Tag Archives: Bob Dylan

Hard to Grip

Hard to Grip: A Memoir of Youth, Baseball, and Chronic Illness by Emil DeAndreis (Schaffner Press, $16.95, 326 pages)

hard to grip

“You, see, you spend a good piece of your life gripping a baseball and in the end it turns out that it was the other way around all the time.”  – Jim Bouton (Ball Four)

Emil DeAndreis is an excellent high school baseball player in a weak conference.  He gets his chance at Division I baseball at the University of Hawaii at Hilo.  Hawaii at Hilo is far from a top tier program, but Division I is Division I.  DeAndreis is a borderline D-1 player, but he is a left-handed pitcher – always a commodity.

Hard to Grip is DeAndreis’s story, subtitled a memoir of youth, baseball, and chronic illness.  Shortly after he graduates from college, he signs a professional contract to play baseball in Belgium, only to be diagnosed with rheumatoid arthritis.  There are flashes of promise in his writing.  He saves the best for last.

As a high school pitching coach, he tries to express to his players that everyone’s career ends one day, and closes the book with the line, “I tell them it’s like a disease you learn to live with.”

DeAndreis chronicles his passion for baseball, his disillusionment following his diagnosis, and his battle to come to grips with the fact that his life is irrevocably changed.  He does find love, and ultimately reconciles with his loss of having to prematurely let go of the game.

The book is good.  Those who have dreamed of playing and had their careers cut short for whatever reason can probably relate.  It is an honest telling from the get-go, and the parallel of his best friend Charlie – who is more talented, and his challenges in pro ball constitute another side of the story told by DeAndreis. (DeAndreis leaves it up to the reader to determine what happened to Charlie.)

Unfortunately, the book does not have many engaging moments.  Too much of the book is a retelling of events that fail to resonate with the reader.  DeAndreis might have done more to draw the reader in; to see that the events that happened in his life (“Life is what happens to you while you are busy making other plans.” John Lennon) are the types of unexpected things that happen with others.

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DeAndreis is currently working on a novel, and his fledgling talent may well make it a successful one.  There are high points in Hard to Grip, but not enough of them to sustain the typical reader’s interest from start to finish.  This is a niche book for hardcore baseball fans.  Perhaps the writing promise hinted at in Hard to Grip will fully manifest itself in his future work.

Recommended, for sports fans and/or one-time athletes.

Dave Moyer

Hard to Grip was published on April 1, 2017.  “A vibrant depiction of a ballplayer that finds his way (in life) despite losing his ability to play the game he loves.”  Mike Krukow

Dave Moyer is a public school district superintendent, a drummer who hopes to play on stage with The Who one day, and is the author of Life and Life Only: A Novel about baseball, love and Bob Dylan.

 

 

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Where Nobody Knows Your Name

Where Nobody Knows Your Name: Life in the Minor Leagues of Baseball by John Feinstein (Anchor, $16.95, 384 pages)

where nobody knows your name

AAA: Where baseball and purgatory collide…

John Feinstein, known for his many appearances on ESPN’s The Sports Reporters, has authored 24 books.  He is most noted for his debut A Season on the Brink: Bob Knight and the Indiana Hoosiers and his books on golf (most notably, A Good Walk Spoiled).  His latest, Where Nobody Knows Your Name: Life in the Minor Leagues of Baseball, is simply excellent.

Many have attempted to write about baseball, but as much as the sport lends itself to great writing, truly capturing the essence of the game is a far from easy thing to accomplish.  Roger Angell and Thomas Boswell are probably the best of the lot, and there are others that have done quite well.  Feinstein’s latest is not only a must for baseball fans, it’s well worth the time of any sports fan.

Triple A baseball is the top level of the minor leagues.  The goal for most players is to make it to AA ball because then the organization you play for thinks you have a chance to play in the big leagues.  Most of the players in AA are young up and comers.  Once a player is elevated to that level, they set their sights on the major leagues – or what is commonly referred to as “the show.”  The next level, AAA, becomes a place for additional seasoning of top prospects or a holding ground for more experienced players (who may be called up at any time).  Some players who are shuttled back and forth are labeled “4A” players; too good for AAA but not good enough for major league play.

The players at the AAA level have dreamed the dream from their early childhood on.  They’ve worked extremely hard, have often endured setbacks, and are just an eyelash away from the ultimate prize: playing in big league stadium parks.

In Where Nobody Knows Your Name, Feinstein follows the plight of several AAA characters throughout the 2012 season.  He successfully hits on all the little things — the letter inviting a player to either a big league or minor league camp for spring training; the deadlines when players learn of their fate; the tragedy of players who have been to the “bigs” but get sent back to the minors; and the dreaded or hoped for calls to the manager’s office (almost always signifying bad news, but sometimes good).  The young ballplayers are quite human, but they are often treated like objects.

