A relentlessly explicit and deliberately incendiary sendup of modern American society.


A raunchy collection of skits, rants and fantasies about American politics and pop culture.

“DJ Ass Maggots” (Poseidon’s Tunnel, 2014, etc.) returns with a third book loosely structured around his Facebook page and its various comments fields generated by a “Council” going under such pseudonyms as Joey G, Neil Armstrong and LPR. These and many other voices are interjected into the author’s own as they tell pornographic stories, relate pornographic personal anecdotes, tell pornographic jokes and occasionally make deliberately provocative observations about events in the news. There’s an open letter to troubled former Hollywood star Lindsay Lohan; a list of “the 10 rules of drunk driving,” thinly veiled excoriations of bad roommates, acidic snapshots of Los Angeles night life and frequent allusions to outrageous conspiracy theories—that rapper Tupac Shakur is still alive, that singer Michael Jackson actually died filming a Pepsi commercial and was replaced by a white actor for the rest of “his” life, etc. More serious events such as the Occupy Wall Street movement or the Boston Marathon bombings are likewise exposed to the paranoid sarcasm of the author and his various “guest voices” (about the latter, for instance, “Night Writer, Esq.” writes, “Those of you idiots who don’t see that the Boston bombing—which was carried out on Patriots’ Day, the anniversary of the first shots of the US Revolutionary War—was in fact the first shot of World War III are living in the sweet bliss of ignorance”). This vaguely counterculture tone pervades the book (“are the student protestors here?” goes the rallying cry at one point. “Good. Are all the sovereign citizens here? Anarchists? Check. Anonymous hackers? Good”), and readers who can’t get enough of that kind of thing—fans of the author’s previous books among them—will find much more to entertain them here. Readers coming from a more conventional orientation will find this a toxic, misogynistic, hateful, sneering and tedious mess, and when told at one point “Maybe you shouldn’t have bothered reading this” will for once agree completely with the author.

A relentlessly explicit and deliberately incendiary sendup of modern American society.

Pub Date: Sept. 8, 2014

ISBN: 978-1499542264

Page Count: 324

Publisher: CreateSpace

Review Posted Online: Oct. 17, 2014

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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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