-and-coming Weiden + Kennedy—an ad agency riding the success of Nike’s “Bo Knows” commercials. His choice of product? Subaru of America, which, at the time, was the cellar-dweller of Japanese imports. Rothenberg effortlessly captures the high-stakes tension of the ad industry while not neglecting aspects of the industry that are more smoke and mirrors than research-grounded truths.
Rothenberg is exceptional at providing windows into advertising history as his story unfolds. Throughout the span of the campaign, he unsparingly documents inspiration, idiocy (W+K assigns a creative director who hates cars), and an intimate look at how advertising works.
"For all the right reasons." "Cars that can." "What to Drive." "The perfect Car for an Imperfect World." Only one of these slogans would be chosen by Subaru of America to sell its cars in the recession year of 1991.
As six advertising agencies scrambled for the account and the winner tried to churn out the Big Idea that would install Subaru in the collective national unconscious, Randall Rothenberg was there, observing every nuance of the chaos, comedy, creativity, and egotism that made up an ad campaign.
One can read Rothenberg's book as the behind-the-scenes chronicle of the brief and…
I’m an author and former journalist with a fascination with design and consumer culture. I’ve been writing about design and pop culture since completing an assignment on Jack Telnack’s Ford Taurus and Thunderbird designs for a national news magazine. My interest deepened when I moved to daily journalism and wrote about Raymond Loewy’s design for the S-1 Pennsylvania Railroad locomotive. When the newspaper industry began cratering in a blizzard of mergers, buyouts, and bad management, I spent 25 years working in media relations at Penn State and Juniata College. I looked for an involving side project as a respite from writing professorial profiles and found safe haven with the life and legacy of Raymond Loewy.
Examining automobiles people buy offers, if not a window into their soul, then a peek into their personal values. Ingrassia, a Wall Street Journal automotive reporter, guides us down a freeway of history and consumerism that “begat the middle class, the suburbs, shopping malls, McDonald's, Taco Bell, drive-through banking and other things.” He traces our romance with tires, horsepower, and wood-trimmed interiors through 15 models ranging from the Model T to the Prius. As stories of the Corvette, Jeep, GTO, VW Beetle and VWMicrobus, the unfairly maligned Chevy Corvair, and others roll by, Ingrassia integrates how each successive model forever changed customer desires and the often-cramped minds of auto executives. His cruise-control writing style rewards us with a smooth journey among the cars of our dreams.
From Pulitzer Prize-winning journalist Paul Ingrassia comes a narrative of America like no other: a cultural history that explores how cars have both propelled and reflected the national experience—from the Model T to the Prius.
A narrative like no other: a cultural history that explores how cars have both propelled and reflected the American experience— from the Model T to the Prius.
From the assembly lines of Henry Ford to the open roads of Route 66, from the lore of Jack Kerouac to the sex appeal of the Hot Rod, America’s history is a vehicular history—an idea brought brilliantly to…
I’m an author and former journalist with a fascination with design and consumer culture. I’ve been writing about design and pop culture since completing an assignment on Jack Telnack’s Ford Taurus and Thunderbird designs for a national news magazine. My interest deepened when I moved to daily journalism and wrote about Raymond Loewy’s design for the S-1 Pennsylvania Railroad locomotive. When the newspaper industry began cratering in a blizzard of mergers, buyouts, and bad management, I spent 25 years working in media relations at Penn State and Juniata College. I looked for an involving side project as a respite from writing professorial profiles and found safe haven with the life and legacy of Raymond Loewy.
Halberstam, known for big, thick books centered around big American themes, treads the same ground as Thomas Hine’s Populuxe. Instead of concentrating on refrigerators and roadsters, Halberstam tackles the political, social, economic, and cultural change in America during the 1950s—essentially, he examined the rivets in the launching pad for the American Century. Halberstam’s great gift of teasing out stories of long-overlooked contributors is put to effortless use here as we meet Kemmons Wilson, founder of the Holiday Inn hotels, the McDonald brothers, auto designer Harley Earl, ad man Rosser Reeves and Goody Pincus, developer of the birth control pill. Other, more famous connectors are duly noted—Elvis, McCarthy, MacArthur, Ozzie Nelson, Uncle Miltie—but in the end, Halberstam’s book is an inspiration (and a template) for writers of cultural history.
The Fifties is a sweeping social, political, economic, and cultural history of the ten years that Halberstam regards as seminal in determining what our nation is today. Halberstam offers portraits of not only the titans of the age: Eisenhower Dulles, Oppenheimer, MacArthur, Hoover, and Nixon, but also of Harley Earl, who put fins on cars; Dick and Mac McDonald and Ray Kroc, who mass-produced the American hamburger; Kemmons Wilson, who placed his Holiday Inns along the nation's roadsides; U-2 pilot Gary Francis Powers; Grace Metalious, who wrote Peyton Place; and "Goody" Pincus, who led the team that invented the Pill.…
Tap Dancing on Everest, part coming-of-age memoir, part true-survival adventure story, is about a young medical student, the daughter of a Holocaust survivor raised in N.Y.C., who battles self-doubt to serve as the doctor—and only woman—on a remote Everest climb in Tibet.