While many players and managers are profiled, the major characters in this book are Scott Elarton, Ron Johnson, Jon Lindsey, Mark Lollo, Charlie Montoyo, Scott Podesdnik, Chris Schwinden, and Brett Tomko.  Along the way Feinstein tells of the endless travel, the ridiculous promotions, front office personnel, announcers, and the players’ families. He also touches on the umpires and groundskeepers, who have their own dreams of being promoted to the bigs.

As for the primary characters, Elarton went 17-7 with the Astros in 2000, but finished with a record under .500 in his 10-year major league career.  Johnson was a career minor league manager.  Lindsey was drafted by the Rockies in 1995.  Although he was a big hitter in the minors, he managed just one brief stint in the majors.  Lindsey was called up by the Dodgers at the age of 33, going one for 12 in 11 big league games.  Lollo dreamed of umpiring in the major leagues.

McLouth, an outfielder, showed promise early on in his career with the Pirates, was traded to Atlanta where he gradually lost his hitting touch, and had begun to fight his way back.  Montoyo was another career minor league manager.  Though not a power hitter, Podsednik, also an outfielder, hit a big home run in the 2005 World Series for the victorious White Sox.  A player with speed, Podsednik’s career was shortened by a rash of injuries.

Schwinden was a pitcher who fought for eight years to get to the majors.  Tomko, who won exactly 100 major league games – but had not thrown a pitch since the 2009 season, fights to throw another pitch in the bigs at the age of 39.  Elarton, Schwinden, and Tomko never make it back to the majors.  The same is true for Johnson, Lollo, and Montoyo.

Podsednik was called up by the Red Sox in 2012 and hit .302 but was released at the end of the year.  He was 36 and never played in the big leagues again.  McLouth was called up by Baltimore and played in the post-season.  His final big league season was 2014, during which he appeared in 79 games for Washington.

All of these individuals have a story, and Feinstein tells them in a masterful fashion.  What resonates is a love of the game felt by each of these individuals.  Each is grateful for what they have, while finding it hard to let go of the game that defined their existence.

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None of the characters in this account decide to voluntarily walk away from baseball.  They each fight to the end, knowing the odds of success fall between slim and none.  Why?  Feinstein answers that for readers when he concludes the book with a quote from Jim Bouton’s memoir Ball Four:  “You see, you spend a good piece of your life gripping a baseball and in the end it turns out that it was the other way around all the time.”

Highly recommended.

Dave Moyer

A copy of this book was provided to the reviewer.

Dave Moyer is an educator and the author of a story about baseball, love, and Bob Dylan: Life and Life Only: A Novel.

 

 

 

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Mandolin Wind

Retro Music Review: Rod Stewart’s Every Picture Tells a Story

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Rod Stewart recently turned 72 and he’ll embark on an 18-date summer tour with Cyndi Lauper beginning in July.  Here’s a look back at Every Picture Tells a Story, which was originally released in May of 1971 on Mercury Records.

The title cut opens the festivities.  Mickey Waller’s drum work is a highlight.  The first of only three original Stewart songs on the album, “Every Picture Tells a Story” is one of two major coming-of-age stories that would become rock and roll classics.  In this song the closing mantra, “Every picture tells a story…” pulls together each of the earlier individual vignettes.

Stewart slows it down with “Seems Like a Long Time.”  His signature gravelly vocals steal the show here.  He picks it right back up with a rocking honky-tonk version of “That’s All Right Mama,” an Arthur Crudup song popularized by Elvis Presley.

Stewart elects to include his take on Bob Dylan’s “Tomorrow is a Long Time” (originally released on 1963’s The Freewheelin’ Bob Dylan).  “Amazing Grace” serves as a lead in, and a unique arrangement and Stewart’s vocal styling make this song worthy of inclusion.

The instant classic, “Maggie May,” opens side two.  Another original, “Maggie,” also a coming-of-age story, was originally released as the B-side of “(Find A) Reason to Believe.”  “Maggie” steals the show and went to number one on both sides of the Atlantic.  The guitar work is better than I recalled it.  The song is “Pure Rod” with vocals, emotion, and musicianship melding together perfectly to become an inarguable all-time classic.

The third Stewart original, “Mandolin Wind,” is another all-timer and one of the finest love songs ever written.  The pedal steel against the mandolin makes for a beautiful sound.  Many critics at the time considered this the best song on the long player.  The poignant lyrics are perfectly delivered.  “Mandolin Wind” is Stewart at  his finest.

