Not entirely convincing but marked by thorough research and a lively narrative.
The careers of eight musicians reveal dramatic changes in American culture.
Bomberger (Music/Elizabethtown Coll.; Very Good for an American: Essays on Edward Macdowell, 2017, etc.) posits 1917 as a watershed year, marked by the nation’s entry into World War I, unleashing passionate patriotism and the ostracism of German composers and performers and the release of the first jazz record, which popularized the genre throughout the country. The author claims that the musicians he follows “actively changed the musical hierarchy of the time,” but, interesting as they are, that claim seems overblown. Half were foreign-born: Fritz Kreisler, Viennese, was a beloved violinist; Swiss native Karl Muck was the conductor of the distinguished Boston Symphony Orchestra; Walter Damrosch, who had emigrated with his family from Germany when he was 9, led the New York Symphony Orchestra; and Ernestine Schumann-Heink was a renowned Austrian-born contralto. The rest were American: Pianist Olga Samaroff, a Texan who changed her name to appear more sophisticated, was the wife of conductor Leopold Stokowski; Freddie Keppard was a famed jazz cornetist; Nick LaRocca led the Original Dixieland Jazz Band; and James Reese Europe, who aspired to create a National Negro Symphony Orchestra, was a popular band leader whose musicians played for wealthy socialites. Following their performances month by month, Bomberger underscores a growing demand for ostentatious displays of patriotism. By the time the first soldiers entered battle in September, “flag-draped opera singers” and an obligatory rendition of “The Star-Spangled Banner” were ubiquitous. Damrosch began concerts with a statement asserting “earnest avowals of patriotism.” Muck, refusing to perform the anthem for aesthetic reasons, was barred from Providence, Baltimore, and Washington, D.C. Schumann-Heink, whose sons were serving in the military, was suspected of being a German sympathizer. Europe, an officer in charge of a regimental band, faced segregation and racism. Bomberger contrasts the tribulations of these performers with the increasing popularity of jazz, which promoted the “anti-authoritarian message” that music “can and should challenge the musical establishment.”
Not entirely convincing but marked by thorough research and a lively narrative.Pub Date: Dec. 3, 2018
ISBN: 978-0-19-087231-1
Page Count: 288
Publisher: Oxford Univ.
Review Posted Online: Aug. 26, 2018
Kirkus Reviews Issue: Sept. 15, 2018
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
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
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