by Jr. Fernando ‧ RELEASE DATE: Sept. 9, 1994
A respectful tribute to the controversial and important musical form hip-hop from Fernando, a writer for The Source magazine. Stitched together with youthful enthusiasm from journalistic accounts, textual research, interviews, and song lyrics, the book gives basic information for uninitiated readers as well as rich material for devotees, and responds to hip-hop's critics. Fernando covers a lot of ground—from Jamaican ``toasting,'' a precursor of modern-day rapping, to the birth of deejaying and rapping in the Bronx—as he explores hip-hop's economic, political, and cultural context: urban poverty, drugs, racism, media controversy. Overall, Fernando thinks, ``America now stands in the midst of a renaissance of black culture, propelled to a large degree by the energy of hip- hop.'' He credits the music with raising black consciousness, spurring community activism, and giving young black men from the streets a legitimate way to make a living. Fernando defines basics like ``scratching'' (a technique of manually moving the record with the needle in the groove to create a scratching noise), then goes into greater depth, for instance, explaining that the now-standard technique was pioneered by a 13-year-old working with Grandmaster Flash. However, the author's focus is limited and lopsided. A self- described purist, he prefers ``authentic'' hip-hop to ``co-opted'' or ``mainstream'' music not aimed at the ``core audience'' of urban black males; thus he discusses at length rapper KRS-ONE and the group EPMD as well as Public Enemy and NWA. But Fernando ducks many tough questions about the machinations behind the huge and profitable business of turning these groups' messages into mass- market products. Also missing almost completely are jazz-influenced and more intellectually oriented hip-hop, female rappers, and any group or artist not from California or the East Coast. A commendable effort, but lacking in perspective, offering more insider tidbits and accolades than analysis. (50 b&w photographs, not seen)
Pub Date: Sept. 9, 1994
ISBN: 0-385-47119-X
Page Count: 336
Publisher: Anchor
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 1, 1994
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by E.T.A. Hoffmann ‧ RELEASE DATE: Oct. 28, 1996
This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)
Pub Date: Oct. 28, 1996
ISBN: 0-15-100227-4
Page Count: 136
Publisher: Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 1996
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More by E.T.A. Hoffmann
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by E.T.A. Hoffmann ; adapted by Natalie Andrewson ; illustrated by Natalie Andrewson
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by William Strunk & E.B. White ‧ RELEASE DATE: May 15, 1972
Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...
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").Pub Date: May 15, 1972
ISBN: 0205632645
Page Count: 105
Publisher: Macmillan
Review Posted Online: Oct. 28, 2011
Kirkus Reviews Issue: May 1, 1972
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