The penultimate track is “(I Know) I’m Losing You.”  For those familiar with The Temptations’ 1967 version of this song from their album The Temptations with a Lot o’ Soul, hold on to your hat.  The Temptations classic version is funky and rocks in its own way, but Rod and the boys kick it into a higher gear, thanks in large part to the drumming of Kenney Jones.  For some reason this is the only track that long-time Faces drummer Jones plays on, and he morphs from master timekeeper to soloist during the interlude/bridge.  Jones’s work here is worthy of the great Who drummer Keith Moon, whom Jones would replace when Moon died in 1978.

The final song,  Tim Hardin’s “(Find A) Reason to Believe” – which is similar in style to “Seems Like a Long Time,” “Tomorrow is a Long Time,” and “Mandolin Wind,” reinforces the themes of love, loss, youth, angst and disappointment that permeate the album.

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Every Picture Tells a Story was Stewart’s third studio album.  The Faces play on virtually every track, with Ronnie Wood on bass and guitar.  A variety of musicians and backup singers, which are used extensively, contribute to the eight songs on the album.  Eclectic in style, Every Picture went on to become number one in both the U.S. and the United Kingdom and is ranked #173 on Rolling Stone’s list of the 500 greatest albums.  While lists of this nature are arbitrary, Every Picture is that good.

Rod Stewart has never met a cover he didn’t like and has on occasion compromised his reputation with overt pop sentimentality, succumbing and/or pandering to the latest trends to make a buck.  But, at his finest, he is clearly among the best ever.  This album is every bit worthy of its place in rock history.

Highly recommended.  92 points out of a possible 100.

Dave Moyer

Dave Moyer is a public school district superintendent and is the author of Life and Life Only: A Novel about Bob Dylan, baseball, love and life.

 

 

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Come In From The Rain

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They’re Playing Our Song: A Memoir by Carole Bayer Sager (Simon & Schuster, $28.00, 352 pages)

“I loved my parents, but I didn’t want to be like them.  I didn’t want to be afraid of life.  The trouble was, it was all I knew.”  Dani Shapiro (“Still Writing: The Perils and Pleasures of a Creative Life”)

“Music saved my life and gave me life.  It was where I allowed myself to feel fully alive, where it was safe…  As long as I stayed in that lane, I was protected from the frightening stories I would otherwise tell myself.”  Carole Bayer Sager

Carole Bayer Sager’s memoir – which, in an ideal world would have been accompanied by a CD of her songs (performed by Sager and others) – is an entertaining but somewhat bewildering work.  It’s interesting to read about how her songs, beginning with “A Groovy Kind of Love” were written, but there’s an odd dichotomy that pervades her life story.  On the one hand, Sager portrays herself as a person unnaturally afraid of almost everything, from flying to performing.  But then there’s the ultra confident Sager who writes songs with the likes of Marvin Hamlisch, Burt Bacharach, Carly Simon, Carole King, Bob Dylan and so many others.  This is the Sager who hung out with Elizabeth Taylor, Michael Jackson, Dylan, David Foster, Peter Allen, Liza Minnelli, Bette Midler, Melissa Manchester, David Geffen, and so many others.

There’s no co-writer listed, no indication that this memoir is an “as told to…” work.   Perhaps if a professional writer-editor had been directly involved, he or she would have pointed out the inherent contradiction in the telling.  In addition, a writing assistant might have advised Sager to cut down the long, long list of famous people in her account; this book transforms name dropping into an art!   In fact, it might have been easier for Sager to have listed the famous people she has not run across in her existence.

And there are other issues.  One is that Sager repeatedly discusses her body image concerns with the reader.  Although she is a small woman, Sager has viewed herself as battling weight issues since childhood.  Mentioning this a few times would have been understandable.  However, it arises time and time again.  The repetitiveness tends to wear the reader down.  And there’s the matter of her sexual encounters.  She’s determined to tell the reader intimate details of her relationships with famous men.  Not only is this unnecessary – but for the fact that titillating details may sell a few books, it’s boring.

Where They’re Playing Our Song succeeds is in establishing the case for Sager as an extremely talented and successful songwriter.   The book was the impetus for this reviewer to listen to her songs as originally performed and/or covered by many talented recording artists.  Before reading this memoir, I was unaware of the song she wrote for Frank Sinatra, “You and Me (We Wanted It All).”   For someone less blessed and talented than Sager, writing a song recorded by the Chairman of the Board would have been in itself a life’s work, a definitive achievement.

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Recommended, if hesitantly, for music fans and prospective songwriters who will take what they need and leave the rest.

