Even non-headbangers may enjoy this engaging account of an improbable musical watershed.
Appealing history of the genre that offended critics, moved millions of units, and thrilled adolescents of all ages.
Konow’s debut follows a straightforward thesis: heavy metal maintained enormous and under-acknowledged worldwide popularity from the 1970s through approximately 1992, when many factors, particularly the Seattle “alternative” explosion, consigned most bands to the cut-out bin. He identifies metal’s crucial elements—multi-guitar power chords, energized vocals, rebellious occult trappings, elaborate stage productions—and traces their almost accidental coalescence during the ’70s as pioneers like Led Zeppelin, Alice Cooper, KISS, and Queen toured constantly. By the decade’s end, economic malaise compelled a young generation to hurry into bands, resulting in the New Wave of British Heavy Metal: Iron Maiden, Def Leppard, and Judas Priest. In turn, these groups inspired an explosion in American “underground metal,” most prominently Metallica, while pop-metal acts like Bon Jovi and the infinitely sleazier (hence authentic-seeming) Guns N’ Roses dominated record sales in the late ’80s. A fan first and critic second, Konow discusses the laughable (W.A.S.P., Motley Crue, Poison) and the venerable (Black Sabbath, Motorhead, Slayer, AC/DC) with the same lucid enthusiasm. He attributes metal’s commercial dominance to grassroots fan loyalty, MTV’s marketing savvy, and major labels’ deep pockets, which enabled the profligate “hair bands” to consume huge sums while recording and touring. The ludicrous side of metal, immortalized in the seminal “mockumentary” This Is Spinal Tap, emerges in numerous hilarious anecdotes concerning the awesome egotism of figures like Axl Rose or David Lee Roth and the myopia of bands like Dokken or Quiet Riot, which expected to remain popular forever. Konow’s discussion of metal’s commercial decline offers shrewd analysis of cultural shifts: MTV and major labels happily dropped the metal bands once profitability waned, while embittered musicians blamed fair-weather fans and alternative-rock “nerds” rather than examining their own sordid histories (herein documented) of misogyny, thuggishness, substance abuse, and uninspired recordings.
Even non-headbangers may enjoy this engaging account of an improbable musical watershed.Pub Date: Nov. 1, 2002
ISBN: 0-609-80732-3
Page Count: 496
Publisher: Three Rivers/Crown
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Oct. 1, 2002
BOOK REVIEW
For Howard Zinn, long-time civil rights and anti-war activist, history and ideology have a lot in common. Since he thinks that everything is in someone's interest, the historian—Zinn posits—has to figure out whose interests he or she is defining/defending/reconstructing (hence one of his previous books, The Politics of History). Zinn has no doubts about where he stands in this "people's history": "it is a history disrespectful of governments and respectful of people's movements of resistance." So what we get here, instead of the usual survey of wars, presidents, and institutions, is a survey of the usual rebellions, strikes, and protest movements. Zinn starts out by depicting the arrival of Columbus in North America from the standpoint of the Indians (which amounts to their standpoint as constructed from the observations of the Europeans); and, after easily establishing the cultural disharmony that ensued, he goes on to the importation of slaves into the colonies. Add the laborers and indentured servants that followed, plus women and later immigrants, and you have Zinn's amorphous constituency. To hear Zinn tell it, all anyone did in America at any time was to oppress or be oppressed; and so he obscures as much as his hated mainstream historical foes do—only in Zinn's case there is that absurd presumption that virtually everything that came to pass was the work of ruling-class planning: this amounts to one great indictment for conspiracy. Despite surface similarities, this is not a social history, since we get no sense of the fabric of life. Instead of negating the one-sided histories he detests, Zinn has merely reversed the image; the distortion remains.
Pub Date: Jan. 1, 1979
ISBN: 0061965588
Page Count: 772
Publisher: Harper & Row
Review Posted Online: May 26, 2012
Kirkus Reviews Issue: Jan. 1, 1979
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
A moving meditation on mortality by a gifted writer whose dual perspectives of physician and patient provide a singular...
A neurosurgeon with a passion for literature tragically finds his perfect subject after his diagnosis of terminal lung cancer.
Writing isn’t brain surgery, but it’s rare when someone adept at the latter is also so accomplished at the former. Searching for meaning and purpose in his life, Kalanithi pursued a doctorate in literature and had felt certain that he wouldn’t enter the field of medicine, in which his father and other members of his family excelled. “But I couldn’t let go of the question,” he writes, after realizing that his goals “didn’t quite fit in an English department.” “Where did biology, morality, literature and philosophy intersect?” So he decided to set aside his doctoral dissertation and belatedly prepare for medical school, which “would allow me a chance to find answers that are not in books, to find a different sort of sublime, to forge relationships with the suffering, and to keep following the question of what makes human life meaningful, even in the face of death and decay.” The author’s empathy undoubtedly made him an exceptional doctor, and the precision of his prose—as well as the moral purpose underscoring it—suggests that he could have written a good book on any subject he chose. Part of what makes this book so essential is the fact that it was written under a death sentence following the diagnosis that upended his life, just as he was preparing to end his residency and attract offers at the top of his profession. Kalanithi learned he might have 10 years to live or perhaps five. Should he return to neurosurgery (he could and did), or should he write (he also did)? Should he and his wife have a baby? They did, eight months before he died, which was less than two years after the original diagnosis. “The fact of death is unsettling,” he understates. “Yet there is no other way to live.”
A moving meditation on mortality by a gifted writer whose dual perspectives of physician and patient provide a singular clarity.Pub Date: Jan. 19, 2016
ISBN: 978-0-8129-8840-6
Page Count: 248
Publisher: Random House
Review Posted Online: Sept. 29, 2015
Kirkus Reviews Issue: Oct. 15, 2015
PERSPECTIVES
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