An engaging and informative pitch to attorneys looking to goose their business.




If you want your law firm to grow, you need to tell a compelling story with video advertising, according to this debut marketing primer.

Mogill, CEO of the marketing company Crisp Video Group, admonishes attorneys who are leery of promotion that they have not just a right, but also an ethical obligation to keep potential clients from going to less competent lawyers who do advertise. In this blunt-talking guide, he recommends online videos as an impactful medium. The author elaborates a doctrine for ushering leads along “the buyer’s journey,” from “awareness” to “consideration” and ultimately the “decision” to hire a law firm, based on a high-level marketing analysis that identifies a “unique value proposition,” a profitable niche specialty, and a likely target audience. (One of Crisp’s clients forged a thriving practice specializing in motorists caught with drugs on Nebraska’s Interstate 80 corridor.) His ad strategies eschew rationalist approaches that tout experience, fees, or qualifications—“Your clients don’t give two shits about a certification”—and instead try to build a deep emotional connection through storytelling, complete with character profiles and inspiring narratives. (A personal injury firm he showcases consists entirely of attorneys who suffered traumatic accidents, which sparked their resolve to win big settlements for clients.) The author gives specific pointers on making winning video ads—be concise, don’t forget search engine optimization, get the key selling points in adroitly—with the implication being that effective marketing is hard and best done by pros. Mogill supplements the nuts-and-bolts information with earthy motivational themes, deftly recounting his own scramble from immigrant poverty to entrepreneurial success. He also regales readers with tough-love challenges to make a serious commitment to marketing (“If you’re not ready to make a big change, then you might as well close this book right now, head off to your local dive bar, and start drinking”) and to cut through their anxieties (“When I’m uncomfortable, when I’m literally down on my hands and knees feeling sick to my stomach, that’s when I know I’m pushing toward something good”). The manual sometimes sounds like a sales brochure, but it’s a brisk, lucid read with much food for thought.

An engaging and informative pitch to attorneys looking to goose their business.

Pub Date: Nov. 6, 2018

ISBN: 978-1-5445-1252-5

Page Count: 292

Publisher: Lioncrest Publishing

Review Posted Online: Dec. 24, 2018

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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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Necessarily swift and adumbrative as well as inclusive, focused, and graceful.


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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