Joseph Arellano

A review copy was provided by the publisher.

This book was released on October 18, 2016.

 

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A Hit and a Miss

dignified-dead

For the Dignified Dead: A Commander Jana Matinova Thriller by Michael Genelin (Brash Books, $14.99, 359 pages)

The woman was already dead.  I didn’t need to spend much time with her.

The dead don’t want us to saunter in, then quickly leave.

Brutality permeates the most recent installment of the Commander Jana Matinova international mystery series written by Michael Genelin.  Returning readers will travel across international borders through a bleak winter landscape as Commander Matinova seeks justice for a murdered woman found encased in the ice of the frozen Danube River. The weapon of choice is an icepick, truly appropriate considering the weather.

The antidote is Matinova’s intense caring and commitment to solving the crime.  Her biggest obstacles are her staff’s indifference to the victim and the endless paperwork and stalling by the bureaucrats both at home in Slovakia and in the neighboring countries.  She manages to maintain a crisp professional demeanor while experiencing a deep sense of responsibility to her role as head of homicide in Bratislava.

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Author Genelin is a master at creating voices that reflect the people and cultures portrayed in his novels.  As is his style, the tale is fast paced and multifaceted.  Everyday police issues are blended seamlessly with danger and intrigue.  One need not be a veteran of international travel or the convoluted structure of bureaucracy to appreciate the wealth of detail Genelin has infused into this most engaging tale.

Well recommended.

Ruta Arellano

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Don’t You Cry: A Novel by Mary Kubica (Mira, $26.99, 320 pages)

Mary Kubica’s third novel shows some early promise but fizzles.

Don’t You Cry is structured such that the story is told through the lens of two different characters, Quinn and Alex, in alternating chapters.  (I sense trouble already.  Ed.) 

Quinn picks up a guy in a bar in downtown Chicago and wakes the next morning to discover that her roommate, Esther, has disappeared.  Alex is a dishwasher in a town an hour outside of Chicago who becomes fascinated with a woman who suddenly appears at the place he works.

The story moves along well enough in the chapters in which Quinn is narrating.  Elements of the mystery and an unexpected twist keep the reader interested, but the chapters with Alex interrupt the flow, and these unfold so slowly that the momentum wanes.  It takes too long to find out why we should care about the characters and their relationships, and Alex’s back story turns out to be irrelevant.

It is difficult to ascertain early in the story any evidence of why Esther and Quinn were close, which makes it difficult to be concerned about Esther’s disappearance.  But because of Kubica’s flair for storytelling, the reader sticks with the tale.  Halfway through, it gets interesting.  But by the time the mystery comes together, almost absurdly quickly in the final chapters, it’s difficult for the reader to put the various pieces together.

The flaw is not Kubica’s imagination or writing style, but due to the way she elected to structure this story the effect of any “aha” moment – when all is revealed, is significantly diminished.

Dave Moyer

Review copies were provided by the publishers.

Dave Moyer is a public school superintendent in the greater Chicago area, and the author of Life and Life Only: A Novel of love, life, baseball, and Bob Dylan.

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Music Review: ‘Bringing It All Back Home’ by Bob Dylan

A retro-review of a classic album..

Thoughts inspired by the music.

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Well, I try my best
To be just who I am
But everybody wants you
To be just like them
They say sing while you slave and I just get bored

– “Maggie’s Farm”

Many confuse the reality of old with the definition of classic. Old is old. Many of us have, or are beginning to, understand just how much fun that is. A classic maintains its relevance over time. It is not of its time but, rather, for all time.

And, so, the Nobel committee conferred the 2016 Nobel Prize for Literature upon Bob Dylan, who has referred to himself as both “a song and dance man” and “just a guitar player.” Bono (the lead singer of U2) said in Rolling Stone that Dylan “busted through the artifice to get to the art.” [Or, perhaps, the heart. -ed.] Many people enjoy any opportunity to suggest that Dylan cannot sing (to which I refer you to “Tomorrow Is a Long Time” from Greatest Hits Volume II, “Love Minus Zero” from MTV Unplugged, Blood on the Tracks. the outtakes included on Tell Tale Signs, such as “Girl From the Red River Shore,” etc., etc., etc.) But, people are welcome to their opinion.

And that is the point. The Nobel committee shared its opinion. Allow me to share mine.

When I was growing up, there was this concept called “The Canon.” It was what every educated person needed to read. Beowulf, Chaucer, Milton, Shakespeare, and the like. Well, my father was an English major and, like any good son, I could not imagine anything better than being like him. Now I realize I never stood a chance. He remains one helluva man. I can only hope people speak as highly of me when all is said and done as they do of him. Fat chance, but I do my best. As Mark Twain said, “When I was a boy of 14, my father was so ignorant, I could barely stand to have the old man around. But when I got to be 21, I was astonished at how much the old man had learned in seven years.” I love you, Dad.

