A great incentive to fire up Spotify, or even the old stereo.

BEST MUSIC WRITING 2011

New Yorker music editor Ross (Listen to This, 2010, etc.) curates the year’s finest scribbling about sound.

The latest entry in the annual anthology of music journalism draws on a breadth of sources, from metro dailies and national magazines to websites, blogs and even Twitter. Ross brings in lively pieces from his primary discipline, classical music: Justin Davidson offers a measured contemplation of Beethoven’s contemporary interpreters, and online contest winners risibly summarize opera librettos in 140-character tweets. Befitting the times, pop mega-stars are the focus of several penetrating profiles: Vanessa Grigoriadis on Lady Gaga, Chris Norris on Will.i.am, Caryn Ganz on Nicki Minaj. Jonathan Bogart’s critical take on Ke$ha tells you more than you may ever want to know about pop’s trollop of the moment, but does it hilariously. Rock gets comparatively short shrift, and the top selections are backward-looking: James Wood on the Who’s maniacal drummer Keith Moon, Evelyn McDonnell on ’70s femme rockers the Runaways, Nate Chinen on the unlikely yet apt onstage confluence in 1970 of Miles Davis and Neil Young. The writing about contemporary rock—Titus Andronicus bassist Amy Klein’s hyper-feminist tour diary entry, blogger Mike Turbé’s review of a metal show in a Brooklyn basement—never rises above the jejune. The most startling stuff drives boldly into new territory: Lauren Wilcox Puchowski’s profile of a Washington, D.C., wedding band at work, Jason Cherkis on a Baltimore record collector’s life-changing obsession with an early-20th-century Greek vocalist, Chris Richards’ search for Parliament-Funkadelic’s Mothership stage prop and Joe Hagan on the profound darkness revealed in Nina Simone’s hitherto unpublished diaries. There is also a dizzying chapter from Dave Tompkins’ book How to Wreck a Nice Beach, excerpted by NPR.org, about the vocoder’s passage from cryptography to music. Though country and various roots styles are half-heartedly represented and a handful of solipsistic pieces tax the reader’s patience, this edition mainly sidesteps the usual suspects while maintaining the series’ high standard.

A great incentive to fire up Spotify, or even the old stereo.

Pub Date: Dec. 1, 2011

ISBN: 978-0-306-81963-6

Page Count: 336

Publisher: Da Capo

Review Posted Online: Oct. 2, 2011

Kirkus Reviews Issue: Oct. 15, 2011

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IN MY PLACE

From the national correspondent for PBS's MacNeil-Lehrer Newshour: a moving memoir of her youth in the Deep South and her role in desegregating the Univ. of Georgia. The eldest daughter of an army chaplain, Hunter-Gault was born in what she calls the ``first of many places that I would call `my place' ''—the small village of Due West, tucked away in a remote little corner of South Carolina. While her father served in Korea, Hunter-Gault and her mother moved first to Covington, Georgia, and then to Atlanta. In ``L.A.'' (lovely Atlanta), surrounded by her loving family and a close-knit black community, the author enjoyed a happy childhood participating in activities at church and at school, where her intellectual and leadership abilities soon were noticed by both faculty and peers. In high school, Hunter-Gault found herself studying the ``comic-strip character Brenda Starr as I might have studied a journalism textbook, had there been one.'' Determined to be a journalist, she applied to several colleges—all outside of Georgia, for ``to discourage the possibility that a black student would even think of applying to one of those white schools, the state provided money for black students'' to study out of state. Accepted at Michigan's Wayne State, the author was encouraged by local civil-rights leaders to apply, along with another classmate, to the Univ. of Georgia as well. Her application became a test of changing racial attitudes, as well as of the growing strength of the civil-rights movement in the South, and Gault became a national figure as she braved an onslaught of hostilities and harassment to become the first black woman to attend the university. A remarkably generous, fair-minded account of overcoming some of the biggest, and most intractable, obstacles ever deployed by southern racists. (Photographs—not seen.)

Pub Date: Nov. 1, 1992

ISBN: 0-374-17563-2

Page Count: 192

Publisher: Farrar, Straus and Giroux

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Sept. 1, 1992

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DEAR MR. HENSHAW

Possibly inspired by the letters Cleary has received as a children's author, this begins with second-grader Leigh Botts' misspelled fan letter to Mr. Henshaw, whose fictitious book itself derives from the old take-off title Forty Ways W. Amuse a Dog. Soon Leigh is in sixth grade and bombarding his still-favorite author with a list of questions to be answered and returned by "next Friday," the day his author report is due. Leigh is disgruntled when Mr. Henshaw's answer comes late, and accompanied by a set of questions for Leigh to answer. He threatens not to, but as "Mom keeps nagging me about your dumb old questions" he finally gets the job done—and through his answers Mr. Henshaw and readers learn that Leigh considers himself "the mediumest boy in school," that his parents have split up, and that he dreams of his truck-driver dad driving him to school "hauling a forty-foot reefer, which would make his outfit add up to eighteen wheels altogether. . . . I guess I wouldn't seem so medium then." Soon Mr. Henshaw recommends keeping a diary (at least partly to get Leigh off his own back) and so the real letters to Mr. Henshaw taper off, with "pretend," unmailed letters (the diary) taking over. . . until Leigh can write "I don't have to pretend to write to Mr. Henshaw anymore. I have learned to say what I think on a piece of paper." Meanwhile Mr. Henshaw offers writing tips, and Leigh, struggling with a story for a school contest, concludes "I think you're right. Maybe I am not ready to write a story." Instead he writes a "true story" about a truck haul with his father in Leigh's real past, and this wins praise from "a real live author" Leigh meets through the school program. Mr. Henshaw has also advised that "a character in a story should solve a problem or change in some way," a standard juvenile-fiction dictum which Cleary herself applies modestly by having Leigh solve his disappearing lunch problem with a burglar-alarmed lunch box—and, more seriously, come to recognize and accept that his father can't be counted on. All of this, in Leigh's simple words, is capably and unobtrusively structured as well as valid and realistic. From the writing tips to the divorced-kid blues, however, it tends to substitute prevailing wisdom for the little jolts of recognition that made the Ramona books so rewarding.

Pub Date: Aug. 22, 1983

ISBN: 143511096X

Page Count: 133

Publisher: Morrow/HarperCollins

Review Posted Online: Oct. 16, 2011

Kirkus Reviews Issue: Aug. 1, 1983

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