Walking Into Schuyler's Ocean: A Day Like Any Other: The Life of James Schuyler by Nathan Kernan (FSG, 2025)

 

Walking Into Schuyler's Ocean by Tosh Berman

Tosh on Harry Smith

 

Tosh on Harry Smith

"Misia: The Life of Misia Sert" by Arthur Gold & Robert Fizdale

 

Misia: The Life of Misia Sert

Tosh on the Book ""The Crippled Giant: A Literary Relationship with Louis-Ferdinand Céline" by Milton Hindus

 

Tosh on "The Crippled Giant"

GAINSBOURG: The Biography by Gilles Verlant

 

Gainsbourg: The Biography

By Gilles Verlant. Translated by Paul Knobloch.

When Serge Gainsbourg died in 1991, France went into mourning: François Mitterand himself proclaimed him “our Baudelaire, our Apollinaire.” Gainsbourg redefined French pop, from his beginnings as cynical chansonnier and mambo-influenced jazz artist to the ironic “yé-yé” beat and lush orchestration of his 1960s work to his launching of French reggae in the 1970s to the electric funk and disco of his last albums. But mourned as much as his music was Gainsbourg the man: the self-proclaimed ugly lover of such beauties as Brigitte Bardot and Jane Birkin, the iconic provocateur whose heavy-breathing “Je t’aime moi non plus” was banned from airwaves throughout Europe and whose reggae version of the “Marseillais” earned him death threats from the right, and the dirty-old-boy wordsmith who could slip double-entendres about oral sex into the lyrics of a teenybopper ditty and make a crude sexual proposition to Whitney Houston on live television.

Gilles Verlant’s biography of Gainsbourg is the best and most authoritative in any language. Drawing from numerous interviews and their own friendship, Verlant provides a fascinating look at the inner workings of 1950s–1990s French pop culture and the conflicted and driven songwriter, actor, director and author that emerged from it: the young boy wearing a yellow star during the German Occupation; the young art student trying to woo Tolstoy’s granddaughter; the musical collaborator of Petula Clark, Juliette Greco and Sly and Robbie; the seasoned composer of the Lolita of pop albums, Histoire de Melody Nelson; the cultural icon who transformed scandal and song into a new form of delirium.

Gainsbourg: The Biography

FROM THE BOOK

"Now it's impossible to understand what will follow – namely the mad passion that will unite Bardot and Gainsbourg for no more than a few weeks but which will have serious repercussions for the both of them – without taking into consideration the reckless Don Juanism of this woman, who at the age of 33 is at the height of her beauty. Our anonymous contributor continues: 'She dealt with her conquests like a praying mantis: Serge, like me and like all the others, was zombified by Bardot. That woman had a supreme talent for grinding men into rubble. Serge was a totally atypical lover for her. He had the authenticity of a real artist, he hated money, and he led his life with a sort of heedless existentialist ethic. He was the exact opposite of the clean-cut types she had been with. I am convinced that Serge fascinated her much more than her other lovers. He brought her into a world of intelligence and talent, which no one had ever exposed her to before. Little did it matter that he had a face like a gargoyle from Nôtre-Dame. What's more, he brought a whole new world to her, served up on a silver platter, which is just what she needed at the time. Thanks to Serge she was hip again.'"

-Excerpted from Gainsbourg: The Biography

You can purchase the book here: Gainsbourg: The Biography by Gilles Verlant

"I Read The News Today, Oh Boy" by Paul Howard

At the moment, I'm going through a tunnel that is cold/ill based, and it is books like "I Read The News Today Oh Boy" that makes me want to live.   The comprehensive biography of a young man who didn't live long, and didn't do anything, except was an exceptional presence in various people's lives.  My favorite sort of person.  Tara Browne was a wealthy fellow who was fortunate to have a money background, but also the grace of being a very nice gentleman in the world of the 1960s London pop culture.  A friend of Brian Jones, Paul McCartney, as well as his brother Mike (McGear), this is very much a narrative of England throughout the early and mid-20th-century.  Paul Howard does an excellent job of capturing an era in a positive light that is readable and fascinating. 

