Tortured visionary and bumbling drunk—two sides of ``The Lizard King'' that emerge from this lengthy but less-than-probing biography of the late rock star. Riordan (a Rolling Stone contributor) and Prochnicky (a self-professed veteran Morrison scholar) attempt to retrace Morrison's ``aural, visual, and psychological journey'' through ``a fun house mirror'' of Sixties-style metaphysics. They recount Morrison's repressive childhood under a Navy captain father, his youth as school misfit and troublemaker, his post-college life as a Venice beach-bum, and his subsequent descent into an acid- inspired ``spiritual netherworld.'' Morrison comes across as an insecure but creatively driven man prone to extreme mood swings, and an emotional manipulator who ``enjoyed dangling people from his own self-styled parapet.'' In some respects, he seems a hippie Oscar Wilde who strove for recognition as a serious poet only after establishing a notorious persona. But it is less the star and more the martyr that surfaces here, with gruesome accounts of Morrison being beaten by cops, lambasted by finicky critics, verbally abused by audiences, and incessantly drained by a neurotic girlfriend. Riordan and Prochnicky try to bolster the Morrison mythos by mentioning his love of Nietzsche, romantic attachment to shamanism, undying interest in film history, and gift for surrealist thinking that nurtured his work but abetted his ``failing to draw the line between art and life, business and pleasure, self-instruction and self-destruction.'' Unfortunately, they sidestep any fresh or bold interpretations of Morrison's mystique, resorting to redundant drugstore psychologisms and a disturbing zeal to discount any allegations of Morrison's thinly veiled homosexual side. Worse, the authors promise to delve into Morrison's subtle lyrics but opt instead for shallow and rushed summaries. Candid and articulate but essentially a star-struck reminiscence that fails to transcend the packaged legend. For more compact and worthy biographies of Morrison, see David Dalton's Mr. Mojo Risin' and Dylan Jones's Jim Morrison (p. 466). (Twenty-five b&w photographs—not seen.)
Pub Date: June 13, 1991
ISBN: 0-688-08829-5
Page Count: 400
Publisher: Morrow/HarperCollins
Review Posted Online: May 20, 2010
Kirkus Reviews Issue: April 15, 1991
Categories: GENERAL NONFICTION
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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
Categories: GENERAL NONFICTION
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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
Categories: GENERAL NONFICTION
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