Tortured visionary and bumbling drunk—two sides of ``The Lizard King'' that emerge from this lengthy but less-than-probing biography of the late rock star. Riordan (a Rolling Stone contributor) and Prochnicky (a self-professed veteran Morrison scholar) attempt to retrace Morrison's ``aural, visual, and psychological journey'' through ``a fun house mirror'' of Sixties-style metaphysics. They recount Morrison's repressive childhood under a Navy captain father, his youth as school misfit and troublemaker, his post-college life as a Venice beach-bum, and his subsequent descent into an acid- inspired ``spiritual netherworld.'' Morrison comes across as an insecure but creatively driven man prone to extreme mood swings, and an emotional manipulator who ``enjoyed dangling people from his own self-styled parapet.'' In some respects, he seems a hippie Oscar Wilde who strove for recognition as a serious poet only after establishing a notorious persona. But it is less the star and more the martyr that surfaces here, with gruesome accounts of Morrison being beaten by cops, lambasted by finicky critics, verbally abused by audiences, and incessantly drained by a neurotic girlfriend. Riordan and Prochnicky try to bolster the Morrison mythos by mentioning his love of Nietzsche, romantic attachment to shamanism, undying interest in film history, and gift for surrealist thinking that nurtured his work but abetted his ``failing to draw the line between art and life, business and pleasure, self-instruction and self-destruction.'' Unfortunately, they sidestep any fresh or bold interpretations of Morrison's mystique, resorting to redundant drugstore psychologisms and a disturbing zeal to discount any allegations of Morrison's thinly veiled homosexual side. Worse, the authors promise to delve into Morrison's subtle lyrics but opt instead for shallow and rushed summaries. Candid and articulate but essentially a star-struck reminiscence that fails to transcend the packaged legend. For more compact and worthy biographies of Morrison, see David Dalton's Mr. Mojo Risin' and Dylan Jones's Jim Morrison (p. 466). (Twenty-five b&w photographs—not seen.)
Pub Date: June 13, 1991
ISBN: 0-688-08829-5
Page Count: 400
Publisher: Morrow/HarperCollins
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 15, 1991
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
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
BOOK TO SCREEN
BOOK TO SCREEN
BOOK TO SCREEN
Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...
Privately published by Strunk of Cornell in 1918 and revised by his student E. B. White in 1959, that "little book" is back again with more White updatings.
Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis (whoops — "A bankrupt expression") a unique guide (which means "without like or equal").Pub Date: May 15, 1972
ISBN: 0205632645
Page Count: 105
Publisher: Macmillan
Review Posted Online: Oct. 28, 2011
Kirkus Reviews Issue: May 1, 1972
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