THE DEVIL FINDS WORK

This, Baldwin's unexpected consideration of movie-made America, has some of the same sad sweetness of his last novel If Beale Street Could Talk. It even addresses itself, quietly and elliptically, to the same ironies: the only truth Baldwin recognizes in American fares that purport to show black lives comes in those rare moments when rage, terror, and pain are on display. Usually in an actor's face, since the scripts always lie. Baldwin wanders in and out of Lady Sings the Blues, In the Heat of the Night, The Defiant Ones, The Exorcist, Guess Who's Coming to Dinner? and some others and finds them testaments to falsehood, self-serving images of blacks conjured up out of the need to reassure or exonerate white audiences. In the famous scene in The Defiant Ones where Sidney Poitier leaps from the train and gives up freedom to remain with his wounded white buddy, Baldwin points devastatingly to "that most disastrous sentimentality" which tries to bring the black man into the white American nightmare—a nightmare which centers on identity and therefore elicits from whites "the most profound panic." Baldwin ignores the current tidal wave of black films, Shaft and its progeny, on the basis that their whole purpose is to make the true black experience "irrelevant and obsolete." One might quarrel with such a sweeping put-down, but as it is his films are touchstones for his own experiences in fear and trembling.

Pub Date: May 3, 1976

ISBN: 0385334605

Page Count: -

Publisher: Dial

Review Posted Online: Sept. 16, 2011

Kirkus Reviews Issue: May 1, 1976

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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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