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Tesla is the most exciting car company in a generation . . . but can it live up to the hype?Tesla Motors and CEO Elon Musk have become household names, shaking up the staid auto industry by creating a set of innovative electric vehicles that have wowed the marketplace and defied conventional wisdom. The company’s market valuation now rivals that of long-established automakers, and, to many industry observers, Tesla is defining the future of the industry. But behind the hype, Tesla has some serious deficiencies that raise questions about its sky-high valuation, and even its ultimate survival. Tesla’s commitment to innovation has led it to reject the careful, zero-defects approach of other car manufacturers, even as it struggles to mass-produce cars reliably, and with minimal defects. While most car manufacturers struggle with the razor-thin margins of mid-priced sedans, Tesla’s strategy requires that the Model 3 finally bring it to profitability, even as the high-priced Roadster and Model S both lost money. And Tesla’s approach of continually focusing on the future, even as commitments and deadlines are repeatedly missed, may ultimately test the patience of all but its most devoted fans. In Ludicrous, journalist and auto industry analyst Edward Niedermeyer lays bare the disconnect between the popular perception of Tesla and the day-to-day realities of the company—and the cars it produces. Blending original reporting and never-before-published insider accounts with savvy industry analysis, Niedermeyer tells the story of Tesla as it’s never been told before—with clear eyes, objectivity and insight.

Index of issues #1-33. P.P.E. Channelling. Ludicrous Magic.

Scurvy took a terrible toll in the Age of Sail, killing more sailors than were lost in all sea battles combined. The threat of the disease kept ships close to home and doomed those vessels that ventured too far from port. The willful ignorance of the royal medical elite, who endorsed ludicrous medical theories based on speculative research while ignoring the life-saving properties of citrus fruit, cost tens of thousands of lives and altered the course of many battles at sea. The cure for scurvy ranks among the greatest of human accomplishments, yet its impact on history has, until now, been largely ignored. From the earliest recorded appearance of the disease in the sixteenth century, to the eighteenth century, where a man had only half a chance of surviving the scourge, to the early nineteenth century, when the British conquered scurvy and successfully blockaded the French and defeated Napoleon, Scurvy is a medical detective story for the ages, the fascinating true story of how James Lind (the surgeon), James Cook (the mariner), and Gilbert Blane (the gentleman) worked separately to eliminate the dreaded affliction. Scurvy is an evocative journey back to the era of wooden ships and sails, when the disease infiltrated every aspect of seafaring life: press gangs "recruit" mariners on the way home from a late night at the pub; a terrible voyage in search of riches ends with a hobbled fleet and half the crew heaved overboard; Cook majestically travels the South Seas but suffers an unimaginable fate. Brimming with tales of ships, sailors, and baffling bureaucracy, Scurvy is a rare mix of compelling history and classic adventure story.

"Brilliant stuff. It captures the terrific, obsessive, ludicrous pomposity of every music fans youth in an utterly definitive way." Irvine Welsh"I wanted to live in this book." ― Kim GordonRoss Raymond and Johnny McLaughlin are two fanboys dedicated to the Airdrie post-punk scene of the early ’80s – the glory years – when anything and everything seemed possible. Looking back on that time – the people, the bands, the underground legends – they piece together a story which has at its core Memorial Device, the greatest band you’ve never heard of. Featuring a cast of misfits, artists, drop-outs, small-town visionaries and musicians, This Is Memorial Device is a dark, witty novel depicting a moment where art and the demands it makes are as serious as life itself.

A humorous and candid look at Hollywood's most embarrassing, ridiculous, ludicrous, and obnoxious movies and cinematic performances culminates with a discussion of the worst motion picture of all time

A prank is a trick, a mischievous act, and a ludicrous act. Although not regarded as poetic or artistic acts, pranks constitute an art form and genre. Here, pranksters such as Mark Pauline, Monte Cazazza, Jello Biafra, Joe Coleman, Karen Finley, Henry Rollins, John Waters and Henry Rollins challenge the sovereign authority of words, images and behavioral convention. Some tales are bizarre, as when Boyd Rice presented the First Lady with a skinned sheep's head on a platter. This iconoclastic compendium will dazzle and delight all lovers of humor, satire and irony. A great quotations section is also included.

A prank is a "trick, a mischievous act, a ludicrous act." Although not regarded as poetic or artistic acts, pranks constitute an art form and genre in themselves. Here pranksters such as Timothy Leary, Abbie Hoffman, Monte Cazazza, Jello Biafra, Earth First!, Joe Coleman, Karen Finley, John Waters and Henry Rollins (and more) challenge the sovereign authority of words, images & behavioral convention. This iconoclastic compendium will dazzle and delight all lovers of humor, satire and irony.