Tara was very much of a 'now' personality.  He lived his life in such a manner that is full of love, respect, but also he was blessed to have a mother that was very much a bohemian herself.  As a boy, he was raised among adults and participated in parties and social outings.  He hated school, and in a sense, you can say he was spoiled, but alas, that is not totally true.  I think he was a good spirit that people attached themselves to him.  

Tara Browne died when he was 21 years old.  He was driving fast in London and avoiding another car; he rams his vehicle into a parked car.   Tara was obsessed with cars and speed.  By all accounts, he was an excellent driver.  In a nutshell, Browne was a dandy, car racer, and knew the more beautiful things in life. He introduced L.S.D. to McCartney, for instance. 

His death inspired Lennon by writing "Day in the Life," but to many who knew him, they felt his death was the end of the 60s utopian dream.    For anyone who has an interest in Brian Jones, The Beatles, and London 60s, this book is a must-read. 

"Joe Meek's Bold Techniques" by Barry Cleveland (ElevenEleven Publishing)

ISBN: 978-0-615-73600-6 

To enter the world of Joe Meek is like swimming in a pool of liquid but not sure what is in the mixture.  Still, one needs to dive into the deep pool and keep both ears wide open.  To be an admirer of Joe Meek's recordings always leads one to an obsession.  I know very few people who dipped their toes into Meek's work, and not leave without being obsessed with the sounds and odd narrative of Joe's life.   "Joe Meek's Bold Techniques" is a beautiful obsession but tightly controlled by its author Barry Cleveland.   For one, the book's primary focus is on Meek's recordings and his techniques in getting these strange outer world sounds on his records.   It goes into detail the nature of his home studio in North London, as well as the equipment he had, or made/invented for his singular sound.   A total sound/studio geek book, but Cleveland's writing never loses the human behind the machines, and therefore an excellent biography on Joe Meek.  

The other book on Meek is the essential biography "The Legendary Joe Meek: The Telstar Man" by John Repsch is an extremely well-researched book on its subject matter, but what is missing is the narrative skills of the writer.  I feel Cleveland's book is a better narrative piece, even though it has tons of material on equipment, microphones, tapes, and so forth, it's still an overall amazing document on Joe Meek and his life.   Also includes a track-by-track analysis on Meek's legendary and amazing album "I Hear A New World," which the second edition of this book includes the  CD version of the album.   Also has a pretty fantastic Discography that is much needed.  The Joe Meek world still needs a lot of work with respect to discography and research.  I'm hoping that there will be a full overall biography of Meek and his times, as well as the upcoming documentary A LIFE IN THE DEATH OF JOE MEEK, which promises to be extremely interesting. 

David Bowie A Life by Dylan Jones on Tosh Talks

"Misia: The Life of Misia Sert" by Arthur Gold and Robert Fizdale (Alfred A. Knopf)

Superb biography on Misia Sert, who was a wealthy iconic model as well as a supporter of artists Renoir, Vuillard, Bonnard, and Toulouse-Lautrec. Wherever she sat, it seems that she was the magnet or in the presence of greatness in the art world. From writers to artists to composers to close designers, she knew everyone, and everyone seemed to want her support and friendship. At the moment I can't think of a better book on European art from the 19th-century to the World War II era, where things fell apart in the world of the arts.

"Misia" is written by Arthur Gold and Robert Fizdale, which is the sole reason why I picked this book up. In my vinyl hunting, I have come upon two great albums by Gold and Fizdale, who play duo pianos, and focused on early 20th-century music, specifically the excellent Paul Bowles. Gold/Fizdale, a gay couple, seem to be at the very heart of the boho music world of the 1940s and 1950s Manhattan world. Besides writing this remarkable biography (1980), they also had a local New York City cooking show as well.

"Misia" is brilliantly told through various letters and journals by those who are in Ms. Sert's social world, as well as her letters to such cultural icons like Jean Cocteau and her best friend Serge Diaghilev, whose personality comes out gloriously in these pages. Cocteau was a hustler for his work, and Diaghilev was a hardcore hustler for his vision of the ballet and combining the most exceptional talents in art, music, and dance in one space, and on one stage. Misia also helped a young Coco Chanel start her world as fashion goddess, and may and may not have been lovers. The book is a gossip's dream of classic scandal on everyone from Marcel Proust to Erik Satie. It's fascinating to me that I know all the participants in this world, except for Misia Sert! There are people like her who were extremely important for any scene to get started, and she was the finance/friend that kept the ball rolling - especially to someone who was a combination of financial ruin and mess, Diaghilev.

