An entertaining addition to the growing shelf of books about the discontents of lawyers and, by implication, the rest of the citizenry who has to put up with them. Glendon (Rights Talk, not reviewed), a professor at Harvard Law School who started her legal career as an associate at a large Chicago law firm, offers an extremely interesting—if somewhat rambling and ultimately inconclusive—mixture of personal anecdote and sociological theory to describe purportedly profound changes in the legal profession over the past half-century and the effect of these changes on our democratic society: the rise in the number of lawyers, the burgeoning caseloads (one federal judge refers to himself as the ``Terminator'' because of the need to get matters over with rapidly, often at the cost of reflective justice), the economic pressures that have, in some eyes, reduced professionalism in favor of market imperatives and created the rise of an adversarial class of lawyers who accede to their clients' every wish. Glendon solemnly quotes Gibbon with respect to another empire where the growth in lawyers and legalism coincided with a decline and fall in the spirit of law that makes republican government viable; yet the author is neither as pessimistic nor as whiny as Sol M. Linowitz in his recent lament (The Betrayed Profession, p. 372). She does, however, raise many more questions than she answers, and her premise of seismic shocks to the foundation of the profession remains just that: premise rather than proof. Over 20 years ago, S.F.C. Milsom demonstrated that the growth of the Anglo- American common law comes not from some idealized development of legal principles but from the everyday work of lawyers attempting to find new solutions for their clients' problems. In light of that historical perspective, it remains to be seen whether alterations to the legal profession and society since the early 1960s are as cataclysmic as Glendon characterizes them. Well written and thought provoking, if not totally convincing.

Pub Date: Nov. 1, 1994

ISBN: 0-374-21938-9

Page Count: 388

Publisher: Farrar, Straus and Giroux

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Sept. 15, 1994

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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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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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