PLAYING HARDBALL

THE HIGH-STAKES BATTLE FOR BASEBALL'S NEW FRANCHISES

Assuming that Bismarck was correct in his judgment that citizens should not see how either their sausages or laws are made, baseball fans might be well advised to eschew reports like the absorbing one at hand—which documents the many ways in which the national pastime is, at the major-league level, more a commercial venture than a sport. In his eye-opening, behind-the-scenes account of how the Colorado Rockies and Florida Marlins earned the right to join the National League's roster, Whitford (Extra Innings, 1991, etc.) dashes any sentimental notion that crass realities are not top priorities for club owners. Apart from paying the steep price of admission ($95 million apiece), the winning entrants not only had to beat out rival groups representing other locales (Buffalo, Orlando, Sacramento, etc.) but also had to survive a rigorous screening by the arrogant and grasping proprietors of extant teams. In addition, they were obliged to enlist the aid of municipal, state, and national officials with variant agendas while convincing voters that the diamond game was worth higher taxes and/or public debt. As Whitford makes clear in his episodic, anecdotal narrative (notable for its vivid profiles of key players), the process went most smoothly in southern Florida, where immensely wealthy entrepreneur Wayne Huizenga became the area's leading investor once he'd satisfied himself that baseball could be a profitable proposition. By contrast, the Denver-based partnership that also landed an expansion franchise hustled for money, political support, and a stadium from its opening pitch. While Whitford does not focus exclusively on the megabuck finances that make professional baseball a risky enterprise throughout North America, dollars play the leading role in his text—whose redeeming characters are limited largely to talent scouts. A fine and revealing report on economic man at work and play on a field of dreams.

Pub Date: April 1, 1993

ISBN: 0-385-42282-2

Page Count: 288

Publisher: Doubleday

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Feb. 1, 1993

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WHAT A WONDERFUL WORLD

A LIFETIME OF RECORDINGS

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 LITTLE HISTORY OF POETRY

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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