The Last Cruze

As the General Motors plant in Lordstown, Ohio halted production and faced possible closure, displacing its workers, artist LaToya Ruby Frazier joined with these workers, their families, and their local union leaders to tell the story of the plant in its final days. After more than fifty years of automobile production and a commitment to manufacture the Chevrolet Cruze until 2021, the facility was recently "unallocated" by GM, as the company shifts its focus toward overseas manufacturing and the production of electric and autonomous vehicles. For many, this meant uprooting their families and giving up the support of a close-knit community. Those who turned down transfers to GM plants in other states lost their income, pensions, and benefits. The Last Cruze, which sets out to amplify the voices of the auto workers in Lordstown, introduces a new chapter to Frazier's work in investigating labor, family, community, and the working class. Exhibited at the Renaissance Society in 2019, this body of work includes over sixty photographs, alongside the written stories of the workers, and was staged within an installation that echoes the structure of the plant's assembly line. This substantial catalogue includes extensive documentation of the work and introduces new essays and dialogues by contributors including Coco Fusco, David Harvey, Werner Lange, Lynn Nottage, Julia Reichert, Benjamin Young, and members of the local chapter of the United Auto Workers.

As the General Motors plant in Lordstown, Ohio halted production and faced possible closure, displacing its workers, artist LaToya Ruby Frazier joined with these workers, their families, and their local union leaders to tell the story of the plant in its final days. After more than fifty years of automobile production and a commitment to manufacture the Chevrolet Cruze until 2021, the facility was recently "unallocated" by GM, as the company shifts its focus toward overseas manufacturing and the production of electric and autonomous vehicles. For many, this meant uprooting their families and giving up the support of a close-knit community. Those who turned down transfers to GM plants in other states lost their income, pensions, and benefits. The Last Cruze, which sets out to amplify the voices of the auto workers in Lordstown, introduces a new chapter to Frazier's work in investigating labor, family, community, and the working class. Exhibited at the Renaissance Society in 2019, this body of work includes over sixty photographs, alongside the written stories of the workers, and was staged within an installation that echoes the structure of the plant's assembly line. This substantial catalogue includes extensive documentation of the work and introduces new essays and dialogues by contributors including Coco Fusco, David Harvey, Werner Lange, Lynn Nottage, Julia Reichert, Benjamin Young, and members of the local chapter of the United Auto Workers.

In Love Your Life, Not Theirs, Rachel Cruze shines a spotlight on the most damaging money habit we have: comparing ourselves to others. Then she unpacks seven essential money habits for living the life we really want--a life in line with our values, where we can afford the things we want to buy without being buried under debt, stress, and worry. The Joneses are broke. Life looks good, but hidden beneath that glossy exterior are credit card bills, student loans, car payments, and an out-of-control mortgage. Their money situation is a mess, and they're trying to live a life they simply can't afford. So why exactly do we try so hard to keep up with the Joneses? Are we really living the lives we want, or are we chasing someone else's dream, just trying to keep up appearances on social media, at church, and in our community? Why are we letting other people set the pace for our own family's finances? In Love Your Life, Not Theirs, Rachel shows you how to buy and do the things that are important to you--the right way. That starts by choosing to quit the comparisons, reframing the way you think about money, and developing new habits like avoiding debt, living on a plan, watching your spending, saving for the future, having healthy conversations about money, and giving. These habits work, and Rachel is living proof. Now, she wants to empower you to live the life you've always dreamed of without creating the debt, stress, and worry that are all too often part of the deal. Social media isn't real life, and trying to keep up with the Joneses will never get you anywhere. It's time to live--and love--your life, not theirs. "I've never read a book about money that takes this approach--and that's a good thing! Comparison has a way of weaving itself throughout all aspects of our lives, including our money. In Love Your Life, Not Theirs, Rachel Cruze outlines the seven money habits that really matter--and they have nothing to do with keeping up with the Joneses!" Candace Cameron-Bure Actress, author, and co-host of The View "Love Your Life, Not Theirs is full of the kind of practical, straightforward advice we've come to expect from Rachel Cruze. She offers guidance on paying down debt, smart saving, and the right way to talk to your spouse about money. These indispensable tips can help with day-to-day spending decisions and put you on a path to establishing healthy financial habits." Susan Spencer Editor-in-Chief for Woman's Day "Cruze's self-deprecating and honest voice is a great resource for anyone wanting to take charge of their money. With humor and approachability, she helps her readers set themselves up for success and happiness, no matter what current financial state they may be in." Kimberly Williams-Paisley New York Times best-selling author of Where the Light Gets In "In today's world of social media, the temptation to play the comparison game is stronger than ever. Love Your Life, Not Theirs is the perfect reminder that, when it comes to money, comparison is a game you can't win. A terrific--and much needed--read." Jean Chatzky Financial Editor, NBC TODAY and Host of HerMoney with Jean Chatzky Podcast

In this, her first book, LaToya Ruby Frazier offers an incisive exploration of the legacy of racism and economic decline in America's small towns, as embodied by her hometown of Braddock, Pennsylvania. The work also considers the impact of that decline on the community and on her family, creating a statement both personal and truly political--an intervention in the histories and narratives of the region. Frazier has compellingly set her story of three generations--her Grandma Ruby, her mother, and herself--against larger questions of civic belonging and responsibility. The work documents her own struggles and interactions with family and the expectations of community, and includes the documentation of the demise of Braddock's only hospital, reinforcing the idea that the history of a place is frequently written on the body as well as the landscape. With The Notion of Family, Frazier knowingly acknowledges and expands upon the traditions of classic black-and-white documentary photography, enlisting the participation of her family--and her mother in particular. As Frazier says, her mother is "coauthor, artist, photographer, and subject. Our relationship primarily exists through a process of making images together. I see beauty in all her imperfections and abuse." In the creation of these collaborative works, Frazier reinforces the idea of art and image-making as a transformative act, a means of resetting traditional power dynamics and narratives, both those of her family and those of the community at large.

