Mostly, though, a pungent, substantive autobiography from one the most iconoclastic talents on the American music scene.
A humble, happy look back from the man in black.
Johnny Cash answers to many names; he's JR to childhood friends and family, John to bandmates, and Johnny to fans. `"Cash'' is the name wife June Carter reserves for ``the star, the egomaniac.'' The star gets plenty of ink here, from the early days at Sun Records—with Elvis, Carl Perkins, and Jerry Lee Lewis—to his current status as a darling of the alternative rock set. But it's the private man who's most compelling and surprisingly complex. Cash writes candidly of his recurring addiction to amphetamines and his concomitant shortcomings as a father, addresses his spirituality without sounding maudlin, and displays genuine humility at his success and very little bitterness at his abandonment by the country music establishment. A more accurate subtitle might be "The Second Autobiography,'' since this volume covers some of the same ground as Cash's previous work, The Man in Black(1986), but a life so chock full of oddments (he once started a forest fire with an automobile and on another occasion was nearly disemboweled by an ostrich) and renegade stands (he opposed Vietnam, heresy to the nation's blue-collar constituency) easily merits a second look. Organized around the domiciles where he divides his time—homes in Tennessee, Florida, and Jamaica, as well as his tour bus—the book stays grounded in the present, mixing reflections on his 40-year career with a running chronicle of an ongoing tour. This novel approach minimizes the as-told-to blahs that plague many a celebrity autobiography and highlights Cash's wry humor and introspection. With the help of Carr, editor of Country Musicmagazine, Cash keeps the pace lively until the end, when the roses he throws everyone from grandkids to music biz buddies bog things down.
Mostly, though, a pungent, substantive autobiography from one the most iconoclastic talents on the American music scene.Pub Date: Nov. 1, 1997
ISBN: 0-06-251500-4
Page Count: 310
Publisher: N/A
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Oct. 1, 1997
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
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
BOOK TO SCREEN
BOOK TO SCREEN
BOOK TO SCREEN
© Copyright 2025 Kirkus Media LLC. All Rights Reserved.
Follow
Popular in this Genre
We can’t wait for you to join Kirkus!
It’s free and takes less than 10 seconds!
Already have an account? Log in.
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
Welcome Back!
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
