If Sedaris were a heterosexual woman, he might well be Weedman.



Sincerely funny stuff from a welcome new original voice on the humor-literature scene.

Best known for her stint as a correspondent on The Daily Show, Weedman is a prolific multimedia performer/comedienne: NPR commentator, playwright, performance artist, regular on Comedy Central’s Reno 911! In her debut collection of autobiographical essays, the author proves to be an undeniable charmer and self-deprecator extraordinaire, seemingly proud to depict herself as a goofball and unashamed to walk us though one awkward incident after another. Her attempts to make Daily Show host Jon Stewart her “new boyfriend”—joking with him about African-American male genitalia, faux-seductively pinching her own nipples for his pleasure—are, fortunately for Weedman’s then-husband Michael, met with fright and/or confusion. And then there’s her trip to the Emmy Awards with her Daily Show pals, the highlight of which was a self-administered enema. Weedman’s essays work for the same reason David Sedaris’ do: She has heart. Though told with a tinge of comedic self-flagellation, the story of her marriage’s end game is filled with sincere pathos, as is the tale of her first post-divorce fling with a warm, turkey jerky–bearing gentleman named David. And though the topic of awkward adolescences is overused, Weedman’s depiction of her pot-soaked Indiana high-school years is effective in part because of its brevity. The author made an interesting choice by structuring the book in reverse chronological order, but that turned out to be a canny move—she grabs readers immediately with the stories of her celebrity encounters.

If Sedaris were a heterosexual woman, he might well be Weedman.

Pub Date: Oct. 1, 2007

ISBN: 978-1-57061-501-6

Page Count: 256

Publisher: Sasquatch

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Aug. 1, 2007

Did you like this book?

No Comments Yet

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

Did you like this book?



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

Did you like this book?