You Can Baby Step Your Way to Becoming a Millionaire Most people know Dave Ramsey as the guy who did stupid with a lot of zeros on the end. He made his first million in his twenties—the wrong way—and then went bankrupt. That’s when he set out to learn God’s ways of managing money and developed the Ramsey Baby Steps. Following these steps, Dave became a millionaire again—this time the right way. After three decades of guiding millions of others through the plan, the evidence is undeniable: if you follow the Baby Steps, you will become a millionaire and get to live and give like no one else. In Baby Steps Millionaires, you will . . . *Take a deeper look at Baby Step 4 to learn how Dave invests and builds wealth *Learn how to bust through the barriers preventing them from becoming a millionaire *Hear true stories from ordinary people who dug themselves out of debt and built wealth *Discover how anyone can become a millionaire, especially you Baby Steps Millionaires isn’t a book that tells the secrets of the rich. It doesn't teach complicated financial concepts reserved only for the elite. As a matter of fact, this information is straightforward, practical, and maybe even a little boring. But the life you'll lead if you follow the Baby Steps is anything but boring! You don’t need a large inheritance or the winning lottery number to become a millionaire. Anyone can do it—even today. For those who are ready, it’s game on!

A timely and urgent exploration into the ways artists have grappled with race and grief in modern America, conceived by the great curator Okwui Enwezor Featuring works by more than 30 artists and writings by leading scholars and art historians, this book - and its accompanying exhibition, both conceived by the late, legendary curator Okwui Enwezor - gives voice to artists addressing concepts of mourning, commemoration, and loss and considers their engagement with the social movements, from Civil Rights to Black Lives Matter, that black grief has galvanized. Artists included: Terry Adkins, Jean-Michel Basquiat, Kevin Beasley, Dawoud Bey, Mark Bradford, Garrett Bradley, Melvin Edwards, LaToya Ruby Frazier, Charles Gaines, Theaster Gates, Ellen Gallagher, Arthur Jafa, Daniel LaRue Johnson, Rashid Johnson, Jennie C. Jones, Kahlil Joseph, Deana Lawson, Simone Leigh, Glenn Ligon, Kerry James Marshall, Julie Mehretu, Tiona Nekkia McClodden, Okwui Okpokwasili, Adam Pendleton, Julia Phillips, Howardena Pindell, Cameron Rowland, Lorna Simpson, Sable Elyse Smith, Tyshawn Sorey, Diamond Stingily, Henry Taylor, Hank Willis Thomas, Kara Walker, Nari Ward, Carrie Mae Weems, and Jack Whitten. Essays by Elizabeth Alexander, Naomi Beckwith, Judith Butler, Ta-Nehisi Coates, Massimiliano Gioni, Saidiya Hartman, Juliet Hooker, Glenn Ligon, Mark Nash, Claudia Rankine, and Christina Sharpe.

The explosive novel of Italy’s revolutionary 1969 It was 1969, and temperatures were rising across the factories of the north as workers demanded better pay and conditions. Soon, discontent would erupt in what became known as Italy’s Hot Autumn. A young worker from the impoverished south arrives at Fiat’s Mirafiori factory in Turin, where his darker complexion begins to fade from the fourteen-hour workdays in sweltering industrial heat. His bosses try to withhold his wages. Our cynical, dry-witted narrator will not bend to their will. “I want everything, everything that’s owed to me,” he tells them. “Nothing more and nothing less, because you don’t mess with me.” Around him, students are holding secret meetings and union workers begin halting work on the assembly lines, crippling the Mirafiori factory with months of continuous strikes. Before long, barricades line the roads, tear gas wafts into private homes, and the slogan “We Want Everything” is ringing through the streets. Wrought in spare and measured prose, Balestrini’s novel depicts an explosive uprising. Introduced by Rachel Kushner, the author of the best-selling The Flamethrowers, We Want Everything is the incendiary fictional account of events that led to a decade of revolt.

Shani D'Cruze and Louise A. Jackson provide students with a lively overview of women's relationship to the criminal justice system in England, exploring key debates in the regulation of 'respectable' and 'deviant' femininities over the last 4 centuries. Major issues include: - Attitudes towards murder and infanticide - Prostitution - The decline of witchcraft belief - Sexual violence - The 'girl delinquent' - Theft and fraud. The volume also examines women's participation in illegal forms of protest and political activism, their experience of penal regimes as well as strategies of resistance, and their involvement in occupations associated with criminal justice itself. Assuming that men and women cannot be studied in isolation, D'Cruze and Jackson make reference to recent studies of masculinity and comment on the ways in which relations between men and women have been understood and negotiated across time. Featuring examples drawn from a rich range of sources such as court records, autobiographies, literature and film, this is an ideal introduction to an increasingly popular area of study.