Mozell-Smith, who says she was told by God to write a book, shares favorite Scriptures along with some unorthodox interpretations of the Bible.
A retired school bus driver now attending university classes in Christian Studies, Mozell-Smith says her book is a prophetic update to the Bible. She has mined the Scriptures, assembling hundreds of verses on a variety of topics. Unlike most inspirational books, which indent Scriptures within the text or at least place them in quotation marks, Mozell-Smith often blends her thoughts and the Bible’s, and it can be confusing to determine where she finishes speaking and Scripture begins. Often focusing on race, she believes a number of biblical figures were black, including Jesus and Joseph, and she says Moses was the first albino. The Caucasian race, she writes, resulted from the curse of leprosy. Mozell-Smith believes in UFOs and says that because Satan lost the ability to fly, “He now relies on UFOs for transportation to and from heaven for approved visits only.” She writes that the Antichrist appeared in December 2012 but doesn’t say who that person was. However strange many of her statements may seem, Mozell-Smith appears sincere in her beliefs. She’s certainly entitled to her own opinions about Scripture, though her readers may be less accepting of her handling of scientific facts, as when she writes, “The earth do (sic) not rotate. The sun rotates around the earth.” She considers such information truth that was revealed to her. She also holds unusual beliefs on social issues and says the “gay movement” is causing the expansion of hell, noting, “God has it set on one temperature and that is burn baby burn.” She also opposes church leadership positions for women and says “woman is to man as a sheep dog is to a shepherd.” The book is riddled with grammatical errors, with Mozell-Smith often using “want” for “won’t” and incorrect verb tenses. Some chapters consist only of Scripture with no personal narrative added, which might relieve exhausted readers.
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)