by Anthony DeCurtis ‧ RELEASE DATE: May 1, 1998
Intelligent, critically generous, slightly boring essays, reviews, and profiles on pop music and cultural topics by longtime Rolling Stone contributor DeCurtis. DeCurtis warns us in a preface not to expect flashy prose or gonzo authorial participation in the subjects he covers, and he’s unfailingly respectful of his subjects, so it’s logical that the most engaging pieces here are the interviews with quick-witted, well- spoken musicians like U2 and Peter Buck of R.E.M. The unfortunate corollary is that DeCurtis takes all too seriously aesthetic irrelevancies like John Cougar Mellencamp. Magazine profiles (of the Rolling Stones, Sting, 10,000 Maniacs, and Leonard Cohen, among others) and liner notes (for Eric Clapton and Phil Spector CD boxed sets) often manage to boil down genius and eccentricity into qualities resembling mere skill and pluck; while useful as a corrective to rock-journalism hyperbole, the author’s mild response also makes these essays more or less forgettable. An obituary feature on the bluegrass legend Bill Monroe is unexpectedly sweet, a discussion of the furor over Ice-T’s —Cop Killer— is concise and thoughtful, and pieces on the novelist T. Coraghessan Boyle and the historians Neil Sheehan and Taylor Branch show a welcome avidity for advancing the cause of serious writing. But DeCurtis is best as a reviewer: The assortment of short record reviews and appreciations included here, while seldom advancing any unexpected opinions, show off his careful use of language without falling back on obscure hipster references or supercilious critical jargon. For instance, DeCurtis says Johnny Cash —has made a rumbling baritone voice with nonexistent range and a limited guitar technique expressive of a dignified worldview—; certain songs on Bob Dylan’s Blood on the Tracks ’suggest the possibility not merely of regret but of reconciliation and forgiveness based on the acceptance of loss.— In the end, though, while DeCurtis’s writing is efficient, it’s also generally too bloodless and ephemeral to reward the reader’s concentration.
Pub Date: May 1, 1998
ISBN: 0-8223-2184-X
Page Count: 312
Publisher: Duke Univ.
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 1, 1998
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by Clive Davis with Anthony DeCurtis
by E.T.A. Hoffmann ‧ RELEASE DATE: Oct. 28, 1996
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
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by E.T.A. Hoffmann ; adapted by Natalie Andrewson ; illustrated by Natalie Andrewson
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by E.T.A. Hoffmann & illustrated by Julie Paschkis
by Ludwig Bemelmans ‧ RELEASE DATE: Feb. 23, 1955
An extravaganza in Bemelmans' inimitable vein, but written almost dead pan, with sly, amusing, sometimes biting undertones, breaking through. For Bemelmans was "the man who came to cocktails". And his hostess was Lady Mendl (Elsie de Wolfe), arbiter of American decorating taste over a generation. Lady Mendl was an incredible person,- self-made in proper American tradition on the one hand, for she had been haunted by the poverty of her childhood, and the years of struggle up from its ugliness,- until she became synonymous with the exotic, exquisite, worshipper at beauty's whrine. Bemelmans draws a portrait in extremes, through apt descriptions, through hilarious anecdote, through surprisingly sympathetic and understanding bits of appreciation. The scene shifts from Hollywood to the home she loved the best in Versailles. One meets in passing a vast roster of famous figures of the international and artistic set. And always one feels Bemelmans, slightly offstage, observing, recording, commenting, illustrated.
Pub Date: Feb. 23, 1955
ISBN: 0670717797
Page Count: -
Publisher: Viking
Review Posted Online: Oct. 25, 2011
Kirkus Reviews Issue: Feb. 1, 1955
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developed by Ludwig Bemelmans ; illustrated by Steven Salerno
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by Ludwig Bemelmans ; illustrated by Steven Salerno
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