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EVERY SONG EVER

TWENTY WAYS TO LISTEN IN AN AGE OF MUSICAL PLENTY

A collection of essays that makes unlikely connections that will encourage music fans to listen beyond categorical...

A veteran New York Times critic, Ratliff here goes beyond the focus on jazz in his previous books (The Jazz Ear: Conversations Over Music, 2008) to explore the consumption of music in its widest variety and availability.

This is the critical equivalent of a series of mixtapes, the playlists compiled (now on computer rather than cassette) to share favorite music and to illuminate and entertain through juxtaposition. Streaming and downloading have made just about everything available to just about everyone, for better and worse, as programming algorithms strive to give listeners more of what they like rather than push them into unfamiliar territory. Urging “a strategy of openness” and offering “a spirit in which to hear things that may have been kept away from you,” the author proceeds to analyze common elements—sadness, silence, intimacy, density, virtuosity—among musical performances and styles that aren’t often considered to have much in common. At the end of each chapter is a playlist of the music covered. The best essay, “Blues Rules: Sadness,” is as startling as it is provocative, meandering its way to what might typically be considered blues through the haunted mortality of Nick Drake, some Mozart, and then proceeding to Slayer and Black Sabbath. One senses that the author could write a whole book on heavy metal: “it’s all inverse gospel, and the code for listening to it is as complex as gospel’s.” Other essays are all over the musical map, but it’s fascinating how Ratliff can bring a fresh ear to such familiar music—making the Beatles the centerpiece of a chapter on “Closeness” while the Rolling Stones are their polar opposites in the power of “Discrepancy”—and how inviting he makes some little-known music sound, particularly when everything is so available.

A collection of essays that makes unlikely connections that will encourage music fans to listen beyond categorical distinctions and comfort zones—though reading the book feels a little incomplete without the listening that should accompany the experience.

Pub Date: Feb. 9, 2016

ISBN: 978-0-374-27790-1

Page Count: 272

Publisher: Farrar, Straus and Giroux

Review Posted Online: Oct. 27, 2015

Kirkus Reviews Issue: Nov. 15, 2015

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NUTCRACKER

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

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TO THE ONE I LOVE THE BEST

EPISODES FROM THE LIFE OF LADY MENDL (ELSIE DE WOLFE)

An extravaganza in Bemelmans' inimitable vein, but written almost dead pan, with sly, amusing, sometimes biting undertones, breaking through. For Bemelmans was "the man who came to cocktails". And his hostess was Lady Mendl (Elsie de Wolfe), arbiter of American decorating taste over a generation. Lady Mendl was an incredible person,- self-made in proper American tradition on the one hand, for she had been haunted by the poverty of her childhood, and the years of struggle up from its ugliness,- until she became synonymous with the exotic, exquisite, worshipper at beauty's whrine. Bemelmans draws a portrait in extremes, through apt descriptions, through hilarious anecdote, through surprisingly sympathetic and understanding bits of appreciation. The scene shifts from Hollywood to the home she loved the best in Versailles. One meets in passing a vast roster of famous figures of the international and artistic set. And always one feels Bemelmans, slightly offstage, observing, recording, commenting, illustrated.

Pub Date: Feb. 23, 1955

ISBN: 0670717797

Page Count: -

Publisher: Viking

Review Posted Online: Oct. 25, 2011

Kirkus Reviews Issue: Feb. 1, 1955

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