Here, rock critic Marsh (Born to Run, Glory Days, etc.) ventures beyond mere celeb biography or fan-boy appreciation. This cultural history of a single rock tune is an exercise in modern legend-making that also tells ``the story of rock 'n' roll in a nutshell.'' For Marsh, the official investigation of the allegedly obscene lyrics in ``Louie, Louie'' prefigures current efforts to censor pop music. The lesson in this case is skewed in Marsh's favor, since ``Louie, Louie,'' despite years of rumor and myth-making, is really a harmless sea chantey composed by a small-time performer in the mid-50's as ``an R&B dance tune with a hint of cha-cha.'' When Richard Berry sold the publication rights to the tune for $750, he had no idea it would reemerge in the early 60's as a monster hit. Although numerous West Coast artists cut versions, it wasn't until the Kingsmen recorded their slurred, one-track interpretation that the rumors began concerning the ``true'' lyrics. In Marsh's view, the ``protopunk'' sloppy recording of the song ``is the most profound and sublime expression of rock 'n' roll's ability to create something from nothing.'' Down and dirty, the Kingsmen's version frightened parents and inspired a thorough FBI investigation based on the underground circulation of spurious vulgar lyrics. Meanwhile, the ``stop-time cluster-chord'' song spawned offshoots by the Kinks, the Who, and Jimi Hendrix. The song was remade by the Beach Boys, Jan and Dean, Otis Redding, and disco king Barry White. There are instrumental remakes, jazz-fusion versions, punk homages, and a rap rendition. Despite references to Camille Paglia and Theodor Adorno, Marsh is no Greil Marcus. Though he tells the story of ``Louie, Louie'' well, his cultural analysis is shallow and dependent on all sorts of p.c. insights. A full discography attests to his central point: ``Louie, Louie'' lives! (Eight pages of b&w photographs)
Pub Date: Aug. 4, 1993
ISBN: 1-56282-865-7
Page Count: 256
Publisher: Hyperion
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: June 1, 1993
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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
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
BOOK REVIEW
BOOK REVIEW
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