A middling rock history that will be a boon to Cleveland boosters and rock completists.

THE HOUSE THAT ROCK BUILT

HOW IT TOOK TIME, MONEY, MUSIC MOGULS, CORPORATE TYPES, POLITICIANS, MEDIA, ARTISTS, AND FANS TO BRING THE ROCK HALL TO CLEVELAND

The beat goes on—and on and on—in this history of the Rock and Roll Hall of Fame.

Why should Cleveland be the home of the world’s chief museum devoted to rock music? As Nite, a veteran DJ and broadcaster, and Feran, who worked for the Cleveland Plain Dealer for nearly 40 years, observe, it was the home base of Alan Freed, who introduced the term “rock and roll” to a broad audience in the 1950s before falling afoul of the censors. Freed “championed the music so vigorously he became its personification and was called its father,” and the international syndication of Freed’s show and others out of Cleveland introduced the sound to radio listeners such as Ringo Starr, who remembers “hearing Little Richard and Jerry Lee Lewis for the first time.” In a mixture of keepsake volume and business history, the authors painstakingly—and repetitively—chart the course that brought the museum to Cleveland. The initial driving force was record-industry mogul Ahmet Ertegun, who, allied with other music insiders, established the Rock and Roll Hall of Fame Foundation and enlisted support for the endeavor. Another important figure was the fiscally conservative mayor George Voinovich, who “seemed an unlikely champion” but recognized that investing in the venue would bring much-needed income to the city. The authors calculate that the nearly 12 million visitors have brought $127 million per year to the city and its businesses. Much of the narrative is cut-and-dried, but there are some standout moments (other than the many photos), such as Sam Phillips’ anger that the museum would not be located in Memphis and Chuck Berry’s deliberate sabotaging of the first concert to be staged at the Hall. As guitarist Nils Lofgren recounts, “He shifts keys four or five times; I can only imagine to mess with us. I can’t imagine why else this happened.”

A middling rock history that will be a boon to Cleveland boosters and rock completists.

Pub Date: Sept. 1, 2020

ISBN: 978-1-60635-399-8

Page Count: 176

Publisher: The Kent State University Press

Review Posted Online: June 6, 2020

Kirkus Reviews Issue: June 15, 2020

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If the authors are serious, this is a silly, distasteful book. If they are not, it’s a brilliant satire.

THE 48 LAWS OF POWER

The authors have created a sort of anti-Book of Virtues in this encyclopedic compendium of the ways and means of power.

Everyone wants power and everyone is in a constant duplicitous game to gain more power at the expense of others, according to Greene, a screenwriter and former editor at Esquire (Elffers, a book packager, designed the volume, with its attractive marginalia). We live today as courtiers once did in royal courts: we must appear civil while attempting to crush all those around us. This power game can be played well or poorly, and in these 48 laws culled from the history and wisdom of the world’s greatest power players are the rules that must be followed to win. These laws boil down to being as ruthless, selfish, manipulative, and deceitful as possible. Each law, however, gets its own chapter: “Conceal Your Intentions,” “Always Say Less Than Necessary,” “Pose as a Friend, Work as a Spy,” and so on. Each chapter is conveniently broken down into sections on what happened to those who transgressed or observed the particular law, the key elements in this law, and ways to defensively reverse this law when it’s used against you. Quotations in the margins amplify the lesson being taught. While compelling in the way an auto accident might be, the book is simply nonsense. Rules often contradict each other. We are told, for instance, to “be conspicuous at all cost,” then told to “behave like others.” More seriously, Greene never really defines “power,” and he merely asserts, rather than offers evidence for, the Hobbesian world of all against all in which he insists we live. The world may be like this at times, but often it isn’t. To ask why this is so would be a far more useful project.

If the authors are serious, this is a silly, distasteful book. If they are not, it’s a brilliant satire.

Pub Date: Sept. 1, 1998

ISBN: 0-670-88146-5

Page Count: 430

Publisher: Viking

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: July 15, 1998

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A sweet-and-sour set of pieces on loss, absurdity, and places they intersect.

HAPPY-GO-LUCKY

Sedaris remains stubbornly irreverent even in the face of pandemic lockdowns and social upheaval.

In his previous collection of original essays, Calypso (2018), the author was unusually downbeat, fixated on aging and the deaths of his mother and sister. There’s bad news in this book, too—most notably, the death of his problematic and seemingly indestructible father at 96—but Sedaris generally carries himself more lightly. On a trip to a gun range, he’s puzzled by boxer shorts with a holster feature, which he wishes were called “gunderpants.” He plays along with nursing-home staffers who, hearing a funnyman named David is on the premises, think he’s Dave Chappelle. He’s bemused by his sister Amy’s landing a new apartment to escape her territorial pet rabbit. On tour, he collects sheaves of off-color jokes and tales of sexual self-gratification gone wrong. His relationship with his partner, Hugh, remains contentious, but it’s mellowing. (“After thirty years, sleeping is the new having sex.”) Even more serious stuff rolls off him. Of Covid-19, he writes that “more than eight hundred thousand people have died to date, and I didn’t get to choose a one of them.” The author’s support of Black Lives Matter is tempered by his interest in the earnest conscientiousness of organizers ensuring everyone is fed and hydrated. (He refers to one such person as a “snacktivist.”) Such impolitic material, though, puts serious essays in sharper, more powerful relief. He recalls fending off the flirtations of a 12-year-old boy in France, frustrated by the language barrier and other factors that kept him from supporting a young gay man. His father’s death unlocks a crushing piece about dad’s inappropriate, sexualizing treatment of his children. For years—chronicled in many books—Sedaris labored to elude his father’s criticism. Even in death, though, it proves hard to escape or laugh off.

A sweet-and-sour set of pieces on loss, absurdity, and places they intersect.

Pub Date: May 31, 2022

ISBN: 978-0-316-39245-7

Page Count: 272

Publisher: Little, Brown

Review Posted Online: March 11, 2022

Kirkus Reviews Issue: April 1, 2022

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