A New York City–based saga showing how “saving lives in America today means fighting to protect people from the pervasive marketing of cigarettes, junk food, and other unhealthy products.”
The city’s bold public health initiatives during the Michael Bloomberg administration were an unmitigated success, but his policies met with plenty of controversy and contention before becoming worldwide models. In the United States, nearly 4 in 10 people die from chronic diseases like heart disease, cancer, and diabetes. During his terms as mayor, Bloomberg—advised by his forward-thinking Health and Mental Hygiene commissioners, Thomas Frieden and Farley (co-author: Prescription for a Healthy Nation: A New Approach to Improving Our Lives by Fixing Our Everyday World, 2005)—committed to battling this preventable epidemic by revolutionizing public health policy. They led a visionary team of doctors and public health experts in passing breakthrough laws that made healthy behaviors easier: they outlawed smoking in bars and banned cooking with trans fats; they required fast-food restaurants to post calorie counts for their menu items, and they barred them from selling outsized sugary drinks. The author, who succeeded Frieden, provides an enthralling insider’s view of the high-stakes battle between the administration and the powerful corporations who have made billions selling toxic foods, sodas, and cigarettes. It’s not giving anything away to say that the good guys won. As a result, hundreds of thousands of New Yorkers quit smoking, childhood obesity rates slumped, and between 2001 and 2010, life expectancy rose by three years, almost double the nationwide average. In his informed and inspired retelling, Farley provides plenty of behind-the-scenes access to the negotiations, compromises, and brilliant strategies that shaped this now-historic era.
An inspiring story in which the author demonstrates unequivocally that public health policy can not only save lives; it can change the way we view the landscape of food.
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)