Thirty years after her Sex and the Single Girl assured women that acting smart and feeling sexy aren't incompatible, Brown (Having It All, 1982, etc.) returns to explain how aging also fits right into the formula. At 69, the Cosmo Girl hasn't lost a step; with outrageous confidence, she's still assuring readers that looks, charm, and sex with a man are what it's all about (``Sex is one of the three best things there is and I'm not sure what the other two are''). In the chirpy, anecdotal style of a women's magazine article, Brown glosses over marriage, sex, clothes, food, and exercise, using as examples her own experiences and those of friends, famous and otherwise. Though dismayed by the fact of aging (``the ideal state for an older woman is younger''), the author recognizes the new exigencies. As one friend sums it up, ``Between fifty and sixty, sex is out there; if you want it, you can connect. After sixty, you have to supply the sled, the snow, and the dog team.'' Brown does mention that health and financial security are key to anyone's game plan, and she includes relevant observations on doctors, the 30-vitamin regimen that helps maintain her greyhound weight, and loneliness—but the emphasis is really elsewhere, and when she approaches the serious health issues of aging women, she can't let up on the casual asides and naughty gossip. Furthermore, Brown is cavalier about cosmetic surgeries, champions estrogen treatments, and still defends the 1988 Cosmo article that downplayed the risks of AIDS to women. For the woman who wasn't born yesterday and won't stop thinking about tomorrow's lover, these lubricated sentiments can offer humorous support—but for many, Brown's lifelong pursuit of happiness will seem no more uplifting than flimsy lingerie.
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)