A child of the Depression looks back to those penny-pinching days.
As with many people from Tabler’s era, the Depression years would have a lasting effect on the author–the memory of deprivation ever present on his mind. Not only did the resourcefulness of his parents contribute to his prudent nature, but the Depression also taught him social commitment. The depth of â€œneighbor-to-neighbor” relationships, the generosity and concern folks had for one another, would become for Tabler a marker of how good people can carry on during hard times. The author writes of this part of his life with insight and sympathy, acknowledging simultaneously the hardships and the communal strength of the time. He recalls an America working together to survive, cold nights, frozen cistern pumps, frightening medical challenges and FDR’s morale-boosting radio fireside chats. When his father moved the family from the town to the country, exchanging factory for field, Tabler was introduced to working the land. These early days of vegetable plots and the satisfaction of watching a seedling break through the soil made a significant impact on the author. A perspicacious high-school football coach later recommended that Tabler seek his calling in the fields, and so he earned a doctorate in dairy agriculture. Tabler charts his journey to adulthood with an endearing colloquial frankness, and like many memoirs, works chronologically, forging forward with little time spent on critical reflection. Still, his anecdotes of college life and his relationship with close friend Muggs, the courting of his wife Pat–shown through her quaint letters to her parents–and the storied values of his family reflect a time of hard work, optimism and resolve. The author reports on the birth of their children, his research and building their dream home–all carried out with the perseverance and sense of purpose born from his Depression days.
A gentle memoir that captures a poignant time in American history.
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)
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").