A business executive offers a manifesto for corporate chiefs, entrepreneurs, and startup professionals that shows the impact of today’s “hustle culture” on work-life balance.
Hidalgo (Driving Demand, 2015) shares his story of co-founding and growing a marketing business while he neglected his family at home. Eventually, he reached a crossroads where he had to choose to either continue his pursuit of the “American Dream”—expanding his company at the risk of losing his family and marriage—or take a step back and redefine success as it related to his own values. He decided to quit the business he had nurtured for over a decade so he could spend more time with his family. Each chapter of his book challenges business executives to question whether they are sacrificing for their families by working long hours or forcing their loved ones to make sacrifices for them. Questions are included at the end of most sections that entreat readers to engage in self-reflection. They include “What does happiness and joy look like for you?” and “Who are those that are making the sacrifice so you can achieve professionally?” There is an illuminating chapter written by the author’s wife, Susanne, that explains the impact his constant work travel and long hours had on her and their children. The author includes many vivid anecdotes and stories from male business professionals who either decided to step off the corporate ladder to focus on their home lives or were still grappling with how to do so. While the book features some anecdotes about female executives, it would have benefited from more of their stories. On top of striving for work-life balance, they are often expected to organize child care and housekeeping duties. The sincere work ends abruptly after providing a diverse and intriguing collection of corporate profiles.
An earnest but uneven call to arms for those who need warnings about what they will lose by constantly working.
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").
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)