An eloquent critique, from a politically progressive perspective, not only of TV's coverage of war but also of its treatment of topical and historical events and of ``politics in contemporary America—an imperious, camouflaged politics known best to those who transgress implicit limits, tread on unvoiced premises [and] traffic in the heterodox....'' Cumings (East Asian and International History/Univ. of Chicago) uses TV's coverage of Vietnam and the Gulf War as a way of analyzing the assumptions underlying its treatment of all sorts of political issues. Drawing on his own experience as an expert consultant on a TV documentary about recent American wars, Cumings shows strikingly how a type of consensus evolves about America's role in wars, a consensus that prevents alternative views from being expressed. The TV coverage of the Gulf War perfectly illustrates this situation, in which, Cumings contends, TV not only failed to present a sophisticated analysis of Arab culture or of the true issues in the war, but also allowed itself to be stage- managed into producing a false account of the fighting (the author claims that the precision of America's ``smart weapons'' was greatly exaggerated, and that the destruction wrought by the war was not adequately covered). Cumings argues convincingly that the purported ``objectivity'' of the camera is an illusion, and that TV is a medium that makes points and takes sides despite its supposed impartial coverage of news events. A provocative and intelligent analysis. (Illustrations—not seen.)

Pub Date: July 1, 1992

ISBN: 0-86091-374-0

Page Count: 256

Publisher: Verso

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: May 15, 1992

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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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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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