Overwritten and overtly sensational.
Acrid biography of the biggest female vocal group of all time.
Ribowsky (Josh Gibson: The Power and the Darkness, 2004, etc.) dredges up all the muck he can find on Motown Records’ hit-making trio, who tallied a dozen No. 1 pop-soul singles from 1964 through Diana Ross’ departure for a solo career in 1969. The outline will be familiar to readers of past memoirs by Ross, member Mary Wilson and Motown founder Berry Gordy, which the writer pillages extensively while castigating their lack of candor. Founded in Detroit’s Brewster-Douglass projects by teenager Florence Ballard as a quartet originally known as the Primettes, the group was nurtured to international stardom, after several flop singles, by self-made music mogul Gordy. The label chief was severely smitten with the skinny, purring Ross, a turbine of selfish ambition who enjoyed short-lived affairs with Gordy’s adjutant Smokey Robinson and songwriter Brian Holland before taking up with her long-lusting boss after she hit pay dirt. Readers looking for another Dreamgirls should look elsewhere—no one escapes unscathed in this scabrous tome. Ross predictably emerges as an imperious, spotlight-hogging diva; Wilson is depicted as man-hungry, disloyal and timorous; the tragic Ballard, who died at 32 in 1976 after her brutal expulsion from the act she formed, is portrayed as a self-destructive, alcoholic loose cannon. Gordy hovers above the action as a deceitful, iron-fisted coveter of white-bread mainstream success who coldly robbed even his top act. Ribowsky, who relies heavily on secondary sources and testimony from disaffected members of the Motown “family,” excessively magnifies and explicates each torturous incident in the Supremes’ story. The author is also prone to five-dollar verbiage, frequently obvious flights of dim analysis and thudding attempts at cleverness.
Overwritten and overtly sensational.Pub Date: July 1, 2009
ISBN: 978-0-306-81586-7
Page Count: 430
Publisher: Da Capo
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 1, 2009
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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