A generic but celebratory introduction to a distinctive musical genre.
A salute to a Brazilian community’s spirit and music.
In the Mangueira neighborhood of Rio de Janeiro, residents prepare for the annual Carnaval samba parades in the city’s huge Sambadrome by making bright costumes. The members of the competitive bateria, “the drum section and beating heart of the show,” practice their parts over and over into the night. Along with explaining the important role of local samba schools in Brazil as not just musical academies but social centers, too, Hoelzel focuses on the experiences of one musician, Ailton Nunes, who began drumming at age 5 and went on to help Mangueria’s bateria win a Carnaval award in 1990 before leaving to teach and perform; he was called back in 2011 to form and lead a new corps to another first prize. The biographical information is thin, and neither the narrative nor the pictures do much to evoke the music’s distinctive sound. Still, Ceolin does illustrate this invitation to think of samba as “a way to honor the past and dream for a better future” with scenes of smiling brasileiros with various shades of brown skin, dressed in ordinary or festive clothes, dancing enthusiastically or beating drums of diverse shapes and sizes on city streets and before huge stadium crowds. Backmatter offers more information on the music and Nunes, as well as a catalog of samba drum types.
A generic but celebratory introduction to a distinctive musical genre. (source list, glossary) (Picture-book biography. 6-8)Pub Date: July 1, 2024
ISBN: 9781534112957
Page Count: 40
Publisher: Sleeping Bear Press
Review Posted Online: Aug. 17, 2024
Kirkus Reviews Issue: Sept. 15, 2024
Blandly inspirational fare made to evoke equally shrink-wrapped responses.
An NBA star pays tribute to the influence of his grandfather.
In the same vein as his Long Shot (2009), illustrated by Frank Morrison, this latest from Paul prioritizes values and character: “My granddad Papa Chilly had dreams that came true,” he writes, “so maybe if I listen and watch him, / mine will too.” So it is that the wide-eyed Black child in the simply drawn illustrations rises early to get to the playground hoops before anyone else, watches his elder working hard and respecting others, hears him cheering along with the rest of the family from the stands during games, and recalls in a prose afterword that his grandfather wasn’t one to lecture but taught by example. Paul mentions in both the text and the backmatter that Papa Chilly was the first African American to own a service station in North Carolina (his presumed dream) but not that he was killed in a robbery, which has the effect of keeping the overall tone positive and the instructional content one-dimensional. Figures in the pictures are mostly dark-skinned. (This book was reviewed digitally.)
Blandly inspirational fare made to evoke equally shrink-wrapped responses. (Picture book. 6-8)Pub Date: Jan. 10, 2023
ISBN: 978-1-250-81003-8
Page Count: 32
Publisher: Roaring Brook Press
Review Posted Online: Sept. 27, 2022
Kirkus Reviews Issue: Oct. 15, 2022
BOOK REVIEW
Blandly laudatory.
The iconic animator introduces young readers to each “happy place” in his life.
The tally begins with his childhood home in Marceline, Missouri, and climaxes with Disneyland (carefully designed to be “the happiest place on Earth”), but the account really centers on finding his true happy place, not on a map but in drawing. In sketching out his early flubs and later rocket to the top, the fictive narrator gives Ub Iwerks and other Disney studio workers a nod (leaving his labor disputes with them unmentioned) and squeezes in quick references to his animated films, from Steamboat Willie to Winnie the Pooh (sans Fantasia and Song of the South). Eliopoulos incorporates stills from the films into his cartoon illustrations and, characteristically for this series, depicts Disney as a caricature, trademark mustache in place on outsized head even in childhood years and child sized even as an adult. Human figures default to white, with occasional people of color in crowd scenes and (ahistorically) in the animation studio. One unidentified animator builds up the role-modeling with an observation that Walt and Mickey were really the same (“Both fearless; both resourceful”). An assertion toward the end—“So when do you stop being a child? When you stop dreaming”—muddles the overall follow-your-bliss message. A timeline to the EPCOT Center’s 1982 opening offers photos of the man with select associates, rodent and otherwise. An additional series entry, I Am Marie Curie, publishes simultaneously, featuring a gowned, toddler-sized version of the groundbreaking physicist accepting her two Nobel prizes.
Blandly laudatory. (bibliography) (Picture book/biography. 6-8)Pub Date: Sept. 10, 2019
ISBN: 978-0-7352-2875-7
Page Count: 40
Publisher: Dial Books
Review Posted Online: Aug. 17, 2019
Kirkus Reviews Issue: Sept. 1, 2019
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