I’m an author and former journalist with a fascination with design and consumer culture. I’ve been writing about design and pop culture since completing an assignment on Jack Telnack’s Ford Taurus and Thunderbird designs for a national news magazine. My interest deepened when I moved to daily journalism and wrote about Raymond Loewy’s design for the S-1 Pennsylvania Railroad locomotive. When the newspaper industry began cratering in a blizzard of mergers, buyouts, and bad management, I spent 25 years working in media relations at Penn State and Juniata College. I looked for an involving side project as a respite from writing professorial profiles and found safe haven with the life and legacy of Raymond Loewy.
Bayley’s mastery of the language of design is apparent from his opening introduction to this collection of essays on American and European products. Bayley’s overview is not only essential for understanding design; it’s also a must-read for those who want to write about design. Bayley’s opinions are the gold standard, cemented by the certainty of judgment that comes so easily to British writers. He writes with reverence as well as an incisive point of view about the Eames chair, a Studebaker coupe, and dozens of other milestone products. Among the designer biographies: Wells Coates, Mies van der Rohe, and, yes, Raymond Loewy. It is the pre-eminent introduction to the field of industrial design. Once read, finding his other works (“Harley Earl,” “Ugly,” “Taste,” “Cars,” “Design A-Z,” “Sex,” “Woman as Design,” and other titles) becomes mandatory.
Industrial design from the first six decades of this century is explored in an anthology of essays on design, hundreds of photographs of consumer products ranging from pens to aircraft, and biographies of leading designers
I am a film buff and history nerd who has brought her two passions together in the study of history on screen. So much of what we know is shaped by what we watch. It is crucial that we don’t dismiss historical TV shows and films as mere entertainment and instead work to understand how history is constructed and represented on screen. I have spent my postgraduate career exploring the screen’s unique capabilities for telling historical stories. I received my PhD from the University of Auckland and currently teach film studies at Media Design School, Aotearoa’s leading digital creativity tertiary provider.
Sets, props, and costumes are not only part of the historical film’s allure but play an important role in the construction of the historical narrative; to ignore this element of screen history is criminal. Sprengler’s book gives “visual pastness” the attention it deserves, delving into the form and function of costumes in Far From Heaven and the cars inSin City (to name just two examples). Sprengler approaches the topic through the lens of nostalgia, adding another layer to the examination of history on screen. As someone who is fascinated by 1950s history and the representation of the 1950s on screen, Sprengler’s focus on this decade is a bonus.
"In this fascinating in-depth study of the impact of nostalgia on contemporary American cinema, Christine Sprengler unpicks the history of the concept and explores its significance in theory and practice. She offers a lucid analysis of the development of nostalgia in American society and culture, navigating a path through the key debates and aligning herself with recent attempts to recuperate its critical potential. This journey opens up the myriad permutations of nostalgia across visual and material culture and their interface with cinema, with the 1950s emerging as a privileged moment. Four case studies (Sin City, Far From Heaven, The Aviator…
I am an academic who writes about gender and media culture. At the start of my career, I often wrote about silent and classical-era Hollywood, and I still teach these periods, but most of my research now focuses on the contemporary era and the complexities of gender, class, and consumer culture. My current project is a study of the broken customer service culture and the anti-social effects of technologization called I’m Sorry You Feel That Way:’ Affect, Authority and Antagonism in the Cultures of Customer Service.
For the past 25 years, romantic comedy has largely been considered a failed genre, out of sync with a new climate of uncertainty about intimacy and couplehood.
This book challenges that oversimplified view and shows how romance narratives are shape-shifting in the 21st century. Even in an era of heteropessimism, romantic comedy continues to be an important form, and the contributors here track its increasing openness to racial and sexual minorities it traditionally overlooked.
In defiance of the alleged "death of romantic comedy," After "Happily Ever After": Romantic Comedy in the Post-Romantic Age edited by Maria San Filippo attests to rom-com's continuing vitality in new modes and forms that reimagine and rejuvenate the genre in ideologically, artistically, and commercially innovative ways. No longer the idyllic fairy tale, today's romantic comedies ponder the realities and complexities of intimacy, fortifying the genre's gift for imagining human connection through love and laughter. It has often been observed that the rom-com's "happily ever after" trope enables the genre to avoid addressing the challenges of coupled life. This volume's…
I am an academic who writes about gender and media culture. At the start of my career, I often wrote about silent and classical-era Hollywood, and I still teach these periods, but most of my research now focuses on the contemporary era and the complexities of gender, class, and consumer culture. My current project is a study of the broken customer service culture and the anti-social effects of technologization called I’m Sorry You Feel That Way:’ Affect, Authority and Antagonism in the Cultures of Customer Service.
