Some will appreciate Alexander’s recollection of rap’s bling-bling ’90s, while others will be haunted by the portrait of his...
A mix of young-black-journalist memoir and rural family history, told with plenty of analytical flossing.
Alexander introduces himself by noting of his Sandusky, Ohio, upbringing, “Niggas always accusing Buckeye niggas of acting white, but that’s a small-town thing.” His debut’s most charming moments depict the conflicting influences on his childhood of his strict mother and his mostly absent father, locally notorious for gangster glamour and an abbreviated singing career. Delbert appears only sporadically in his son’s life, but provides this memoir’s strongest element: Alexander adeptly dramatizes the hard equations that befell generations of African-American men, ranging in Delbert’s instance from youthful addiction, violence, and imprisonment to humiliating stints at factory work and selling Confederate flags. Far less powerful is Alexander’s exhaustive evocation of his own post-adolescence, a druggy idyll of underground radio, school-newspaper controversies, interracial sex, and slacker angst—hardly novel memoir material, notwithstanding numerous references to and encounters with West Coast rappers. His rapid success as a California-based freelance journalist is recalled in aggressive prose that combines hip-hop freestyling with Mailer-esque affect. Yet this personal narrative devolves into a dreary final third, as Alexander’s relationship with his long-suffering wife deteriorates and he concentrates on racking up human-interest stories on “difficult” athletes like Alonso Spellman and Latrell Sprewell. The author seems incapable of writing about the cultural milieu he loves without projecting his own persona as its epochal center, and his striving to be “the only hip-hop journalist who mattered” becomes increasingly wearying. Despite various shrewd observations (e.g., terming sports journalists “the ultimate hangers on”), Alexander comes off by the end as yet another under-40 culture flack with mutational self-esteem.
Some will appreciate Alexander’s recollection of rap’s bling-bling ’90s, while others will be haunted by the portrait of his delinquent father.Pub Date: June 1, 2003
ISBN: 1-4000-4602-5
Page Count: 288
Publisher: Crown
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 15, 2003
BOOK REVIEW
The author's youthfulness helps to assure the inevitable comparison with the Anne Frank diary although over and above the...
Elie Wiesel spent his early years in a small Transylvanian town as one of four children.
He was the only one of the family to survive what Francois Maurois, in his introduction, calls the "human holocaust" of the persecution of the Jews, which began with the restrictions, the singularization of the yellow star, the enclosure within the ghetto, and went on to the mass deportations to the ovens of Auschwitz and Buchenwald. There are unforgettable and horrifying scenes here in this spare and sombre memoir of this experience of the hanging of a child, of his first farewell with his father who leaves him an inheritance of a knife and a spoon, and of his last goodbye at Buchenwald his father's corpse is already cold let alone the long months of survival under unconscionable conditions.
Pub Date: Jan. 16, 2006
ISBN: 0374500010
Page Count: 120
Publisher: Hill & Wang
Review Posted Online: Oct. 7, 2011
Kirkus Reviews Issue: Jan. 15, 2006
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
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