The Promise of Space is written for the same intelligent laymen the author had in mind in The Exploration of Space (1951) "all those who are interested in the 'why' and 'how' of astronautics, yet do not wish to go into too many scientific details." Even the least scientifically inclined reader will be able to follow some of his history of space flight, his explanation of how one proceeds when there is "nothing to push against," his run-through of an Apollo mission or discussion of time dilation and the Theory of Relativity. Dr. Clarke eschews the military in his space probe (the moon may be of value for radio astronomy, as a colony, for example), accentuates the positive. "In the long run, the Comsat will be mightier than the ICBM." He bemuses with such thoughts as a million year trip to Proxima Centauri, or the fact that if there were an elevator to the moon, it would only cost ten dollars per passenger. Somehow he convinces that while the universe may be way out, it is also within reach. Publication is aimed to coincide with the release of the Clarke-Kubrick production, 2001: A Space Odyssey.

Pub Date: June 5, 1968

ISBN: 0425075656

Page Count: 340

Publisher: Harper & Row

Review Posted Online: Sept. 21, 2011

Kirkus Reviews Issue: June 1, 1968

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Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...



Privately published by Strunk of Cornell in 1918 and revised by his student E. B. White in 1959, that "little book" is back again with more White updatings.

Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis (whoops — "A bankrupt expression") a unique guide (which means "without like or equal").

Pub Date: May 15, 1972

ISBN: 0205632645

Page Count: 105

Publisher: Macmillan

Review Posted Online: Oct. 28, 2011

Kirkus Reviews Issue: May 1, 1972

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Noted jazz and pop record producer Thiele offers a chatty autobiography. Aided by record-business colleague Golden, Thiele traces his career from his start as a ``pubescent, novice jazz record producer'' in the 1940s through the '50s, when he headed Coral, Dot, and Roulette Records, and the '60s, when he worked for ABC and ran the famous Impulse! jazz label. At Coral, Thiele championed the work of ``hillbilly'' singer Buddy Holly, although the only sessions he produced with Holly were marred by saccharine strings. The producer specialized in more mainstream popsters like the irrepressibly perky Teresa Brewer (who later became his fourth wife) and the bubble-machine muzak-meister Lawrence Welk. At Dot, Thiele was instrumental in recording Jack Kerouac's famous beat- generation ramblings to jazz accompaniment (recordings that Dot's president found ``pornographic''), while also overseeing a steady stream of pop hits. He then moved to the Mafia-controlled Roulette label, where he observed the ``silk-suited, pinky-ringed'' entourage who frequented the label's offices. Incredibly, however, Thiele remembers the famously hard-nosed Morris Levy, who ran the label and was eventually convicted of extortion, as ``one of the kindest, most warm-hearted, and classiest music men I have ever known.'' At ABC/Impulse!, Thiele oversaw the classic recordings of John Coltrane, although he is the first to admit that Coltrane essentially produced his own sessions. Like many producers of the day, Thiele participated in the ownership of publishing rights to some of the songs he recorded; he makes no apology for this practice, which he calls ``entirely appropriate and without any ethical conflicts.'' A pleasant, if not exactly riveting, memoir that will be of most interest to those with a thirst for cocktail-hour stories of the record biz. (25 halftones, not seen)

Pub Date: May 1, 1995

ISBN: 0-19-508629-4

Page Count: 224

Publisher: Oxford Univ.

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: March 1, 1995

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