Reproductions of the acclaimed American artist's illustrations teaching children the numbers from one to twenty are presented along with three pictures containing scores of ludicrous mistakes in honor of April Fool's Day

Uncovering an archive of laughter, from the forbidden giggle to the explosive guffaw.Most of our theories of laughter are not concerned with laughter. Rather, their focus is the laughable object, whether conceived of as the comic, the humorous, jokes, the grotesque, the ridiculous, or the ludicrous. In Laughter, Anca Parvulescu proposes a return to the materiality of the burst of laughter itself. She sets out to uncover an archive of laughter, inviting us to follow its rhythms and listen to its tones. Historically, laughter―especially the passionate burst of laughter―has often been a faux pas. Manuals for conduct, abetted by philosophical treatises and literary and visual texts, warned against it, offering special injunctions to ladies to avoid jollity that was too boisterous. Returning laughter to the history of the passions, Parvulescu anchors it at the point where the history of the grimacing face meets the history of noise. In the civilizing process that leads to laughter's “falling into disrepute,” as Nietzsche famously put it, we can see the formless, contorted face in laughter being slowly corrected into a calm, social smile. How did the twentieth century laugh? Parvulescu points to a gallery of twentieth-century laughers and friends of laughter, arguing that it is through Georges Bataille that the century laughed its most distinct laugh. In Bataille's wake, laughter becomes the passion at the heart of poststructuralism. Looking back at the century from this vantage point, Parvulescu revisits four of its most challenging projects: modernism, the philosophical avant-gardes, feminism, and cinema. The result is an overview of the twentieth century as seen through the laughs that burst at some of its most convoluted junctures.

“A great and calamitous sequence of arguments with the universe: poignant, terrifying, ludicrous, and brilliant. The Exegesis is the sort of book associated with legends and madmen, but Dick wasn’t a legend and he wasn’t mad. He lived among us, and was a genius.”—Jonathan LethemBased on thousands of pages of typed and handwritten notes, journal entries, letters, and story sketches, The Exegesis of Philip K. Dick is the magnificent and imaginative final work of an author who dedicated his life to questioning the nature of reality and perception, the malleability of space and time, and the relationship between the human and the divine. Edited and introduced by Pamela Jackson and Jonathan Lethem, this is the definitive presentation of Dick’s brilliant, and epic, work.In the Exegesis, Dick documents his eight-year attempt to fathom what he called “2-3-74,” a postmodern visionary experience of the entire universe “transformed into information.” In entries that sometimes ran to hundreds of pages, in a freewheeling voice that ranges through personal confession, esoteric scholarship, dream accounts, and fictional fugues, Dick tried to write his way into the heart of a cosmic mystery that tested his powers of imagination and invention to the limit.This volume, the culmination of many years of transcription and archival research, has been annotated by the editors and by a unique group of writers and scholars chosen to offer a range of views into one of the most improbable and mind-altering manuscripts ever brought to light.

Winogrand's zoo, even if true, is a grotesquery. It is a surreal Disneyland where unlikely human beings and jaded careerist animals stare at each other through bars, exhibiting bad manners and a mutual failure to recognize their own ludicrous predicaments.--John Szarkowski The Animals is a classic photo book by the incessant, masterful photographer Garry Winogrand, reissued in a new edition by The Museum of Modern Art, New York, which first published the book in 1968. In it, Winogrand leaves the streets of the city for the caged aisles of the real urban jungle, the zoo, where he captures some of the more humiliating and strange moments in the lives of God's creatures. See a lion stick its tongue out between chain-link fencing, an orangutan pee into another's mouth, a hippo give a great big yawn, two lions lamely going at it, and seals watching lovers kiss.

The fifth volume in the ludicrously misinformative HOW Series.For many years the scientific and educational community has wondered and worried about the possibility that semi-sane scholar pretenders would find the means to put out a series of reference books aimed at children but filled with ludicrous misinformation. These books would be distributed through respectable channels and would inevitably find their way into the hands and households of well-meaning families, who would go to them for facts but instead find bizarre untruths. The books would look normal enough, but would read as if written by people who should at all costs be denied access to pens and pencils.Sadly, with the publication of this, the fifth volume in a proposed series of 377 reference books, that day has come. Children and the Tundra is actually two books in one, as Dr. Doris Haggis-on-Whey, due to space constraints, is forced to explain both the concept of children a species she doesn’t trust for a second and the tundra, in one book. She is, as always, joined in her crusade of lies by her husband, Benny, who is mostly useless.

