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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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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IN MY PLACE

From the national correspondent for PBS's MacNeil-Lehrer Newshour: a moving memoir of her youth in the Deep South and her role in desegregating the Univ. of Georgia. The eldest daughter of an army chaplain, Hunter-Gault was born in what she calls the ``first of many places that I would call `my place' ''—the small village of Due West, tucked away in a remote little corner of South Carolina. While her father served in Korea, Hunter-Gault and her mother moved first to Covington, Georgia, and then to Atlanta. In ``L.A.'' (lovely Atlanta), surrounded by her loving family and a close-knit black community, the author enjoyed a happy childhood participating in activities at church and at school, where her intellectual and leadership abilities soon were noticed by both faculty and peers. In high school, Hunter-Gault found herself studying the ``comic-strip character Brenda Starr as I might have studied a journalism textbook, had there been one.'' Determined to be a journalist, she applied to several colleges—all outside of Georgia, for ``to discourage the possibility that a black student would even think of applying to one of those white schools, the state provided money for black students'' to study out of state. Accepted at Michigan's Wayne State, the author was encouraged by local civil-rights leaders to apply, along with another classmate, to the Univ. of Georgia as well. Her application became a test of changing racial attitudes, as well as of the growing strength of the civil-rights movement in the South, and Gault became a national figure as she braved an onslaught of hostilities and harassment to become the first black woman to attend the university. A remarkably generous, fair-minded account of overcoming some of the biggest, and most intractable, obstacles ever deployed by southern racists. (Photographs—not seen.)

Pub Date: Nov. 1, 1992

ISBN: 0-374-17563-2

Page Count: 192

Publisher: Farrar, Straus and Giroux

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Sept. 1, 1992

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