It had to happen. Old Mister Barry (Dave Barry Is from Mars and Venus, 1997; Dave Barry in Cyberspace, 1996; etc.), like many another humorist, has advanced in years and lived to tell about it. Baby Boomer comics are reaching the half-century mark in droves. It generally turns them solipsistic as well as silly, as they hearken to toots, creaks, squeaks, and other sounds of creeping senescence. Barry reports on his physical condition, too, and why not? But he also has another idea. A good part of his current effort presents a cultural history of the formative Boomer times and his part in them, starting with 1947 and going through 1974, when, it appears, the author gets tired of the exercise. If it’s not quite Mark Sullivan’s memorable six-volume Our Times covering the century’s early decades, the survey is, indeed, our times (or Barry’s times, anyway). And pretty foolish they seem, too, as Barry’s time capsule recalls popular music, consumer products, TV shows, advertising, and, of course, the ever looming threat of godless communism and the scary Sputnik. Nixon, Johnson, Kissinger are recalled with pleasant contempt. Fearlessly, the author names names; and almost always the name is the late Buffalo Bob, so things weren’t all bad. There was, after all, “streaking,” and Barry would like to see the fad of naked sprinting brought back, although in the case of Boomers, “there should definitely be a weight limitation.” In addition to the nostalgia, Dave presents obligatory lists (number 14 in “25 Things I Have Learned in 50 Years”: “Nobody is normal—), review questions, and footnotes (all citing “Buffalo Bob”). And nowhere is the word “prostate” found—except on the cover. Barry’s even longer in the tooth than he was when he wrote Dave Barry Turns 40, but despite his protestations of dotage, he is still clever enough to be his old funny self. There will probably be more laughs before Dave Barry Turns 60. (Author tour)

Pub Date: Oct. 14, 1998

ISBN: 0-609-60327-2

Page Count: 224

Publisher: Crown

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Sept. 15, 1998

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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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