by Mick Wall ‧ RELEASE DATE: May 10, 2011
Semi-sympathetic biography of a difficult band to like.
British music journalist Wall (When Giants Walked the Earth: A Biography of Led Zeppelin, 2009, etc.), who has also penned bios of Ozzy Osbourne, Bono and other major rock acts, has followed Metallica since they first broke across the Atlantic with their debut LP in 1983. For the most part, he tells a straightforward history most fans will know. Beginning with the tragedy that robbed them of their heart and soul just as they were poised to become one of the biggest bands in the world—the death of bassist Cliff Burton in a bizarre bus accident in Sweden in 1986—Wall returns to the Metallica’s birth in the hyperactive mind of drummer Lars Ulrich, the metal-obsessed scion of a Danish tennis dynasty. In Los Angeles, Ullrich met his polar opposite, the surly rhythm guitarist James Hetfield, product of a broken home of outsider Christian Scientists. This odd couple formed the backbone of Metallica and pioneered—along with Burton, a loose cannon of a guitarist named Dave Mustaine, who founded Megadeth, and his replacement Kirk Hammett—what became known as thrash metal, an amalgam of British heavy metal and West Coast punk rock. In the early days, the band was beloved for its anti-style style—no teased hair, spandex or mascara—and unusually honest subject matter for metal songs—death and violence rather than elves and devils. After the blockbuster success of their eponymous LP, which fans dubbed The Black Album, Wall argues (non-controversially) that the band lost their way. As square institutions like MTV, the Grammy Awards and even the U.S. Congress embraced them, Metallica practically threw it all away on an ill-conceived attack on their fan base over “theft” of their music on Napster’s revolutionary file-sharing platform. Nearly all of the material in the book will be familiar to most Metallica fans and readers who have seen the 2004 film Some Kind of Monster. Wall’s tales of encounters with the band over the years all seem to make the point that he has never been a true Metallica fan. That would explain this lackluster treatment.
Pub Date: May 10, 2011
ISBN: 978-0-312-64989-0
Page Count: 480
Publisher: St. Martin's
Review Posted Online: April 5, 2011
Kirkus Reviews Issue: April 15, 2011
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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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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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