Anderson (When a Sistah’s Fed Up, 2006, etc.) offers advice from one girlfriend to another on life, love and making it.
“[S]uccess is the side effect of making better choices every day,” says the author in the introduction to her breezy yet sensible self-help book. She then sets out to show how some basic actions and attitude adjustments can help turn a humdrum life into a great one. If you can’t get ahead at work, have a man who won’t commit, are drowning in debt or struggling with a health crisis, the author offers words of wisdom. Her “Prescription for Happiness” encompasses 10 tips, including “[p]ursue your passions, not people,” and “[n]ever close your heart unless it’s temporarily under reconstruction.” Each chapter explores a different life lesson in detail (such as “[c]hange your mind often” and “love yourself first”), ending with a useful bullet-pointed summary. Throughout, Anderson, a former columnist for the Fort Worth Star-Telegram, is perky but stern, and her tone is a mix of you-go-girl optimism and no-nonsense straight talk. But there’s sound advice behind such quips as, “Always act from a position of power, not fear” and “Don’t ignore the yellow lights on the dashboard of your life.” When she bluntly proclaims, “you ain’t Beyoncé,” it’s not a criticism but a counterpoint to the idea that success means excelling at everything. She drives home this concept with relatable personal stories of struggle (such as when she was diagnosed with a rare cancer) and triumph (such as her graduation from dental school). Stories of accomplished women in a variety of fields, including U.S. Rep. Sheila Jackson Lee, Secretary of State Condoleezza Rice and actress Angelina Jolie, help further illustrate Anderson’s lessons as she counsels women to look inward to find their own definitions of success.
A practical guide for women on how to find happiness and boost self-worth.
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)