Although Holden (Big Deal, 1990, etc.) in his subtitle promises some lip-smacking gossip, few readers will be shocked, while most will find consuming this overrich table of Oscar-lore like trying to swallow the dessert board on the QE II. Steadily entertaining, Holden's narrative history bulks itself out with the usual Oscar facts and figures, but differs from the leader in its field, Mason Wiley and Damien Bona's voluminous Inside Oscar (1987), by hewing to anecdote. Part of the wacky suspense that the author keeps up hangs from the temper of the country and of the Academy each year (say, toward British nominees), and from studying the predictables and past winning percentages in whatever voting category he talks about, although many readers already will have recalled the winners. Holden begins with the making of the statuette itself, taking us through every step of its casting and burnishing and laminating, with other choice information offered about its brass inscriptions, delivery anywhere in the world, etc. Regarding awards for artistic merit, one of the big thoughts that arises from this study of the 5,000- plus Oscar electorate is, as one (unnamed) director puts it: ``Institutions aren't the best judges of a work of art, just like the AcadÇmie des Beaux Arts rejected the Impressionists.'' Even better are Peter Bogdanovich's words after losing as Best Director to William Friedkin in 1971: ``The way I see it, there's only one place that does it right. Every year in Barcelona they give awards for poetry. The third prize is a silver rose. The second prize is a gold one. The first prize, the one for best poem of all, is a real rose.'' Brain-sogging, so bring digestif. (Over 100 b&w photographs- -not seen.)

Pub Date: March 1, 1993

ISBN: 0-671-70129-0

Page Count: 448

Publisher: Simon & Schuster

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Jan. 1, 1993

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Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...



Privately published by Strunk of Cornell in 1918 and revised by his student E. B. White in 1959, that "little book" is back again with more White updatings.

Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis (whoops — "A bankrupt expression") a unique guide (which means "without like or equal").

Pub Date: May 15, 1972

ISBN: 0205632645

Page Count: 105

Publisher: Macmillan

Review Posted Online: Oct. 28, 2011

Kirkus Reviews Issue: May 1, 1972

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Noted jazz and pop record producer Thiele offers a chatty autobiography. Aided by record-business colleague Golden, Thiele traces his career from his start as a ``pubescent, novice jazz record producer'' in the 1940s through the '50s, when he headed Coral, Dot, and Roulette Records, and the '60s, when he worked for ABC and ran the famous Impulse! jazz label. At Coral, Thiele championed the work of ``hillbilly'' singer Buddy Holly, although the only sessions he produced with Holly were marred by saccharine strings. The producer specialized in more mainstream popsters like the irrepressibly perky Teresa Brewer (who later became his fourth wife) and the bubble-machine muzak-meister Lawrence Welk. At Dot, Thiele was instrumental in recording Jack Kerouac's famous beat- generation ramblings to jazz accompaniment (recordings that Dot's president found ``pornographic''), while also overseeing a steady stream of pop hits. He then moved to the Mafia-controlled Roulette label, where he observed the ``silk-suited, pinky-ringed'' entourage who frequented the label's offices. Incredibly, however, Thiele remembers the famously hard-nosed Morris Levy, who ran the label and was eventually convicted of extortion, as ``one of the kindest, most warm-hearted, and classiest music men I have ever known.'' At ABC/Impulse!, Thiele oversaw the classic recordings of John Coltrane, although he is the first to admit that Coltrane essentially produced his own sessions. Like many producers of the day, Thiele participated in the ownership of publishing rights to some of the songs he recorded; he makes no apology for this practice, which he calls ``entirely appropriate and without any ethical conflicts.'' A pleasant, if not exactly riveting, memoir that will be of most interest to those with a thirst for cocktail-hour stories of the record biz. (25 halftones, not seen)

Pub Date: May 1, 1995

ISBN: 0-19-508629-4

Page Count: 224

Publisher: Oxford Univ.

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: March 1, 1995

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