Despite occasionally clumsy exposition, Higher goes a long way toward doing justice to its fascinating subject.
Bascomb debuts with a lively account of how three great New York City skyscrapers were built at the end of the Roaring Twenties.
The author begins with portraits of two architects, William Van Alen and Craig Severence, former partners who became bitter rivals. Van Alen was the partnership’s creative heart, trained in Paris and imbued with the modernist spirit. Severence was the consummate businessman, constantly networking in search of the next big commission. Breaking up in 1924, just as the skyscraper was becoming the symbol of preeminence in business and the economy seemed to be on an endless upward spiral, the erstwhile friends by 1929 were executing rival commissions to build the tallest building in the world. Severence’s backers were Old Money, with conservative tastes and a building plot at 40 Wall Street, at the center of the financial district. Van Alen’s patron was self-made automobile tycoon Walter Chrysler, willing to spend whatever it took to erect his personal monument at 42nd and Lexington. The two architects openly sought the “world's highest” crown, each altering their designs several times in order to top the other. In the end, Chrysler and Van Alen won. But neither had taken into account the plans of John J. Raskob, who headed a corporation with defeated presidential candidate Al Smith as its spokesman. One of Chrysler’s fiercest rivals, Raskob acquired the Fifth Avenue site of the Waldorf Astoria for a skyscraper destined to become the epitome of its kind: the Empire State Building, completed in 1931. Bascomb puts all three projects vividly in context, giving broad overviews of the times as well as detailed portraits of the men who designed, financed, and constructed the three buildings even as the crash of 1929 took all the sweetness out of their triumphs.
Despite occasionally clumsy exposition, Higher goes a long way toward doing justice to its fascinating subject.Pub Date: Oct. 21, 2003
ISBN: 0-385-50660-0
Page Count: 352
Publisher: Doubleday
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 2003
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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