An informative, though often frustrating, survey of the history of one of today’s most popular musical forms. Veteran journalist George (Blackface, 1994, etc.) expands this view of hip-hop far beyond artists and discs; he looks also at such related phenomena as graffiti, cinema, and commercial culture. The author eyes the business behind music, especially the shift from traditionally white management of record companies to increasing black leadership. An irony: the occasional anti-Semitism found in hip-hop music. Using the ouster of Public Enemy’s Professor Griff for anti-Jewish statements as an example, George points out that despite Griff’s views, Public Enemy had a large Jewish backing that stayed put behind the band in the face of fallout from the Jewish establishment. George’s examination of racism in regard to both the Public Enemy case and also the outcry over Luther Campbell’s obscenity trials in Florida is right on the money. Unfortunately, he relies too heavily on the first person in his writing—it’s invasive. One can’t help but wonder if George’s ego is also his Achilles heel. Equally troubling is his general acceptance of the Nation of Islam as a positive force; he even labels NAACP head Benjamin Chavis’s defection to Farrakhan as “progressive.” Some of his omissions are curious, such as his failure to mention Keith Haring in his discussion of graffiti (even though Haring went on to illustrate an album cover for De La Soul) and his decision not to cite Arrested Development’s near-masterpiece video for “Tennessee.” There’s much history here that makes for good reading. Too bad George couldn’t keep a better professional distance and include an even wider view of the subject at hand (8 pages photos, not seen)
Pub Date: Oct. 1, 1998
ISBN: 0-670-87153-2
Page Count: 256
Publisher: Viking
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 1, 1998
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
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
BOOK REVIEW
BOOK REVIEW
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