The book is full of bitchy witticisms and an essential title for anyone who even has the 'slightest' interest in art culture from those times.

"Dear Mr. Beckett: The Samuel Beckett File: Letters from the Publisher" Edited by Lois Oppenheim/Curated by Astrid Myers Rosset (Opus)

As a publisher (TamTam Books) I'm fascinated with books about publishing or about the publisher themselves. I'm especially interested in the great American publisher Barney Rosset.   His Grove Press is/was very much a presence in my library for nearly my entire teenage and adult life.   If it wasn't for example and inspiration I got from Mr. Rosset (from a great distance, never met him) I doubt I would have started TamTam Books.  Reading "Mr. Beckett" brought up my anxieties about my press, and I can totally 'feel' for whatever situations that Rosset took on or got himself involved in.

For one, anyone who has even the slightest interest in the world of publishing should read this book.  By no means is it a perfect book. In fact, it's kind of messy, but at the end of the read, a delightful mess of a book.  Some of the interviews repeat themselves and could have been edited down, but I think the purpose of the publication brings the reader to that era of Samuel Beckett and his relationship with his American publisher, Barney Rosset.

As the full title states, it is a file of Rosset's letters to Beckett, as well as some correspondence from Beckett to Rosset, but also interviews with Rosset, and Eugene Ionesco and Alain Robbe-Grillet, regarding their relationship with the publisher, but on Beckett as well.  There is an insight into various theatrical productions of "Waiting for Godot," as well as his other plays.   Also interesting interview regarding the making of Beckett's "Film,"  with Rosset (he produced the movie) and working with Buster Keaton.  The letters from Rosset to Beckett are fascinating, concerning the relationship between author and publisher.  Nothing dramatic or bad happens between the two guys, but the daily struggle of getting things done, and dealing with financial issues is at times painful (for me) and awesome at the same moment.   A magnificent monument to the publisher and the writer.  May it last forever.

"Antonin Artaud" by David A. Shafer (Reaktion Books)

ISBN: 978-1-78023-570-7 Reaction Books

"Antonin Artaud" by David A. Shafer (Reaktion Books)

There are certain figures that one grows up with, even though one may not understand their work, it is still part of one's DNA.   There were always images on the wall in our family household.  Jean Cocteau, Brigitte Bardot, and Antonin Artaud.  I eventually as a teenager, started to read his works, more out of curiosity, and family duty than anything else.   I have read countless books on Artaud which in truth, there are probably more books on him, than say his writings.  Still, the image of Artaud is a very strong one.   He had a beautiful handsome face when young, and as an adult and a drug addict - still pretty sharp looking!  If this was death and pain, I'll pick up a six-pack of it please!

Yet, the surface is not everything, and as one dwells into his writings and drawings, one discovers an inner world where communication is muted by disease, mentally as well as physically - and to somewhat break that wall between audience and performer.  Artaud in most circles is thought of as a theater artist - especially with his manifesto "Theater of Cruelty."   The grand-dad of happenings, and 20th century experimental theater practices, Artaud is the guiding light of everything that is wonderful abut the spirit trying to leave the sick body and mind - yet, of course, there is usually some sort of payment in the end.   David A. Shafer wrote a really nice and brief - yet smart - biography and study on Artaud for the great Reakton Critical Lives Series. 

It's a sad narrative of a life of a genius that was side-tracked by madness and therefore a prolonged spell in various mental hospitals.  Yet, one can never forget Artaud's image as an actor and as a visionary that moved out of the shadows to express sincere angst against a world that abandoned or tortured him.  I fully appreciate why my dad had his photo in his studio and elsewhere.  Oh, and he was a beautiful looking man. 