The latest research on the ultimate whodunnit by the world's leading society for Ripper studies The Whitechapel Murders of 1888 remain unsolved and hundreds of theories have been suggested as to the killer's identity. However, many of the suggestions naming the infamous Ripper remain ill-informed and ludicrous, until now. The authors of this book are all members of The Whitechapel Society, the world's largest organization for the study of Jack the Ripper. Each has spent many years researching a particular suspect and the results of their latest, cutting-edge investigations are published here for the first time. Based on indisputable facts and concrete evidence, the cases put forward in this collection allow readers to decide exactly who they believe is the man behind the myth. With each chapter discussing a separate suspect in detail, this book is the ultimate guide to one of the most famous criminal investigations in history.

Compiles some six hundred state and local ordinances, statutes, and laws, from all fifty states, that range from the patently ludicrous to the harmlessly amusing

Michael Latchmer, instructed to bury the corpse of a date's pet dog, finds himself on a Dantesque adventure with a Haitian cab driver who claims that he can get money for the dog's body. "This is a ludicrous, occasionally amusing romp," said PW , although "the polished writing of novelist and poet Dobyns deserves a stronger plot than this." Copyright 1991 Reed Business Information, Inc.

'In the beginning, my journeys feel at best ludicrous, at worst insane. This one is no exception.' Kira Salak recently became the first person to successfully canoe 600 miles down the River Niger from Old Segou to Timbuktu - the golden city of the Middle Ages, and, legend has it, the doorway to the end of the world - in Mali, West Africa. Enduring tropical storms, hippos, rapids, the unrelenting heat of the Sahara desert and the mercurial moods of this notorious river, she travelled alone through one of the most desolate regions in Africa where little had changed since British explorer Mungo Park was taken captive by Moors in 1797. Dependent on local people for food and shelter, each night she came ashore to stay in remote mud-hut villages on the Niger's banks, meeting Dogon sorceresses and tribes who were alternately welcoming and hostlle, so remarkable was the sight of an unaccompanied white woman paddling all the way to Timbuktu. In one instance she barely escaped from men who chased after her in wooden canoes, but she finally arrived, weak but triumphant, at her fabled destination. There, she fulfilled her ultimate goal by buying the freedom of two Bella slaves with gold. THE CRUELLEST JOURNEY is a compelling memoir and a meditation on self-will by a young adventurer without equal, whose writing is as thrilling as her life.

On a day in April, just after three o'clock in the afternoon, Robert Maitland's car crashes over the concrete parapet of a high-speed highway onto the island below, where he is injured and, finally, trapped. What begins as an almost ludicrous predicament soon turns into horror as Maitland--a wickedly modern Robinson Crusoe--realizes that, despite evidence of other inhabitants, this doomed terrain has become a mirror of his own mind. Seeking the dark outer rim of the everyday, Ballard weaves private catastrophe into an intensely specular allegory.

Winogrand's zoo, even if true, is a grotesquery. It is a surreal Disneyland where unlikely human beings and jaded careerist animals stare at each other through bars, exhibiting bad manners and a mutual failure to recognize their own ludicrous predicaments.--John Szarkowski The Animals is a classic photo book by the incessant, masterful photographer Garry Winogrand, reissued in a new edition by The Museum of Modern Art, New York, which first published the book in 1968. In it, Winogrand leaves the streets of the city for the caged aisles of the real urban jungle, the zoo, where he captures some of the more humiliating and strange moments in the lives of God's creatures. See a lion stick its tongue out between chain-link fencing, an orangutan pee into another's mouth, a hippo give a great big yawn, two lions lamely going at it, and seals watching lovers kiss.

It is a widespread prejudice of modern, scientific society that "magic" is merely a ludicrous amalgam of recipes and methods derived from primitive and erroneous notions about nature. Eros and Magic in the Renaissance challenges this view, providing an in-depth scholarly explanation of the workings of magic and showing that magic continues to exist in an altered form even today. Renaissance magic, according to Ioan Couliano, was a scientifically plausible attempt to manipulate individuals and groups based on a knowledge of motivations, particularly erotic motivations. Its key principle was that everyone (and in a sense everything) could be influenced by appeal to sexual desire. In addition, the magician relied on a profound knowledge of the art of memory to manipulate the imaginations of his subjects. In these respects, Couliano suggests, magic is the precursor of the modern psychological and sociological sciences, and the magician is the distant ancestor of the psychoanalyst and the advertising and publicity agent. In the course of his study, Couliano examines in detail the ideas of such writers as Giordano Bruno, Marsilio Ficino, and Pico della Mirandola and illuminates many aspects of Renaissance culture, including heresy, medicine, astrology, alchemy, courtly love, the influence of classical mythology, and even the role of fashion in clothing. Just as science gives the present age its ruling myth, so magic gave a ruling myth to the Renaissance. Because magic relied upon the use of images, and images were repressed and banned in the Reformation and subsequent history, magic was replaced by exact science and modern technology and eventually forgotten. Couliano's remarkable scholarship helps us to recover much of its original significance and will interest a wide audience in the humanities and social sciences.