A wonderful story that brings us deep into that moment when America made race music its own and gave rise to the rock sound...

SAM PHILLIPS

THE MAN WHO INVENTED ROCK 'N' ROLL

A monumental biography of the larger-than-life loner who fought for the acceptance of black music and discovered an extraordinary group of poor, country-boy singers whose records would transform American popular culture.

Celebrated music historian Guralnick (Dream Boogie: The Triumph of Sam Cooke, 2005, etc.) recounts the life of Sam Phillips (1923-2003), an Alabama farmer’s son who founded Sun Records in Memphis, where, during the 1950s, he first recorded the music of Ike Turner, B.B. King, Howlin’ Wolf, Elvis Presley, Jerry Lee Lewis, Johnny Cash, Carl Perkins, Roy Orbison, Charlie Rich, and others. In earlier books, including a two-volume Presley biography (Last Train to Memphis and Careless Love), the author has written about such artists and the rise of rock ’n’ roll, “this revolutionary new music that combined raw gutbucket feel with an almost apostolic sense of exuberance and joy.” Now he turns to “unreconstructed individuali[st]” Phillips, who opened the door to untutored talents, recognizing their originality and mentoring them with “patience and belief.” A sickly child who became enamored of African-American music while picking cotton alongside black laborers, Phillips was bright, observant, and much influenced by a blind black sharecropper who lived with his family. He started out as a radio DJ and engineer and realized when he recorded Ike Turner’s hit “Rocket 88” (1951) at Sun that black music had potentially universal appeal. His discoveries—related here with contagious excitement—were not happenstance but rather the result of his dedication to finding the “pure essence” of performances. Guralnick met the charismatic Phillips in 1979 and became a close friend, and he makes no secret of his affection and admiration. However, he also covers his subject’s problems and foibles: his early mental breakdowns, his troubled marriage and affairs, his financial difficulties, his later drinking, and his penchant for bragging about his (rightful) place in music history.

A wonderful story that brings us deep into that moment when America made race music its own and gave rise to the rock sound now heard around the world.

Pub Date: Nov. 10, 2015

ISBN: 978-0-316-04274-1

Page Count: 600

Publisher: Little, Brown

Review Posted Online: Aug. 17, 2015

Kirkus Reviews Issue: Sept. 1, 2015

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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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The author's youthfulness helps to assure the inevitable comparison with the Anne Frank diary although over and above the...

NIGHT

Elie Wiesel spent his early years in a small Transylvanian town as one of four children. 

He was the only one of the family to survive what Francois Maurois, in his introduction, calls the "human holocaust" of the persecution of the Jews, which began with the restrictions, the singularization of the yellow star, the enclosure within the ghetto, and went on to the mass deportations to the ovens of Auschwitz and Buchenwald. There are unforgettable and horrifying scenes here in this spare and sombre memoir of this experience of the hanging of a child, of his first farewell with his father who leaves him an inheritance of a knife and a spoon, and of his last goodbye at Buchenwald his father's corpse is already cold let alone the long months of survival under unconscionable conditions. 

The author's youthfulness helps to assure the inevitable comparison with the Anne Frank diary although over and above the sphere of suffering shared, and in this case extended to the death march itself, there is no spiritual or emotional legacy here to offset any reader reluctance.

Pub Date: Jan. 16, 2006

ISBN: 0374500010

Page Count: 120

Publisher: Hill & Wang

Review Posted Online: Oct. 7, 2011

Kirkus Reviews Issue: Jan. 15, 2006

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