The compelling untold story of a universal luxury that is unattainable to the very people who provide its most essential ingredient.
Most of the world’s chocolate is produced in some of the least stable, most impoverished places in the world—places like Côte d’Ivoire, Africa, which for 15 years has been in near-constant political upheaval. Harvesting and processing cocoa pods is backbreaking, dangerous labor in a region roiled by ethnic cleansing and in some areas civil war. The workers who get paid at all lose much of their meager wages to government “fees” that amount to state-sanctioned bribery—and they’re the lucky ones. The unlucky ones are nothing less than modern-day slaves, many of them children “hired” through brokers and forced to work long hours for no pay and little or no food. But chocolate consumption has always relied on exploitation, argues Off (The Ghosts of Medak Pocket: The Story of Canada’s Secret War, 2004, etc.): from Meso-American times, when slaves harvested and mashed cocoa pods to make a bitter drink for their masters, to the colonial era, when European slave merchants traded African workers to cocoa plantations. The chocolate industry has been aware of slave labor in cocoa production since at least the 19th century, she writes, but almost no progress has been made in wiping it out. Congress has rejected efforts to institute a “slave free” labeling system, preferring a voluntary system that, Off contends, has no teeth. So-called “fair trade” chocolate is no panacea either, as a growing number of small chocolate companies have been taken over by the very multinationals to which they were supposed to provide alternatives.
Offers only vexing problems, not solutions, but does so with clarity, conviction and outrage.
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)