A better-than-average up-from-the-ghetto, as-told-to life story by the R&B diva. Born Jamesetta Hawkins in 1938 in Los Angeles, her remarkable voice won her a featured soloist spot at the local church when she was just a child, and she'd barely hit her teens when she was discovered by L.A. promoter/songwriter Johnny Otis, a Greek man whose soul ``was blacker than the blackest black in Compton.'' Otis gave Etta her stage name and oversaw the recording of her first hit: ``Roll With Me, Henry,'' a double-entendre answer song to the Hank Ballard hit, ``Work With Me, Annie.'' From there, she hit the road, mostly playing small southern towns where she encountered racism at every turn. Her pungent observations about her peers make for amusing reading: Little Richard ``called himself King Richard and would get mad if you didn't recognize his royalty''; James Brown was ``a little dictator, an arrogant lord over the world of his music''; Jackie Wilson ``was incapable of talking about anything but Jackie.'' James also chronicles her regrettable talent for selecting men who used her at best, physically abused her at worst, and an addiction to heroin and other drugs that took her decades to shake. Musically speaking, James's life has also been one of ups and downs. Never quite achieving mainstream success, she moved from pure R&B to light jazz, pop standards, and out-and-out rock 'n' roll in the late '60s and '70s, then returned to form as a funky blues shouter in the '80s. James is well served by coauthor Ritz (Take It Off, Take It All Off, 1993, etc.), who ably captures the singer's feisty tone and does a reasonable job of keeping the narrative moving along. Not exactly an uplifting story, but plenty of sex, drugs, and rock 'n' roll to keep the fans happy. (8 pages b&w photos, not seen) (Author tour)
Pub Date: June 1, 1995
ISBN: 0-679-42328-1
Page Count: 288
Publisher: Villard
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 15, 1995
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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