GETTING HIGH

THE ADVENTURES OF OASIS

A little over 30 years ago, England gave the world the Kinks— a band founded by two brothers who couldn't stand each other. Now England has given us Oasis, led by Noel and Liam Gallagher, who are equally belligerent if not slightly more complex. Hewitt tracks the band's history from the Gallaghers' childhood in Manchester with a sadistic father (he begrudged them even Christmas gifts, according to his wife), countless soccer matches, and petty crime, to overnight success, the downside of fame, and mounds of cocaine and oceans of alcohol. While Hewitt's treatment of Oasis is innovatively nonlinear, bouncing back and forth between 1960s Manchester and 1990s London and concerts (Hewitt accompanied the band on tour), and he writes in the colorful vernacular of the Gallaghers' hometown, his preference for Noel is obvious. The reader gets the impression that the guitarist/songwriter is a reborn Coleridge—equal parts Romantic poet and drug devotee—while his brother, singer Liam, is unwashed and downright simian. But as Hewitt demonstrates, the two found each other indispensable—they alternately stormed out of the band only to return. Hewitt has a very strong sense of Oasis's roots- -probably from having written Beat Concerto: The Story of the Jam (not reviewed), on one of Noel's primary influences. And Getting High is at its best when recounting such serendipitous events as Noel meeting the only displaced Irishman from northern England more famous than himself—Paul McCartney. However, his lax treatment of Oasis's drug use smacks of tacit approval; Hewitt could have been equally descriptive without glamorizing the Gallaghers' lapses. Still, Hewitt finally proves his thesis that ``if Oasis was just Liam, they would never have been signed, they would have threatened to self destruct. If Oasis was just Noel, they would have never reached the heights they have.'' (16 pages photos, not seen)

Pub Date: April 15, 1997

ISBN: 0-7868-8228-X

Page Count: 416

Publisher: Hyperion

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Feb. 15, 1997

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MARTIN LUTHER KING, JR. AND THE MARCH ON WASHINGTON

This early reader is an excellent introduction to the March on Washington in 1963 and the important role in the march played by Martin Luther King Jr. Ruffin gives the book a good, dramatic start: “August 28, 1963. It is a hot summer day in Washington, D.C. More than 250,00 people are pouring into the city.” They have come to protest the treatment of African-Americans here in the US. With stirring original artwork mixed with photographs of the events (and the segregationist policies in the South, such as separate drinking fountains and entrances to public buildings), Ruffin writes of how an end to slavery didn’t mark true equality and that these rights had to be fought for—through marches and sit-ins and words, particularly those of Dr. King, and particularly on that fateful day in Washington. Within a year the Civil Rights Act of 1964 had been passed: “It does not change everything. But it is a beginning.” Lots of visual cues will help new readers through the fairly simple text, but it is the power of the story that will keep them turning the pages. (Easy reader. 6-8)

Pub Date: Jan. 1, 2001

ISBN: 0-448-42421-5

Page Count: 48

Publisher: Grosset & Dunlap

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Dec. 1, 2000

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WHAT A WONDERFUL WORLD

A LIFETIME OF RECORDINGS

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

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