In the newspaper world they call it “reporting from the mahogany ridge,” where so many fine stories, social truths, and bits...
“America’s great middlebrow social elixir, and inseparable companion to the sporting and spectator life, the portal to first intoxication, the workingman’s Valium, and a leavening staple to the college experience” finds a worthy explicator of its whys and wherefores.
Wells (Logan’s Storm, 2002, etc.) likes a glass of beer, and though he’s not undiscerning, he’s no snob either. “I grew up with people who knew only three categories of bad beer: warm beer, flat beer, and, worst, no beer at all.” Wells’s mission here is not to anoint the best beer (“the appreciation of one doesn’t require me to vilify the others”), but rather to gather a sense of how beer fits into the American everyday, “to gain a view of America through the prism of the beer glass.” And while he’s at it, he might as well suss out the finest watering holes along the length of the Mississippi River. Wells doesn’t trust the homogenization of longitude, but prefers the variety of latitude. He can’t explain how the Big Three (Anheuser-Busch, Miller, and Coors) got so big, except that an ice-cold lager on a hot day can’t be beat . . . and their bosomy advertising garners admirers. But Wells will also be sampling Dogfish Head 120 Minute IPA and Blackened Voodoo as he explores the history of beer and the cultural geography of the towns that hug the great river and its tributaries. Then, with a reporter’s nose, he seeks stories: one bar features a mullet toss, another sponsors a 5-K race with a beer stop at the half point. Wells gets literary—Shakespeare figures in, as do Chaucer, Joyce, and Thoreau (“The tavern will compare favorably with the church”)—but he is happiest bellying-up with his nose to the wind.
In the newspaper world they call it “reporting from the mahogany ridge,” where so many fine stories, social truths, and bits of political wisdom are revealed.Pub Date: Oct. 6, 2004
ISBN: 0-7432-3278-X
Page Count: 320
Publisher: N/A
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 2004
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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