A guide to the fundamental principles of building and maintaining personal wealth, relying more on the author’s instinct...
Criniti (The Necessity of Finance, 2013) interprets the key concepts underlying economic and financial behavior, with an emphasis on personal finance.
Criniti makes frequent references to his previous book as he guides the reader through 218 principles of economics and finance that he finds to be both essential and universally applicable. His claim that “around the 1950s it became formally necessary to create finance, the science of managing wealth for an individual, a group, or an organization” may raise the eyebrows of readers familiar with a longer span of history, but it does allow readers to understand what exactly the author means by “finance.”Most of the principles identified in the book relate to matters of personal finance—spending, saving, retirement—and business operations. Some of the principles Criniti explores are reasonable if somewhat simplistic guidelines: “Always keeping your promises can help you to keep your good reputation.” and “Only give gifts that you can afford to give.” Others require greater leaps of logic or adherence to a profit-driven worldview: “Economic cycles are naturally required wealth adjustments by economic entities.”; “Some people will do anything to deprive you of your wealth.” Some principles merit two pages of explanation, while others are dispatched in a paragraph or two; the explanations are derived more from the author’s understanding of his principles than from empirical evidence or analysis. The principle that “Wealth is attracted to cities,” for instance, is supported by no data, merely the claim that “In general, you will find your greatest opportunities to build wealth in cities versus suburbia or the country.” Although the title suggests an introductory economics course, the readers who will find the greatest value here are those in search of a more philosophical companion for their personal finance handbooks.
A guide to the fundamental principles of building and maintaining personal wealth, relying more on the author’s instinct than on quantitative data.Pub Date: Jan. 11, 2014
ISBN: 978-0988459526
Page Count: 288
Publisher: Criniti Publishing
Review Posted Online: March 27, 2014
Review Program: Kirkus Indie
BOOK REVIEW
BOOK REVIEW
An enjoyable slice of 20th-century music journalism almost certain to provide something for most readers, no matter one’s...
Music journalist and musician Wald (Talking 'Bout Your Mama: The Dozens, Snaps, and the Deep Roots of Rap, 2014, etc.) focuses on one evening in music history to explain the evolution of contemporary music, especially folk, blues, and rock.
The date of that evening is July 25, 1965, at the Newport Folk Festival, where there was an unbelievably unexpected occurrence: singer/songwriter Bob Dylan, already a living legend in his early 20s, overriding the acoustic music that made him famous in favor of electronically based music, causing reactions ranging from adoration to intense resentment among other musicians, DJs, and record buyers. Dylan has told his own stories (those stories vary because that’s Dylan’s character), and plenty of other music journalists have explored the Dylan phenomenon. What sets Wald's book apart is his laser focus on that one date. The detailed recounting of what did and did not occur on stage and in the audience that night contains contradictory evidence sorted skillfully by the author. He offers a wealth of context; in fact, his account of Dylan's stage appearance does not arrive until 250 pages in. The author cites dozens of sources, well-known and otherwise, but the key storylines, other than Dylan, involve acoustic folk music guru Pete Seeger and the rich history of the Newport festival, a history that had created expectations smashed by Dylan. Furthermore, the appearances on the pages by other musicians—e.g., Joan Baez, the Weaver, Peter, Paul, and Mary, Dave Van Ronk, and Gordon Lightfoot—give the book enough of an expansive feel. Wald's personal knowledge seems encyclopedic, and his endnotes show how he ranged far beyond personal knowledge to produce the book.
An enjoyable slice of 20th-century music journalism almost certain to provide something for most readers, no matter one’s personal feelings about Dylan's music or persona.Pub Date: July 25, 2015
ISBN: 978-0-06-236668-9
Page Count: 368
Publisher: Dey Street/HarperCollins
Review Posted Online: May 15, 2015
Kirkus Reviews Issue: June 1, 2015
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
BOOK TO SCREEN
BOOK TO SCREEN
BOOK TO SCREEN
This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)
Pub Date: Oct. 28, 1996
ISBN: 0-15-100227-4
Page Count: 136
Publisher: Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 1996
BOOK REVIEW
BOOK REVIEW
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