- Tosh Berman

"Different Every Time: The Authorized Biography of Robert Wyatt" by Marcus O'Dair

ISBN: 9781593766160 Soft Skull Press

This is not really a biography on Robert Wyatt, but more like an intense love-fest for the artist.  And really, who would want less than that?  Wyatt is one of the great music figures of the 20th century.  A great singer in that Chet Baker mode of intimacy, with a mind like Alfred Jarry and the politics of a hard-left fellow.  The book is very strong with respect to the early world of The Soft Machine and Kevin Ayers - another iconic wayward genius.  One gets detailed information about the making of all of Wyatt's recordings as well as interviews with the musicians who worked with him.  Wyatt comes off as a modest man with elements of genius. One thing that makes clear is that Wyatt's wife and muse, of sorts, Alfreda Bengie is a major force in his life.  In many ways, she is George to his Gilbert.   Plus her best friend is Julie Christie.  

Wyatt sees his life (so far) in two sections. Before and after his accident which made him wheel-chair orientated for the rest of his life.  Nevertheless the accident (fall from a window) seemed to give him focus, which leads to works like the classic "Rock Bottom."   A perfectionist who sometimes takes great time between albums, is also a musician who likes to work with others on their projects.  But whenever Wyatt opens his mouth and sings, it becomes very much a Robert Wyatt recording.   The book is essential for Wyatt fans and for those who want to research the early 60s life of bands like Soft Machine, Pink Floyd and a touch of Jimi Hendrix.

"A Man Called Destruction: The Life and Music of Alex Chilton" by Holly George-Warren

I have not previously met a person who didn't like something by Alex Chilton.   He's a cult artist by definition, but he is without a doubt a major work who made priceless pieces of treasure throughout his long career in music making.  Why he didn't play the Greek Theater or the Olympia or Albert Hall on a regular basis is not his fault, but it was  the 'general' audience that was asleep at the wheel, or using their extra funds foolishly by buying 'that' other record.  At this point and time, everyone 'now' knows that Big Star are essential recordings as well as his long and complicated solo career.  And of course, The Box Tops, you can't forget that!

The story of Alex is really the story of the South, and the southern aesthetic in how it played to the rest of the world, as well as the influences that touched the region that Chilton came from.   In other words, it's a Cecil DeMille production, but in reality it was directed by Sam Fuller.  Chilton and Big Star are blessed with some exceptional books.   Rob Jovanovic's biography on Big Star and Bruce Eaton's focus on Big Star's Radio City are excellent titles.  So is this biography by Holly George-Warren, which is well-researched and well-rounded view of this unique figure.   "A Man Called Destruction" (a catchy title, but I feel there is nothing tragic or destructive about Alex, compared to.... Chet Baker or ....etc.) covers all the bases and she, like the other writers, has a feel on Alex, his music, and his world.  The thing is Alex is just one character in this fascinating story - the whole creative and boho culture of Memphis is also part of this story.

I always felt that Alex's genius lies in not only in his music, but in his culture as well.   What you get is black American culture, Elvis culture, and William Eggleston culture as well.   It's an insane world, but one that is totally manageable, but it does have its tragic side as well.   I got the feeling from reading this book and the others that he really felt the death of his parents, Chris Bell, and his brothers - he didn't talk about it, but the silence is pretty loud. Excellent biography.

"Ziggyology: A Brief History of Ziggy Stardust" by Simon Goddard

In my (very short?) life time, the one beautiful narrative in my life is the one called Ziggy Stardust. In what seemed like weeks the very first David Bowie album I bought "Hunky Dory" somehow turned into Ziggy. The moment it happened I felt the world was not exactly all right, but at least someone was fighting for our side. That little pipe bomb of vinyl was called "Ziggy Stardust and the Spiders From Mars."

Simon Goddard's odd form of biography on the Bowie character is a must-read for the glam damaged fan. And that is something that i am. Like all great characters, the Ziggy motif has a lot of fingerprints on it, including those belonging to the great Vince Taylor and The Legendary Stardust Cowboy - both perhaps insane, but nevertheless the spark that started Bowie into another world of his making. That, plus Kubrick's "A Clockwork Orange" and "2001" laid out a future that Bowie felt was a perfect fit for his creation.

