An eminently instructive guide for law students, and for general readers an authentic version of a world they normally see...



In his impeccably detailed memoir, trial lawyer Tucker (May God Have Mercy, 1997) takes readers through some of the most celebrated and notorious courtroom dramas of the 20th century.

You expect an attorney to emphasize specifics: when discussing his defense of a paranoid schizophrenic in the mid-1960s, for example, Tucker describes the moment he received the call from the defendant’s father, how he arranged to meet the man, why the courts of that time failed to provide justice for the mentally ill. What’s surprising is how breezy and engrossing the narrative is. Readers will want the details to unfold because, like members of a jury, they know an argument or lesson is going to reveal itself at some point. Usually the author’s lessons reaffirm the sanctity of the judicial system. Even though many of the cases here involve justice breaking down, unfair judges, rigid bureaucracies, and politics muddling up the courtroom, ultimately each example Tucker provides ends with the triumph of truth over falsehood. His chapter on the trial of the Chicago Eight is a case in point. Tucker writes that US Judge Julius Hoffman performed horribly in the case, which involved the so-called conspirators who organized a demonstration outside the Democratic National Convention in 1968. The judge was biased throughout the proceedings, going so far as to jail some of the defendants’ lawyers and later sentencing almost everyone who was part of the case to a few years in prison for contempt of court. In the end, Hoffman’s draconian actions were overturned, and Tucker argues that the circus arising from the trial sent a message to other judges that they couldn’t quash people’s First Amendment rights so easily. He wonders if a popular movement will protect due-process rights in the war against terrorism.

An eminently instructive guide for law students, and for general readers an authentic version of a world they normally see only through the meretricious lens of TV courtroom dramas.

Pub Date: March 1, 2003

ISBN: 0-7867-1113-2

Page Count: 368

Publisher: N/A

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Jan. 15, 2003

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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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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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