Even those who know little about the music will learn much of significance here, perhaps learning how to love it in the...

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GO AHEAD IN THE RAIN

NOTES TO A TRIBE CALLED QUEST

Memoir meets cultural criticism in this bittersweet appreciation of hip-hop visionaries A Tribe Called Quest.

Poet and essayist Abdurraqib (They Can’t Kill Us Until They Kill Us, 2017, etc.) avoids the temptation to oversell his subject while maintaining a tricky structural balance. He somehow does full justice to the musical achievements of Q-Tip and his crew, to the influence of the musical world on this singular group, and to how deeply the experience permeated the young fan who might not have become a writer—and certainly not this writer—without their inspiration. In recent years, the author found himself with students as young as he once was who, as contemporary hip-hop fans, “had never heard of A Tribe Called Quest, and then, later, only knew them as a phoenix, risen from the ashes.” There was a 17-year interval between albums, and by the time what appears to be the last one was released in 2016, friendships had frayed and a crucial collaborator had died. This is a history of how two boyhood friends, Q-Tip and Phife Dawg, teamed up (though the former overshadowed the latter), how they differed from each other, and how they needed each other. Some of the book takes the form of letters from Abdurraqib to each of them and to others. Elsewhere, the author chronicles the progression of rap and how the way that Dr. Dre challenged Q-Tip was similar to the way that the Beatles pushed Brian Wilson, as well as how the East-West synergy later turned vicious and dangerous. “It is much easier to determine when rap music became political and significantly more difficult to pinpoint when it became dangerous,” writes Abdurraqib toward the beginning of the book, a somewhat inexplicable pronouncement that he proceeds to explicate and elucidate over the rest.

Even those who know little about the music will learn much of significance here, perhaps learning how to love it in the process.

Pub Date: Feb. 1, 2019

ISBN: 978-1-4773-1648-1

Page Count: 216

Publisher: Univ. of Texas

Review Posted Online: Dec. 9, 2018

Kirkus Reviews Issue: Jan. 1, 2019

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MARTIN LUTHER KING, JR. AND THE MARCH ON WASHINGTON

This early reader is an excellent introduction to the March on Washington in 1963 and the important role in the march played by Martin Luther King Jr. Ruffin gives the book a good, dramatic start: “August 28, 1963. It is a hot summer day in Washington, D.C. More than 250,00 people are pouring into the city.” They have come to protest the treatment of African-Americans here in the US. With stirring original artwork mixed with photographs of the events (and the segregationist policies in the South, such as separate drinking fountains and entrances to public buildings), Ruffin writes of how an end to slavery didn’t mark true equality and that these rights had to be fought for—through marches and sit-ins and words, particularly those of Dr. King, and particularly on that fateful day in Washington. Within a year the Civil Rights Act of 1964 had been passed: “It does not change everything. But it is a beginning.” Lots of visual cues will help new readers through the fairly simple text, but it is the power of the story that will keep them turning the pages. (Easy reader. 6-8)

Pub Date: Jan. 1, 2001

ISBN: 0-448-42421-5

Page Count: 48

Publisher: Grosset & Dunlap

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Dec. 1, 2000

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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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