Oermann effectively bridges the gap between the country music giants of yore and today’s stars, such as the Dixie Chicks,...
Nashville-based critic Oermann, one of journalism’s best known authorities on country music, takes an ambitious look at the genre’s evolution from its hillbilly origins at the turn of the century to the mainstream success it is today.
His chronicle begins, appropriately enough, in 1900, when, according to Oermann, the New York Journal became the first publication to use the word “hillbilly” in print. Oermann takes his time explaining the origins of the hillbilly culture, and while this material creates a strong reference point for the development of country music, the opening chapter bogs down in minutiae. Oermann more than atones for the dryness, however, as the century and his chronology progress and the characters become more colorful, from Jimmie Rodgers (“ ‘We thinks about Elvis and the thousands of people that would mob Elvis. But back in 1933, it was like that with Jimmie Rodgers,’ said BoxCar Willie”) to the Grand Ole Opry, which began on December 26, 1925 on WSM radio. Obviously, there are certain giants of country—Hank Williams and Patsy Cline—who deserve more attention, but who have also been written about repeatedly. Oermann does a good job of them their due while coming up with something new. He starts the passage about Williams by writing, “Hank Williams was honky-tonk music’s tortured genius.” To put in perspective the unparalleled influence Williams had on country, Oermann cites Don Helms, Jimmy Dickens, and several other musicians. Of Cline, Oermann says, “She remains the voice against which all other female country singers must measure themselves.” To hear what many of today’s contemporary stars, including Kathy Mattea and Shelby Lynne, have to say of Cline is especially intriguing.
Oermann effectively bridges the gap between the country music giants of yore and today’s stars, such as the Dixie Chicks, Shania Twain, and Garth Brooks. (Over 200 b&w and color photos)Pub Date: Nov. 11, 1999
ISBN: 1-57500-083-0
Page Count: 320
Publisher: N/A
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Oct. 1, 1999
BOOK REVIEW
BOOK REVIEW
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
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
BOOK REVIEW
BOOK REVIEW
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