Funny stuff for TV viewers with short attention spans.

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THE NEW NEW RULES

A FUNNY LOOK AT HOW EVERYBODY BUT ME HAS THEIR HEAD UP THEIR ASS

Less an actual book than a return to the print-media platform by a brand most familiar from television.

“It’s a joke book,” admits Maher of this sequel to New Rules: Polite Musings from a Timid Observer (2005). As an alphabetized collection of bits from his “New Rules” TV segments (though some never aired), this book is meatier than a collection of top-10 lists from another TV brand. Yet the author acknowledges that he deserves credit neither for the concept (his program’s head writer conceived “New Rules” as a running feature) or for “so many of the jokes in this book” (he has staff writers for that). Consequently, the book is a compilation of TV bits that have aired since the last compilation (which means some might be six years old) and some that didn’t make the airtime cut for a variety of reasons, aimed at dedicated Maher fans who want all their favorites in one volume or at those who enjoy Maher when they see him but want to see how much they’ve missed. Example: “New Rule: The White House doesn’t have to release the dead Bin Laden photos, but don’t pretend we can’t take it. We’ve seen pictures of Britney Spears’s vagina getting out of a car. Television has desensitized us to violence, and porn has desensitized us to people getting shot in the eye.” Though Maher’s perspective on celebrity culture, marijuana, masturbation and China will be familiar to fans, some of the longer (rarely longer than a page and a half), more ambitious pieces reflect the sensibility he shares with Jon Stewart, with a cutting-edge humor that slices through journalistic hypocrisy—e.g., “We don’t need a third party, we need a first party. This is because we don’t have a left and a right party in this country anymore. We have a center-right party and a crazy party. Over the last thirty-odd years, Democrats have moved to the right, and the right has moved into a mental hospital.”

Funny stuff for TV viewers with short attention spans.

Pub Date: Nov. 14, 2011

ISBN: 978-0-399-15841-4

Page Count: 368

Publisher: Blue Rider Press

Review Posted Online: Oct. 11, 2011

Kirkus Reviews Issue: Nov. 1, 2011

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WHAT A WONDERFUL WORLD

A LIFETIME OF RECORDINGS

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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Necessarily swift and adumbrative as well as inclusive, focused, and graceful.

A LITTLE HISTORY OF POETRY

A light-speed tour of (mostly) Western poetry, from the 4,000-year-old Gilgamesh to the work of Australian poet Les Murray, who died in 2019.

In the latest entry in the publisher’s Little Histories series, Carey, an emeritus professor at Oxford whose books include What Good Are the Arts? and The Unexpected Professor: An Oxford Life in Books, offers a quick definition of poetry—“relates to language as music relates to noise. It is language made special”—before diving in to poetry’s vast history. In most chapters, the author deals with only a few writers, but as the narrative progresses, he finds himself forced to deal with far more than a handful. In his chapter on 20th-century political poets, for example, he talks about 14 writers in seven pages. Carey displays a determination to inform us about who the best poets were—and what their best poems were. The word “greatest” appears continually; Chaucer was “the greatest medieval English poet,” and Langston Hughes was “the greatest male poet” of the Harlem Renaissance. For readers who need a refresher—or suggestions for the nightstand—Carey provides the best-known names and the most celebrated poems, including Paradise Lost (about which the author has written extensively), “Kubla Khan,” “Ozymandias,” “The Charge of the Light Brigade,” Wordsworth and Coleridge’s Lyrical Ballads, which “changed the course of English poetry.” Carey explains some poetic technique (Hopkins’ “sprung rhythm”) and pauses occasionally to provide autobiographical tidbits—e.g., John Masefield, who wrote the famous “Sea Fever,” “hated the sea.” We learn, as well, about the sexuality of some poets (Auden was bisexual), and, especially later on, Carey discusses the demons that drove some of them, Robert Lowell and Sylvia Plath among them. Refreshingly, he includes many women in the volume—all the way back to Sappho—and has especially kind words for Marianne Moore and Elizabeth Bishop, who share a chapter.

Necessarily swift and adumbrative as well as inclusive, focused, and graceful.

Pub Date: April 21, 2020

ISBN: 978-0-300-23222-6

Page Count: 304

Publisher: Yale Univ.

Review Posted Online: Feb. 9, 2020

Kirkus Reviews Issue: March 1, 2020

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