Popular culture is littered with new archetypes of wifehood, both enacted (the “MILF,” the “trad wife,” the “Mormon Wife”) and aspirational (“I’m Looking for a Man in Finance”).
Leonard’s highly accessible book provides a way of thinking about this taken-for-granted category and places it in a range of critical and historical contexts. One of the most important contributions she makes is to track the emergence of the “professional wife” as a new status designation and revenue raising identity.
A fascinating look at the changing role of wives in modern America
After a half century of battling for gender equality, women have been freed from the necessity of securing a husband for economic stability, sexual fulfillment, or procreation. Marriage is a choice, and increasingly women (and men) are opting out. Yet despite these changes, the cultural power of marriage has burgeoned. What was once an obligation has become an exclusive club into which heterosexual women with the right amount of self-discipline may win entry. The newly exalted professionalized wife is no longer reliant on her husband's status or money;…
I am an academic who writes about gender and media culture. At the start of my career, I often wrote about silent and classical-era Hollywood, and I still teach these periods, but most of my research now focuses on the contemporary era and the complexities of gender, class, and consumer culture. My current project is a study of the broken customer service culture and the anti-social effects of technologization called I’m Sorry You Feel That Way:’ Affect, Authority and Antagonism in the Cultures of Customer Service.
While there are other books on the “matrimonial industrial complex,” this one provides a really in-depth analysis of the cultural fascination with weddings, and I found it an absolutely engrossing account of phenomena ranging from royal weddings to “purity porn.”
What comes across here is the scale of the idealized wedding as a consumerist ritual and form of deep aspirational investment. One of the most thought-provoking aspects of the book is the notion that the cultural norms around weddings and marriage have slipped out of alignment so that there is a growing gap between the celebration of getting married and the state of being in a marriage.
This book interrogates the hyper-visibility and stubborn endurance of the wedding spectacle across media and culture in the current climate.
The wide-ranging chapters consider why the symbolic power of weddings is intensifying at a time when marriage as an institution appears to be in decline - and they offer new insights into the shifting and complex gender politics of contemporary culture. The collection is a feminist project but does not straight-forwardly renounce the wedding spectacle. Rather, the diverse contributions offer close analyses of the myriad forms and practices of the wedding spectacle, from reality television and cinematic film to wedding…
I fell in love with Paris when I first went there and walked the streets for hours. It wasn’t the Haussman boulevards or the Eiffel Tower that captured my imagination, beautiful as they are. Rather, it was the older quarters and hidden corners that fascinated me. I wanted to know who lived there and what their lives were like. When I got the chance to do a PhD, that’s what I chose. After years in the different Paris archives, I still never get tired of uncovering their secrets. I’ve written four books about Paris and have plans for more!
A wonderful evocation of many aspects of everyday life in Europe’s 2nd biggest city. Who were “the people” and where were they in the social hierarchy? This book looks at the beginnings of a consumer culture: what did ordinary families earn and what did this enable them to buy. Where and how did they live? How did working Parisians dress, what did they read, how did they spend their holidays? It’s all there!
In his collective portrait of the common people, Roche offers a rich and fascinating description of their lives--their housing, food, dress, financial dealings, literature, domestic life, and leisure time. Roche's highly readable style and use of contemporary quotations enliven the reader's view of eighteenth-century Paris and Parisians.
I am an academic who writes about gender and media culture. At the start of my career, I often wrote about silent and classical-era Hollywood, and I still teach these periods, but most of my research now focuses on the contemporary era and the complexities of gender, class, and consumer culture. My current project is a study of the broken customer service culture and the anti-social effects of technologization called I’m Sorry You Feel That Way:’ Affect, Authority and Antagonism in the Cultures of Customer Service.
Written long before J.D. Vance made single women an open political target, Anthea Taylor’s book propounds skepticism in regard to the frequent cliche that they are now a privileged and celebrated class.
In fact, as she shows, this truism is part of the cultural construction of single women as a problematic population subject to evolving modes of cultural criticism and denigration. This book astutely analyzes their depiction in “chick lit,” reality tv, blogs and self-help modes. It’s smart and scholarly as well as highly readable.
Single Women in Popular Culture demonstrates how single women continue to be figures of profound cultural anxiety. Examining a wide range of popular media forms, this is a timely, insightful and politically engaged book, exploring the ways in which postfeminism limits the representation of single women in popular culture.