Not always pretty, but stirring nonetheless. (45 b&w photos)
A near-encyclopedic study of black influence on American music.
Musicians have always borrowed from their forebears, and white musicians have borrowed a hell of a lot from blacks. Not surprisingly, journalist Phinney suggests that this practice reflects institutionalized racism: “more often than not, blacks innovate/create and whites popularize/exploit until, finally, the trend breaks through to mass acceptance.” Well, purists may note, blacks borrowed scales from Gypsy and Jewish music for the blues; true, says Phinney, each generation builds upon others, just as Cream invested Skip James’s “I’m So Glad” with its own nuance. Yet no one would deny that blacks have been left wanting—in terms of both credit and remuneration—in their contribution to the evolution of music. The author convincingly writes that it was the introduction of rhythm into a once melody-dominated discipline that rests as one of the most significant contributions of blacks to the field. Beginning with ragtime, “rhythm has been gaining ground against melody in popular music until even the most vapid music reaches for a percussive flourish to make it danceable, convey urgency, or create drama.” Phinney sharply chronicles a number of musical awakenings: from Billie Holiday to Frank Sinatra to Nat King Cole; Elvis amplifying the blackness, Pat Boone bleaching Little Richard white. A breathtaking amount of material is covered here: the ramifications of ragtime’s unusual syncopation, the simple elasticity of the blues, Benny Goodman leaning on Fletcher Henderson, the female trailblazers of rap. And there are plenty of delicious anecdotes, such as the time Stevie Ray Vaughan asked musical idol Albert King to repay the money Vaughan had loaned him. King responded: “Money? Money? Come on now, son. You know you owe me, don’t you?” Rip-off artists abound, but others testified to their indebtedness, including the Beatles, the Stones and, for sure, Stevie Ray Vaughan, who never got his money and agreed that that was just fine.
Not always pretty, but stirring nonetheless. (45 b&w photos)Pub Date: Sept. 1, 2005
ISBN: 0-8230-8404-3
Page Count: 352
Publisher: N/A
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: June 15, 2005
For Howard Zinn, long-time civil rights and anti-war activist, history and ideology have a lot in common. Since he thinks that everything is in someone's interest, the historian—Zinn posits—has to figure out whose interests he or she is defining/defending/reconstructing (hence one of his previous books, The Politics of History). Zinn has no doubts about where he stands in this "people's history": "it is a history disrespectful of governments and respectful of people's movements of resistance." So what we get here, instead of the usual survey of wars, presidents, and institutions, is a survey of the usual rebellions, strikes, and protest movements. Zinn starts out by depicting the arrival of Columbus in North America from the standpoint of the Indians (which amounts to their standpoint as constructed from the observations of the Europeans); and, after easily establishing the cultural disharmony that ensued, he goes on to the importation of slaves into the colonies. Add the laborers and indentured servants that followed, plus women and later immigrants, and you have Zinn's amorphous constituency. To hear Zinn tell it, all anyone did in America at any time was to oppress or be oppressed; and so he obscures as much as his hated mainstream historical foes do—only in Zinn's case there is that absurd presumption that virtually everything that came to pass was the work of ruling-class planning: this amounts to one great indictment for conspiracy. Despite surface similarities, this is not a social history, since we get no sense of the fabric of life. Instead of negating the one-sided histories he detests, Zinn has merely reversed the image; the distortion remains.
Pub Date: Jan. 1, 1979
ISBN: 0061965588
Page Count: 772
Publisher: Harper & Row
Review Posted Online: May 26, 2012
Kirkus Reviews Issue: Jan. 1, 1979
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
A moving meditation on mortality by a gifted writer whose dual perspectives of physician and patient provide a singular...
A neurosurgeon with a passion for literature tragically finds his perfect subject after his diagnosis of terminal lung cancer.
Writing isn’t brain surgery, but it’s rare when someone adept at the latter is also so accomplished at the former. Searching for meaning and purpose in his life, Kalanithi pursued a doctorate in literature and had felt certain that he wouldn’t enter the field of medicine, in which his father and other members of his family excelled. “But I couldn’t let go of the question,” he writes, after realizing that his goals “didn’t quite fit in an English department.” “Where did biology, morality, literature and philosophy intersect?” So he decided to set aside his doctoral dissertation and belatedly prepare for medical school, which “would allow me a chance to find answers that are not in books, to find a different sort of sublime, to forge relationships with the suffering, and to keep following the question of what makes human life meaningful, even in the face of death and decay.” The author’s empathy undoubtedly made him an exceptional doctor, and the precision of his prose—as well as the moral purpose underscoring it—suggests that he could have written a good book on any subject he chose. Part of what makes this book so essential is the fact that it was written under a death sentence following the diagnosis that upended his life, just as he was preparing to end his residency and attract offers at the top of his profession. Kalanithi learned he might have 10 years to live or perhaps five. Should he return to neurosurgery (he could and did), or should he write (he also did)? Should he and his wife have a baby? They did, eight months before he died, which was less than two years after the original diagnosis. “The fact of death is unsettling,” he understates. “Yet there is no other way to live.”
A moving meditation on mortality by a gifted writer whose dual perspectives of physician and patient provide a singular clarity.Pub Date: Jan. 19, 2016
ISBN: 978-0-8129-8840-6
Page Count: 248
Publisher: Random House
Review Posted Online: Sept. 29, 2015
Kirkus Reviews Issue: Oct. 15, 2015
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