A stirringly combative and prescient collection from earlier days of gay journalism.
Benton (Extraordinary Hearts, 2013) collects his writings from the post-Stonewall, pre–Harvey Milk era of the LGBTQ+ rights movement.
As a young gay man in the San Francisco Bay Area in the late 1960s, Benton became a passionate activist and writer in the gay rights movement. He published prolifically in such alternative outlets as the Berkeley Barb, the Berkeley Tribe, Gay Sunshine, and his own paper, the Effeminist. In this collection, he reveals how, by 1969, the gay movement had already split into two factions: “one which saw our liberation in the context of wider social currents and causes, and the other which insisted that activism be limited to striving to advance ‘our’ issues, solely.” Benton identified with the former, and the Effeminist sought to bring together the goals of the gay rights and feminist movements. His topics include the Stonewall riots, Vietnam, racism, sexism, and politics, and there are firsthand accounts of protests, demonstrations, incidents of harassment, and cultural trends and happenings. These pieces provide a record of a specific era in the counterculture and offer valuable perspective for activists in today’s LGBTQ+ and feminist struggles. Benton’s prose is analytical and hard-hitting even when writing about film: “It’s about a male supremacist society where sex is a power trip,” he writes in a 1971 review of the prison-set film Fortune and Men’s Eyes. “It’s about cultural homosexuality, turned into simulated heterosexual acts performed by men on each other due to the physical absence of women. It’s real.” The book is primarily composed of writings from the same period, but more recent pieces that look back on that time are included as well. Benton asserts that he’s been written out of some versions of the era’s history, and there’s a self-promotional quality to the book that isn’t always subtle; one essay, for instance, is titled “4 Things I Am Credited With Helping To Accomplish in That Era.” As a set of primary source documents, however, these essays will give readers a wonderful, provocative look into the Stonewall generation’s political coming-of-age.
A stirringly combative and prescient collection from earlier days of gay journalism.Pub Date: Sept. 7, 2019
ISBN: 978-1-64633-310-3
Page Count: 200
Publisher: BCI Books
Review Posted Online: Oct. 18, 2019
Kirkus Reviews Issue: Dec. 15, 2019
Review Program: Kirkus Indie
BOOK REVIEW
BOOK REVIEW
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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