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SHE'S A REBEL

Name: SHE'S A REBEL
Author: Gillian G. Gaar
ISBN: 1-878067-08-7

THE HISTORY OF WOMEN IN ROCK & ROLL

by Gillian G. Gaar ‧ RELEASE DATE: Oct. 23, 1992

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A first-rate rock-'n'-roll history with enough lively detail and thoughtful analysis to put to shame the marginalization of women rockers decried by Gaar (editor of the music magazine The Rocket). Tracing the growth of the industry from its roots in late-40's rhythm and blues through today's video-driven stylings, Gaar exposes the consistent double bind of women ``frequently not seen as having the commercial potential of a male artist, and so...not given the chance to demonstrate that they could indeed sell records.'' Though saddled with an unshakable novelty image, women- -from Willie Mae Thornton (whose 1953 hit, ``Hound Dog,'' written for her, far predated Elvis's version), through the ``girl groups'' of the 1960's and the 1970's singer-songwriters, to the legions of punk, post-punk, pop, and rap performers of the past decade—have nonetheless established themselves as durable hit-makers. Drawing on the often rueful comments of her subjects (``You weren't really expressing yourself creatively, past proving to the world that girls could play like guys,'' recalls one), and on an extensive knowledge of both the artistic and business aspects of the music world, Gaar ably grounds her study against the larger context of social change, including the waxing and waning tides of feminism and prejudice. Most poignant is the odd juxtaposition of late performers Karen Carpenter and Janis Joplin, the former ``destroyed by the limitations inherent in playing the role of the good girl as Joplin had been destroyed by the limitations in playing the role of the bad.'' A number of minor inaccuracies (e.g., incorrectly marrying off Grace Slick and Paul Kantner) and some iffy grammar are rare weak points in an otherwise excellent, unusually comprehensive social and musical chronicle. Essential reading for rock fans—particularly those with large record collections and open minds. (Sixty b&w photographs—not seen.)

Pub Date: Oct. 23, 1992

ISBN: 1-878067-08-7

Page Count: 450

Publisher: Seal Press

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Sept. 1, 1992

Categories:

GENERAL NONFICTION

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NUTCRACKER

by E.T.A. Hoffmann ‧ RELEASE DATE: Oct. 28, 1996

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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

Categories:

GENERAL NONFICTION

- BOOK REVIEW
THE NUTCRACKER AND THE MOUSE KING
by E.T.A. Hoffmann ; adapted by Natalie Andrewson ; illustrated by Natalie Andrewson

- BOOK REVIEW
THE NUTCRACKER
by E.T.A. Hoffmann & illustrated by Julie Paschkis

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TO THE ONE I LOVE THE BEST

EPISODES FROM THE LIFE OF LADY MENDL (ELSIE DE WOLFE)

by Ludwig Bemelmans ‧ RELEASE DATE: Feb. 23, 1955

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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.