A vivid photo essay revealing in words and pictures the heritage and modern social and political currents of the Sioux Nation. Photographer Doll (Fine Arts/Creighton Univ.) has recorded the faces and personal stories of 60 members of the Lakota, Nakota, and Dakota tribes living on the tribal lands of South Dakota. Doll's book portrays individuals—lawyers, doctors, ranchers, artisans, tribal council leaders, medicine men, political activists—each uniquely contributing to the preservation and furtherance of his or her culture. Several recurrent themes emerge: the problems of alcoholism, the nascent ambitions for economic development, the pressing need for young people to find their cultural roots, and the insistent demand that the federal government return the sacred lands of the Black Hills. Not overly edited, the words of these people convey a range of feelings from patience to anger, and the tribespeople place varying degrees of emphasis on spiritual and economic problems, but this is befitting a people who are not monolithic in their thoughts or their talents. Doll's photographs show Indian people in traditional pow-wow garb, in suits and ties, on horseback amid the splendor of the Black Hills, surrounded by craftwork in their studios or seated in front of television sets. A much-decorated Vietnam War veteran crouches next to his small son in a field, his khaki shirt emblazoned with an ``Airborne'' insignia. An official of a tribal gaming organization stands backlit by the garish neon of a casino sign: ``Tribal gaming is the new buffalo,'' he says. A writer sits contemplatively on a small hill in some woodlands: ``There seems to be a contemporary reliance upon the ritual life which is...as much a crutch as the bottle was,'' she deplores. Some very striking pictures of sacred sites open this book; one wishes that Doll had included more. He has thoughtfully added a chart of tribes of the Sioux Nation. A rich and rewarding panoply of words and images of this resurgent people. (75 color photos; map; glossary)
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").
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)