A debut financial guide speaks to an audience of young women.
In this manual, Hung maintains a chatty and upbeat tone while providing accurate and easy-to-follow information about the basics of setting a budget, planning for retirement, and understanding investment options. The book follows the standard format of the genre, addressing ways to cut expenses and earn additional income before moving into a more detailed explanation of retirement, stocks, and bonds. Debut illustrator Lu’s engaging, cartoon-style images appear throughout the volume, and add visual interest and humor (like the drawing of “my face when I hear about a 22 year old investing in bonds”) as well as an effective depiction of financial concepts. Creative metaphors, like the comparison of investing routines to gym habits, provide effective methods of making memorable points about personal finance. Hung, a Canadian, also addresses some of the differences in terminology and tax law between America and Canada, making the book more useful for non-U.S. readers. Further information, including videos, is available on the work’s website (thesassyinvestor.ca), as readers are reminded by callouts through the text. The guide provides solid and actionable advice on saving and investing, on par with most other titles in the genre, and focuses on the options available to average readers, not financial savants. The breezy tone of the writing (“Unless there is a zombie apocalypse, the stock markets will not go to zero”) may not appeal to all readers, but the suggestion to “have a mani/pedi party at someone’s house” as a money-saving technique takes nothing away from the well-organized and thoughtful explanations of bond yields and P/E ratios. Although it is instructive, the manual contains relatively little text for its length; in addition to the graphics-heavy format, several pages are set aside for readers’ notes. For readers who find the tone and format useful, this guide is a solid introduction to the mechanics of personal finance.
A coherent and informative explanation of investing and saving, targeting young female readers with a casual voice and an attractive presentation.
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)