Black encourages readers to let go of their insecurities and embrace their bodies in this debut motivational work.
The author writes that she had body dysmorphic disorder for years, and as a result, her weight fluctuated greatly. She tried yo-yo dieting, fasting, and working out, but because of her low self-esteem, she couldn’t find a weight-control strategy that worked. Her outlook needed to change, she realized: “when you truly learn to love yourself as you are, it’s actually easier to be physically healthy,” she writes in her introduction to this body positive guide. “The love you feel for yourself causes you to want to take care of your body, and the person on the outside begins to reflect the person you’ve cultivated on the inside.” With this book, Black seeks to help readers silence their own negativity, as well as that of others who attempt to shame them for their appearance. Positive body image, she says, requires eliminating self-loathing thought patterns, seizing one’s own agency, fostering self-forgiveness, opening oneself to the possibility of joy, and ultimately loving oneself. Black shares her own experiences with judgmental people, and how she learned to love herself through activities like meditation, therapy, and yoga. Each chapter includes exercises, activities, and a “Mindful Moment”—a short anecdote to help readers change their way of thinking. Black’s prose has a tone that’s both encouraging and pleasantly urgent: “When you find yourself feeling panicky or emotionally distressed, say to yourself, I’m going to be my own first responder.” Her advice has applications that go beyond questions of weight and appearance; indeed, they address insecurities and self-defeating behaviors that are common in many people. The book is also connected to the author’s larger regimen of weight-loss strategies; for example, it concludes with an advertisement for a 21-day “Keto Cleanse.” However, the self-love that she advocates here will be valuable for readers of all body types.
A positive guide to body image that reminds readers to first address one’s inner self.
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)