And what is Ziggy but the ultimate outsider re-sold as a rock n' roll star. Even Elvis seemed to come from another planet. Maybe Memphis is another part of the universe. Yeah Memphis, Tokyo and London. Outside our planet. Goddard traces the star steps from early Bowie to himself turning into Ziggy. I like this book a lot due that he lists all the Ziggy cultural influences that somewhat is even more interesting than Bowie himself. And I think the glam god would appreciate this.  

The Influences:  All The Young Dudes down below:

Vince Taylor

Legendary Stardust Cowboy

Alex from A Clockwork Orange

Kabuki

Iggy Pop (Stooge)

Juan Rodriguez's review of "Gainsbourg the Biography" by Gilles Verlant

Serge Gainsbourg’s place in French music was thoroughly investigated by Gilles Verlant, whose biography of the singer is now available in an English translation. (Photo: Les Francofolies de Montréal)

Read more: http://www.montrealgazette.com/entertainment/music/Juan+Rodriguez+Serge+Gainsbourg+genius+lost/7677345/story.html

By Juan Rodriguez, special to The Gazette

Serge Gainsbourg was short, had elephantine ears, a large nose, bug eyes, a foul mouth, and a motto: “For me, provocation is oxygen.” He smoked like a chimney. He was also as successful a skirt-chaser (Brigitte Bardot, Catherine Deneuve, France Gall and Jane Birkin were among his most well-known conquests) as he was a brilliant songwriter (a majority of his interpreters were women), master of the double entendre.

He was loaded with anti-charisma — his first words to Whitney Houston on a TV show were “I want to f--- you” — yet he was a perverse charmer. “Women adore misogynists,” he claimed; one of his preferred pickup lines was “Mind if I sit down, you little tart?” French president François Mitterrand characterized him as “our Baudelaire, our Apollinaire,” but his various musical periods also qualified him as the Picasso of pop. (He stole liberally from Chopin.)

Apart from the admirable but hardly complete A Fistful of Gitanes, by Sylvie Simmons (author of the recent excellent Leonard Cohen biography I’m Your Man), there’s not much in English on the great iconoclast of French pop. Now comes the English translation of Serge Gainsbourg by Gilles Verlant (under the title Gainsbourg: The Biography, from Tam Tam Books), the French journalist who spent more time interviewing Gainsbourg than any other.
The depth of his investigation into the agent provocateur’s place in French music is abundant throughout this hefty 575-page tome, originally published in 2000. Without indulging into too much armchair psychology, we come away with plenty of raison d’être for the man who was forced to wear a yellow Jewish star as an adolescent during the Nazi occupation. He boomeranged the anti-Semitism of those times with perverse irony on the 1975 album Rock Around the Bunker.

He was born Lucien Ginsburg to parents who fled the Russian Revolution and anti-Semitism; his father, Joseph, was a classical pianist who played nightclub gigs to get by; his mother, Olia, was a mezzo-soprano.

The household was cultured (attuned to André Breton, Man Ray et al), something overlooked in Gainsbourg’s penchant for scandal. At the beginning of his career, he suffered from stage fright and was discouraged because of his apparent “ugliness.” He was hardly in the league of Jacques Brel, Charles Aznavour, Georges Brassens or Yves Montand as a romantic hero, yet his power to shock — in either a disquieting sense or with inimitable irreverence (setting La Marseillaise to a stoned reggae beat) — set him apart, and was somehow more profound than his more genteel contemporaries. When some suggested that his biggest international hit, Je t’aime ... moi non plus, was simply a tape of Gainsbourg and Birkin engaged in sex, he quipped: “Thank goodness it wasn’t, otherwise I hope it would have been a long-player.”

Despite being littered with typos, the book is a page-turner. Although translator Paul Knobloch has drawn some heat for supposedly taking liberties, his adaptation of Gainsbourg’s lyrics is pure genius; most of the translations rhyme — an extraordinarily difficult creative act.

Alongside Simmons’s tome on Cohen, The One: The Life and Music of James Brown by R.J. Smith, and Gustav Mahler by Jens Malte Fischer, this is among the very best musical biographies I’ve read this year.

Read more: http://www.montrealgazette.com/entertainment/music/Juan+Rodriguez+Serge+Gainsbourg+genius+lost/7677345/story.html