A disappointing twist on the bestselling 41: A Portrait of My Father (2014). Readers may wish the authors had aimed at...




A sometimes-amusing sendup of Jeb Bush, contender for the 2016 Republican presidential nomination.

In this parody written in the voice of former President George W. Bush, his brother, Jeb, is variously described as a bonehead, a fat dope, a natural-born bumbler, and a heroic blubber-butt in need of guidance on “his journey” to the White House. Who better to show him the way than big brother George, who helped Jeb learn to walk (“Those who cannot walk cannot lead”) and shared his childhood of “Freemason rituals, bloodlettings and animal sacrifices,” with “masked Illuminati sex parties” on weekends? In a slight follow-up to their 2006 parody, Destined for Destiny: The Unauthorized Autobiography of George W. Bush, The Onion founder Dikkers and public radio producer Hilleren recount the facts and foibles, real and imagined, of Jeb’s life and career, from his ineptitude with women (an exception being his marriage to a “pretend” Mexican woman) and his profiting from business failures (a family tradition) to his “great vision of a lower tax on corporations and a ‘choose life’ license plate” as two-time governor of Florida, where he also helped keep alive comatose Terri Schiavo and fought “powerful coral-reef interests” to promote offshore drilling. As it happens, clueless author George often upstages his subject, with ceaseless bragging about his own accomplishments, his penchant for communicating through images (he paints hot dogs and Tater Tots to order them in a restaurant), and his qualifications to serve as a presidential adviser on the Mideast. Jeb, alas, often seems a poor target for parody: “He’s kind of like a marshmallow. Kinda white, puffy, with an unassuming, bland character.”

A disappointing twist on the bestselling 41: A Portrait of My Father (2014). Readers may wish the authors had aimed at bigger game: the flamboyant Donald Trump, say, parodied in the voice of his developer father.

Pub Date: Nov. 3, 2015

ISBN: 978-1-4555-9285-2

Page Count: 96

Publisher: Grand Central Publishing

Review Posted Online: Oct. 4, 2015

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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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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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