Lynskey presents a difficult, risky art form in all its complexity.
An ambitious, astute summary of political songs, from the 1940s to the present.
British music journalist Lynskey uses copious research and fresh interviews with several writer-performers to chart the evolution of political thought in pop music. The titular “33 revolutions” are individual songs he employs as signposts. He frequently looks at the tunes cursorily, using them as gateways for the topics at hand—the Vietnam and Middle East wars, civil rights, the black-power movement, etc. Using Billie Holiday’s 1939 recording of “Strange Fruit,” Abel Meeropol’s hair-raising depiction of a lynching, as the launch point, the author takes in the work of pioneering writers on the Left (Woody Guthrie, Pete Seeger) and their ’60s progeny (Bob Dylan, Phil Ochs et al). Lynskey focuses mostly on American and British firebrands, with side trips to Chile (Victor Jara), Africa (Fela Kuti) and Jamaica (Max Romeo, Bob Marley). The author also includes entries on more current acts, like U2, R.E.M., Public Enemy, Rage Against the Machine and Steve Earle. Throughout, Lynskey displays complete command of the music and the events that sparked it, and though he writes from a left-field perspective, he is no cheerleader. He is often stingingly critical. He takes John Lennon to task for his murky, off-target writing, mulls the addled, fist-pumping stances of The Clash and Rage, and takes stinging aim at Public Enemy’s intrinsic contradictions and frequently misguided positions. One of the best chapters explicates the inherent folly of “stadium protest,” manifested in such overblown, self-congratulatory ’80s affairs as Live Aid and “We Are the World.” Lynskey also notes that compositions can have their intent obscured and their essence misappropriated, as was the case with Bruce Springsteen’s “Born in the U.S.A.” The book reaches its sobering conclusion in the new millennium with Green Day’s American Idiot, which the author sees as the end of something, and a waning of the music of dissent. “I began this book intending to write a history of a still vital form of music,” he writes. “I finished it wondering if I had instead composed a eulogy.”
Lynskey presents a difficult, risky art form in all its complexity.Pub Date: April 5, 2011
ISBN: 978-0-06-167015-2
Page Count: 656
Publisher: Ecco/HarperCollins
Review Posted Online: Dec. 2, 2010
Kirkus Reviews Issue: Dec. 1, 2010
BOOK REVIEW
BOOK REVIEW
Dogged original research and superb narrative skills come together in this gripping account of pitiless evil.
Greed, depravity, and serial murder in 1920s Oklahoma.
During that time, enrolled members of the Osage Indian nation were among the wealthiest people per capita in the world. The rich oil fields beneath their reservation brought millions of dollars into the tribe annually, distributed to tribal members holding "headrights" that could not be bought or sold but only inherited. This vast wealth attracted the attention of unscrupulous whites who found ways to divert it to themselves by marrying Osage women or by having Osage declared legally incompetent so the whites could fleece them through the administration of their estates. For some, however, these deceptive tactics were not enough, and a plague of violent death—by shooting, poison, orchestrated automobile accident, and bombing—began to decimate the Osage in what they came to call the "Reign of Terror." Corrupt and incompetent law enforcement and judicial systems ensured that the perpetrators were never found or punished until the young J. Edgar Hoover saw cracking these cases as a means of burnishing the reputation of the newly professionalized FBI. Bestselling New Yorker staff writer Grann (The Devil and Sherlock Holmes: Tales of Murder, Madness, and Obsession, 2010, etc.) follows Special Agent Tom White and his assistants as they track the killers of one extended Osage family through a closed local culture of greed, bigotry, and lies in pursuit of protection for the survivors and justice for the dead. But he doesn't stop there; relying almost entirely on primary and unpublished sources, the author goes on to expose a web of conspiracy and corruption that extended far wider than even the FBI ever suspected. This page-turner surges forward with the pacing of a true-crime thriller, elevated by Grann's crisp and evocative prose and enhanced by dozens of period photographs.
Dogged original research and superb narrative skills come together in this gripping account of pitiless evil.Pub Date: April 18, 2017
ISBN: 978-0-385-53424-6
Page Count: 352
Publisher: Doubleday
Review Posted Online: Feb. 1, 2017
Kirkus Reviews Issue: Feb. 15, 2017
BOOK TO SCREEN
BOOK TO SCREEN
BOOK TO SCREEN
For Howard Zinn, long-time civil rights and anti-war activist, history and ideology have a lot in common. Since he thinks that everything is in someone's interest, the historian—Zinn posits—has to figure out whose interests he or she is defining/defending/reconstructing (hence one of his previous books, The Politics of History). Zinn has no doubts about where he stands in this "people's history": "it is a history disrespectful of governments and respectful of people's movements of resistance." So what we get here, instead of the usual survey of wars, presidents, and institutions, is a survey of the usual rebellions, strikes, and protest movements. Zinn starts out by depicting the arrival of Columbus in North America from the standpoint of the Indians (which amounts to their standpoint as constructed from the observations of the Europeans); and, after easily establishing the cultural disharmony that ensued, he goes on to the importation of slaves into the colonies. Add the laborers and indentured servants that followed, plus women and later immigrants, and you have Zinn's amorphous constituency. To hear Zinn tell it, all anyone did in America at any time was to oppress or be oppressed; and so he obscures as much as his hated mainstream historical foes do—only in Zinn's case there is that absurd presumption that virtually everything that came to pass was the work of ruling-class planning: this amounts to one great indictment for conspiracy. Despite surface similarities, this is not a social history, since we get no sense of the fabric of life. Instead of negating the one-sided histories he detests, Zinn has merely reversed the image; the distortion remains.
Pub Date: Jan. 1, 1979
ISBN: 0061965588
Page Count: 772
Publisher: Harper & Row
Review Posted Online: May 26, 2012
Kirkus Reviews Issue: Jan. 1, 1979
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
© Copyright 2025 Kirkus Media LLC. All Rights Reserved.
Follow
Popular in this Genre
We can’t wait for you to join Kirkus!
It’s free and takes less than 10 seconds!
Already have an account? Log in.
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
Welcome Back!
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
