Audacious ideas aplenty in this breezy financial guide.

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PASSIVE INCOME FREEDOM

23 PASSIVE INCOME BLUEPRINTS TO FINALLY #CLAIMYOURFREEDOM

An entrepreneur shares ideas for generating passive income in this business manual.

Gabrielle (Influencer Fast Track, 2018, etc.) is no stranger to passive income. As author of the self-published SassyZenGirl series of guides and other titles, she has achieved Amazon bestseller status numerous times and claims to generate a six-figure passive income from her endeavors. In this chatty, informative book, Gabrielle willingly opens her bag of tricks, presenting 23 “passive income blueprints” for both novice and seasoned entrepreneurs. The volume starts with some smart tips that include a caution against false get-rich-quick expectations and advice on how to build an income-producing asset (“Creation-Systems-Automation”). Then the author launches into overviews, or blueprints, of ideas to produce a stream of passive income, most of which focus on online creation and marketing of one kind or another. Several of the concepts are cleverly designed to leverage and build on top of what others have done; for example, “AirBnB Arbitrage” involves renting properties owned by landlords that can then be offered through AirBnB at higher nightly or weekly rates. Other ideas take advantage of certain online characteristics, such as employing search engine optimization locally to achieve a high-ranking video or website on search engines and then renting that spot to another business. More than one concept seems to be essentially designed to make money via repurposing or remarketing the work of others. As a result, more conservative marketers may wonder whether some of these notions are too risky, and opportunists will likely view them as shrewd, if not ingenious. Regardless, each tantalizing idea is described in an engaging, conversational style, with just enough breathless detail to tease readers into wanting to know more. The guide itself is the very model of passive income, incorporating many references to other resources available from the author, including a slew of her books. Gabrielle is marvelously adept at mining the depths of passive income, and she writes with vitality and verve. The real magic, though, will be in each reader’s ability to select and execute the most appropriate concepts.

Audacious ideas aplenty in this breezy financial guide.

Pub Date: Jan. 6, 2019

ISBN: 978-1-79324-212-9

Page Count: 315

Publisher: Time Tunnel Media

Review Posted Online: March 15, 2019

Kirkus Reviews Issue: April 15, 2019

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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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