Successfully illustrates that breaking things down into manageable pieces and making even the smallest effort can have a...




An examination of the widely accepted belief that everyday citizens are powerless to effect positive change over the world’s issues.

With so many global crises, it can seem dishearteningly unlikely that anyone of modest means can effect meaningful change. LaMotte, author and musician, who has a master’s degree in International Studies Peace and Conflict Resolution, notes that as a culture, “we have come to a place where we equate cynicism with realism, and hope with naiveté.” While he does allow there is the alternative—naïve optimism—he asserts that living in hope isn’t naïve; he recommends “changing” not “fixing.” Additionally, while LaMotte doesn’t deny that there are times when larger efforts and sacrifices are necessary, he shows that, often, it’s the little things that count. Among other references, LaMotte compares the “Hero Narrative vs Movement Narrative” to illustrate how the Hero Narrative (“an extraordinary individual takes dramatic action in a moment of crisis”) doesn’t implement large-scale change nearly as effectively as the Movement Narrative (“many people taking small actions that contribute to a large shift”). Similar to the way a musician seems to suddenly appear with a hit record, few people realize that famous icons—Rosa Parks, Nelson Mandela and the Rev. Martin Luther King Jr.—had actually been working toward their goals for many years. For example, Rosa Parks’ bus incident wasn’t her first act of civil disobedience. While there are high-profile, outspoken people featured in the book, LaMotte makes a solid point that one doesn’t have to be a “radical activist” to make an impact. It’s not always the loudest voice doing all the work or making headway; rather, it’s also possible to support a cause and help effect change from behind the scenes. After many thoughtful, thought-provoking observations, as well as personal stories and relevant examples, LaMotte includes a section called “Pick One” that helps readers choose a cause and take the first steps in implementing a change.

Successfully illustrates that breaking things down into manageable pieces and making even the smallest effort can have a collective positive impact.

Pub Date: Oct. 12, 2014

ISBN: 978-0990650003

Page Count: 240

Publisher: Dryad Press

Review Posted Online: March 11, 2015

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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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