A cogent and well-written examination of fans, this book belongs on the shelves of music lovers.

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THE FANS WENT WILD

STORIES OF DEVOTION, DESERTION, AND DESPAIR

A historical study explores the reactions of music fans to inventive changes by artists.

Exactly what constitutes “authenticity” in a musical form: Is it a static repetition of the original, or evolution and growth? According to musician and historian Pilzer (A Six String History of America, 2014), “These twin goals, purity on one hand and expansion on the other, have often been in opposition.” Fans become so deeply invested in a musical form that they feel they know best what adds up to the real thing. Such fans take umbrage when artists move the music in a different direction. Pilzer details this phenomenon of “fan ownership” and how it plays out in diverse genres, including bluegrass, country, folk, rock, and rap. He also includes sections on specific artists like the Beatles, Miles Davis, and Amy Grant for their singular status either as exceptions to or particularly vehement examples of this purist zeal. Perhaps the best known example is Bob Dylan’s electrified performance at the 1965 Newport Folk Festival. After years of cultivating an image as a folk traditionalist, Dylan’s sudden use of electric instruments seemed to many of his fans a monumental betrayal. Pilzer also delivers a pithy summation of a similar incident involving Jim and Jesse and the Osborne Brothers, two bluegrass groups: “The musicians were going to work; some fans were going to church.” As a historian, the author is a master of the succinct. His subject matter is enthralling, and his prose is ever clear, concise, and a joy to behold. Perhaps Pilzer’s most emblematic instance of this “holier than thou” phenomenon is Christian artist–turned–crossover performer Grant. Her fans were not only possessed by a religious fervor for her original style, but also felt her change defied Christianity itself. Groups, organizations, and media outlets are not immune to issues of fan ownership, the author shows in his engrossing book. He also deftly demonstrates the effects of fandom on institutions like the Grand Ole Opry.

A cogent and well-written examination of fans, this book belongs on the shelves of music lovers.

Pub Date: N/A

ISBN: N/A

Page Count: 143

Publisher: Music City Publishing Companny

Review Posted Online: Jan. 19, 2018

Kirkus Reviews Issue: March 15, 2018

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Doyle offers another lucid, inspiring chronicle of female empowerment and the rewards of self-awareness and renewal.

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UNTAMED

More life reflections from the bestselling author on themes of societal captivity and the catharsis of personal freedom.

In her third book, Doyle (Love Warrior, 2016, etc.) begins with a life-changing event. “Four years ago,” she writes, “married to the father of my three children, I fell in love with a woman.” That woman, Abby Wambach, would become her wife. Emblematically arranged into three sections—“Caged,” “Keys,” “Freedom”—the narrative offers, among other elements, vignettes about the soulful author’s girlhood, when she was bulimic and felt like a zoo animal, a “caged girl made for wide-open skies.” She followed the path that seemed right and appropriate based on her Catholic upbringing and adolescent conditioning. After a downward spiral into “drinking, drugging, and purging,” Doyle found sobriety and the authentic self she’d been suppressing. Still, there was trouble: Straining an already troubled marriage was her husband’s infidelity, which eventually led to life-altering choices and the discovery of a love she’d never experienced before. Throughout the book, Doyle remains open and candid, whether she’s admitting to rigging a high school homecoming court election or denouncing the doting perfectionism of “cream cheese parenting,” which is about “giving your children the best of everything.” The author’s fears and concerns are often mirrored by real-world issues: gender roles and bias, white privilege, racism, and religion-fueled homophobia and hypocrisy. Some stories merely skim the surface of larger issues, but Doyle revisits them in later sections and digs deeper, using friends and familial references to personify their impact on her life, both past and present. Shorter pieces, some only a page in length, manage to effectively translate an emotional gut punch, as when Doyle’s therapist called her blooming extramarital lesbian love a “dangerous distraction.” Ultimately, the narrative is an in-depth look at a courageous woman eager to share the wealth of her experiences by embracing vulnerability and reclaiming her inner strength and resiliency.

Doyle offers another lucid, inspiring chronicle of female empowerment and the rewards of self-awareness and renewal.

Pub Date: March 10, 2020

ISBN: 978-1-9848-0125-8

Page Count: 352

Publisher: Dial Books

Review Posted Online: Dec. 22, 2019

Kirkus Reviews Issue: Jan. 15, 2020

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Not an easy read but an essential one.

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HOW TO BE AN ANTIRACIST

Title notwithstanding, this latest from the National Book Award–winning author is no guidebook to getting woke.

In fact, the word “woke” appears nowhere within its pages. Rather, it is a combination memoir and extension of Atlantic columnist Kendi’s towering Stamped From the Beginning (2016) that leads readers through a taxonomy of racist thought to anti-racist action. Never wavering from the thesis introduced in his previous book, that “racism is a powerful collection of racist policies that lead to racial inequity and are substantiated by racist ideas,” the author posits a seemingly simple binary: “Antiracism is a powerful collection of antiracist policies that lead to racial equity and are substantiated by antiracist ideas.” The author, founding director of American University’s Antiracist Research and Policy Center, chronicles how he grew from a childhood steeped in black liberation Christianity to his doctoral studies, identifying and dispelling the layers of racist thought under which he had operated. “Internalized racism,” he writes, “is the real Black on Black Crime.” Kendi methodically examines racism through numerous lenses: power, biology, ethnicity, body, culture, and so forth, all the way to the intersectional constructs of gender racism and queer racism (the only section of the book that feels rushed). Each chapter examines one facet of racism, the authorial camera alternately zooming in on an episode from Kendi’s life that exemplifies it—e.g., as a teen, he wore light-colored contact lenses, wanting “to be Black but…not…to look Black”—and then panning to the history that informs it (the antebellum hierarchy that valued light skin over dark). The author then reframes those received ideas with inexorable logic: “Either racist policy or Black inferiority explains why White people are wealthier, healthier, and more powerful than Black people today.” If Kendi is justifiably hard on America, he’s just as hard on himself. When he began college, “anti-Black racist ideas covered my freshman eyes like my orange contacts.” This unsparing honesty helps readers, both white and people of color, navigate this difficult intellectual territory.

Not an easy read but an essential one.

Pub Date: Aug. 13, 2019

ISBN: 978-0-525-50928-8

Page Count: 320

Publisher: One World/Random House

Review Posted Online: April 28, 2019

Kirkus Reviews Issue: May 15, 2019

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