A deftly written, exceedingly thorough, and highly informative business guide.




An entrepreneur/investor delivers a solid approach to business ownership.

Early on in this impressive debut, Deibel sets up his enticing argument, advising that “the startup phase is a company killer” and proposing “a path that could bypass the startup phase altogether.” His concept, “acquisition entrepreneurship,” involves buying an existing business and growing it instead of starting from scratch. On the surface, this may not seem like much of a revelation, but the author, who has acquired seven companies, claims the idea “hasn’t penetrated the entrepreneurship community much beyond the elite universities.” For those entrepreneurs intrigued by the idea, this book is a top-notch, start-to-finish, comprehensive manual. Divided into four parts (Opportunity, Evaluation, Analysis, and Execution), this smart volume covers all the bases, offering a complete plan for exactly how to go about finding a company to buy, making an offer, purchasing the business, and transitioning ownership. Deibel uses his own experiences, supplemented by research and interviews, to present a substantive case for his entrepreneurial method. The guide is an excellent blend of strategy and how-to with liberal doses of both. For example, it explores the strategic potential of buying a company from baby boomers, who “are already selling off their established, successful small businesses at record rates.” On the tactical side, the work runs through the specifics of how to define a target company by identifying an “opportunity profile” and creating a “target statement.” In the section on analyzing a potential acquisition, the author’s strength as an investor shines through as he carefully walks readers through the basics of evaluating a business, analyzing financial statements, and valuing a company. This part of the book should help to demystify the business valuation process for many entrepreneurs. Of great benefit is a chapter that delves into the mindset of the seller. Here, the author provides several techniques for the buyer to engage in meaningful, nonthreatening conversations with the seller. There isn’t much lacking in this work; the manual wraps up with all the steps involved in executing a sale and closes with a useful three-month plan for ownership transition.

A deftly written, exceedingly thorough, and highly informative business guide.

Pub Date: Oct. 30, 2018

ISBN: 978-1-5445-0113-0

Page Count: 310

Publisher: Lioncrest Publishing

Review Posted Online: Jan. 3, 2019

Kirkus Reviews Issue: Feb. 15, 2019

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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)

Pub Date: May 1, 1995

ISBN: 0-19-508629-4

Page Count: 224

Publisher: Oxford Univ.

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: March 1, 1995

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Necessarily swift and adumbrative as well as inclusive, focused, and graceful.


A light-speed tour of (mostly) Western poetry, from the 4,000-year-old Gilgamesh to the work of Australian poet Les Murray, who died in 2019.

In the latest entry in the publisher’s Little Histories series, Carey, an emeritus professor at Oxford whose books include What Good Are the Arts? and The Unexpected Professor: An Oxford Life in Books, offers a quick definition of poetry—“relates to language as music relates to noise. It is language made special”—before diving in to poetry’s vast history. In most chapters, the author deals with only a few writers, but as the narrative progresses, he finds himself forced to deal with far more than a handful. In his chapter on 20th-century political poets, for example, he talks about 14 writers in seven pages. Carey displays a determination to inform us about who the best poets were—and what their best poems were. The word “greatest” appears continually; Chaucer was “the greatest medieval English poet,” and Langston Hughes was “the greatest male poet” of the Harlem Renaissance. For readers who need a refresher—or suggestions for the nightstand—Carey provides the best-known names and the most celebrated poems, including Paradise Lost (about which the author has written extensively), “Kubla Khan,” “Ozymandias,” “The Charge of the Light Brigade,” Wordsworth and Coleridge’s Lyrical Ballads, which “changed the course of English poetry.” Carey explains some poetic technique (Hopkins’ “sprung rhythm”) and pauses occasionally to provide autobiographical tidbits—e.g., John Masefield, who wrote the famous “Sea Fever,” “hated the sea.” We learn, as well, about the sexuality of some poets (Auden was bisexual), and, especially later on, Carey discusses the demons that drove some of them, Robert Lowell and Sylvia Plath among them. Refreshingly, he includes many women in the volume—all the way back to Sappho—and has especially kind words for Marianne Moore and Elizabeth Bishop, who share a chapter.

Necessarily swift and adumbrative as well as inclusive, focused, and graceful.

Pub Date: April 21, 2020

ISBN: 978-0-300-23222-6

Page Count: 304

Publisher: Yale Univ.

Review Posted Online: Feb. 9, 2020

Kirkus Reviews Issue: March 1, 2020

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