A comprehensive guide to using hypnosis in order to achieve your goals.
The latest nonfiction work from Dann (Your Hypnosis Career, 2017) goes into great detail about the author’s conviction that hypnosis is a key method of unlocking “Neuro-Linguistic Programming” practices that can change the reader’s life. These changes will come about when readers learn to grapple with what the author refers to as the different levels of personal awareness. “When your Conscious, Subconscious and Superconscious are in alignment,” she writes, “you will feel in harmony with yourself.” Hypnosis, which Dann describes as “fun, natural, and easy to learn,” is a practice she claims will take readers “to a place of stillness where you can access your inner resources and live in the present moment.” In discursive prose, Dann takes readers through the steps necessary to refine their personal goals and better shape their own inner universe, basic steps like discovering what they want, assessing how close they already are to achieving it, and, in what’s often called “the Meta Outcome Question,” asking what achieving that goal will actually do for them. The author stresses the centrality of what she (somewhat redundantly) calls “positive affirmations,” things like eating healthy meals, “attracting” more money and a life partner, and trusting in God. Readers are urged to create an affirmation, go into a trance, and allow their subconscious to feel the experience of actually already having what they want. “You will notice what you visualize comes into being when you say and feel them everyday [sic],” Dann writes in one of the book’s self-evidently inaccurate assertions (another being a popular assertion in self-help spiritualism: “Powerful affirmations can help heal and regenerate your body, and bring radiant health”). Dann’s narrative tone is warm and inviting, and her underlying message, emphasizing the infinite potential for self-betterment, more than compensates for the book’s more than occasional vagueness (“You lose sight of your true being when you identify with the personality,” etc.).
A multilayered exploration of the power each person has to achieve inner harmony.
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)