A well-written, comprehensive reference work for advertisers who want to understand the many laws that affect their...

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Please Be Ad-vised: 7th Edition

The most recent edition of a guide to all aspects of law connected with the advertising profession.

Wood (101 Things I’d Like to Say…The Collection, 2014, etc.) presents an updated layman’s guide to laws related to the practice of advertising, the seventh edition of a work originally published in 1995. Wood makes it clear that, though there is often room for interpretation on legal matters, he holds advertisers to a high professional standard, and he is unequivocal on some points. “Put bluntly, it’s unprofessional not to have a written agreement” between an agency and a client, and he clearly feels that it is counterproductive for advertisers to disregard the nonbinding rulings of their industry associations. The book opens with a detailed discussion of the laws governing intellectual property, its use, and the rights of both creators and owners of copyrights, trademarks and other protections. Wood also covers aspects of communications law, from how to make legitimate claims in infomercials to the restrictions on telemarketing, as well as the laws governing an advertising agency’s relationships with its clients and suppliers. Some of the topics covered in the book are less obvious—for instance, the proper way to respond to unsolicited ideas in order to protect against possible future claims of infringement. Wood addresses all relevant media in which advertising may appear, including the ever evolving online landscape. Social media, in particular, is incorporated into the text—as when the chapter on product testimonials features a discussion of recent Federal Trade Commission rules that have defined how disclosure requirements apply to bloggers—and given its own chapter. Throughout the book, Wood makes frequent reference to case law, both to illustrate his concepts through examples and to demonstrate where precedents exist. He does not, however, delve into legal minutiae; the book is clearly not intended for lawyers but for professionals who need a broad yet basic understanding of the relevant laws. A companion website, which requires registration, provides additional resources.

A well-written, comprehensive reference work for advertisers who want to understand the many laws that affect their profession.

Pub Date: April 1, 2014

ISBN: 978-1494807108

Page Count: 426

Publisher: CreateSpace

Review Posted Online: June 20, 2014

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WHAT A WONDERFUL WORLD

A LIFETIME OF RECORDINGS

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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Necessarily swift and adumbrative as well as inclusive, focused, and graceful.

A LITTLE HISTORY OF POETRY

A light-speed tour of (mostly) Western poetry, from the 4,000-year-old Gilgamesh to the work of Australian poet Les Murray, who died in 2019.

In the latest entry in the publisher’s Little Histories series, Carey, an emeritus professor at Oxford whose books include What Good Are the Arts? and The Unexpected Professor: An Oxford Life in Books, offers a quick definition of poetry—“relates to language as music relates to noise. It is language made special”—before diving in to poetry’s vast history. In most chapters, the author deals with only a few writers, but as the narrative progresses, he finds himself forced to deal with far more than a handful. In his chapter on 20th-century political poets, for example, he talks about 14 writers in seven pages. Carey displays a determination to inform us about who the best poets were—and what their best poems were. The word “greatest” appears continually; Chaucer was “the greatest medieval English poet,” and Langston Hughes was “the greatest male poet” of the Harlem Renaissance. For readers who need a refresher—or suggestions for the nightstand—Carey provides the best-known names and the most celebrated poems, including Paradise Lost (about which the author has written extensively), “Kubla Khan,” “Ozymandias,” “The Charge of the Light Brigade,” Wordsworth and Coleridge’s Lyrical Ballads, which “changed the course of English poetry.” Carey explains some poetic technique (Hopkins’ “sprung rhythm”) and pauses occasionally to provide autobiographical tidbits—e.g., John Masefield, who wrote the famous “Sea Fever,” “hated the sea.” We learn, as well, about the sexuality of some poets (Auden was bisexual), and, especially later on, Carey discusses the demons that drove some of them, Robert Lowell and Sylvia Plath among them. Refreshingly, he includes many women in the volume—all the way back to Sappho—and has especially kind words for Marianne Moore and Elizabeth Bishop, who share a chapter.

Necessarily swift and adumbrative as well as inclusive, focused, and graceful.

Pub Date: April 21, 2020

ISBN: 978-0-300-23222-6

Page Count: 304

Publisher: Yale Univ.

Review Posted Online: Feb. 9, 2020

Kirkus Reviews Issue: March 1, 2020

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