Full of surprises—who knew that Merle Haggard and Johnny Cash hated Dubya so?



Country is, by definition, the music of country people. But it’s now the province of the suburbanites, and the suburbanites have gone fascist, and so has mainstream country music.

So run the main outlines of Entertainment Weekly writer Willman’s study of country music in the modern era, though his argument proceeds with considerably greater nuance. Country has always been full of politics, but that all changed when Garth Brooks came along and dumbed it down for an increasingly dumb audience. Then along came Natalie Maines of the Dixie Chicks to profess shame for being from Texas, whose governor-turned-president was now looking for a war. All hell broke loose: The suburbanites had pitchforks and torches, and only one big radio station in the country would play the Chicks’ treasonous (and hitherto hit-making) music. Willman goes into much detail on the Maines event, which had the effect of drawing out the cryptorightists in Nashville to rally round the flag: Travis Tritt, the awful Brooks & Dunn, the still more awful Toby Keith. Even the nonpolitical Vince Gill was heard mouthing Bushian pieties, though his pal Rodney Crowell insists that Vince is really a liberal at heart. (Steve Earle—who admits to packing up for New York because the split-level hicks are getting just a little too scary—vouches for Gill’s credentials, too.) Willman’s stroll through the minefields is engaging, and he tries to be evenhanded, though those scary hicks sometimes move him to passion, as when he notes, relative to an anti-Maines protest featuring a demonstrator who’s been loudly accusing Chicks fans of lesbianism in the presence of his teenage daughter, “nothing says ‘joint custody’ like a night of father/daughter dyke baiting.”

Full of surprises—who knew that Merle Haggard and Johnny Cash hated Dubya so?

Pub Date: Nov. 17, 2005

ISBN: 1-59558-017-4

Page Count: 320

Publisher: The New Press

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Sept. 15, 2005

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


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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