So, I became an English major, and I got angry with business majors and engineers who never read anything. Dammit, how can you get a degree without reading Hamlet? Everybody has to read this stuff during their formal education or they never will. Well, I was wrong. First, you have to allow people to willingly expose themselves to ideas, imagine different alternatives, and see that their reality is not the only reality. Example: I read Moby Dick in my 30s. It was among the most tedious and disagreeable texts that I ever read – voluntarily or by force (Tristam Shandy and Clarissa excluded). Others would argue that it is great literature. Well, put this in front of a 16-year-old kid (it was traditionally a novel included in the sophomore high school curriculum), and don’t be surprised if young adults refuse to read “literature” again.

Recent events have re-energized those who are inclined to take their shots at Dylan. Perhaps some are envious that their ideas do not resonate with the soul to the extent that many of his do. I cannot help that. Let me remind you that Fitzgerald was oft criticized in his time as being “too autobiographical.” Does anyone wish that they had written The Great Gatsby? I sure as hell do.

So what is literature, if not a tool to provoke one to think and feel ideas and emotions that they have not previously experienced via their everyday existence? What is it if it does not spark in one the imagination to move beyond what they thought possible? Emotion sparks thought; rather than the other way around.

Many associate Dylan and 1965 with the Newport Jazz Festival and the instant that he “went electric.” But between March 22, 1965, and May 16, 1966 – 14 months, Dylan released three of the most seminal pieces of art of the 20th/21st century, these being Bringing It All Back Home, Highway 61 Revisited, and Blonde on Blonde. Arguably, the thoughts, themes, and ideas that resonate here had not been expressed with this intensity in this time frame and in a manner that so challenged the social mores. No other works exposed the nature of the human soul so candidly since the 1490s (if you get my drift).

In The Mayor of McDougal Street, Dave Von Ronk, who was considered the king of Greenwich Village’s folk scene in the late 50s/early 60s, addressed the hidden sore spot of Dylan’s rise to fame. He said, essentially, that if you are the guy who writes “A Hard Rain’s A-Gonna Fall,” then you are the guy, period. Enough said.

“Hard Rain” was first released on 1963’s The Freewheelin’ Bob Dylan. And one could turn to “Chimes of Freedom” and “My Back Pages” from 1964’s Another Side of Bob Dylan to suggest that his transformation from folk-protest singer to humanist-muse was not only in progress, but already completed.

Humans, however, do not tolerate change easily. So Bob decided to discard the subtle and get even more explicitly in our faces.

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The reason why Bringing It All Back Home blew the roof off of it all is “Mr. Tambourine Man.” Bob Dylan never claimed to be a poet but he wrote/sang this: “Yes, to dance beneath the diamond sky/With one hand waving free/Silhouetted by the sea, circled by the circus sands/With all memory and fate driven deep beneath the waves/Let me forget about today until tomorrow.” Include one of the greatest love songs ever written in “Love Minus Zero/No Limit” – which most people, other than Rick Nelson fans, don’t even know exists: “The bridge at midnight trembles/ The country doctor rambles/Bankers’ nieces seek perfection/Expecting all the gifts that wise men bring/The wind howls like a hammer/The night blows cold and rainy/My love she’s like some raven/At my window with a broken wing.”

Then there’s “It’s Alright Ma (I’m Only Bleeding),” which includes lines such as, “He who is not busy being born is busy dying,” “But even the president of the United States must have to stand naked,” “I’ve got nothing, Ma, to live up to,” and “While money doesn’t talk, it swears.”

The album ends with “It’s All Over Now, Baby Blue,” a brilliant effort in and of itself, but even more poignant when it is revealed to be a bridge to Highway 61.

And so, after this, ridiculously great works such as “Desolation Row,” “Stuck Inside of Mobile (with the Memphis Blues Again),” “Tangled Up in Blue,” “Simple Twist of Fate,” “Shooting Star,” “Mississippi,” and many, many more phenomenal artistic creations – most of which the general populace has not had the time to absorb or brain capacity to digest, live in our collective psyche. And Dylan continues to create and perform.

Make of what it what you will. That’s your right. But, while placing poetry against music may have begun a long time ago, everyone in the music industry that followed Dylan has pointed to him as the transformational artist of this century and the pivot point for all that came next. (Rolling Stone magazine labeled Highway 61 as “The album that changed everything!”) And, the last time I checked, music was an art form.

For those who are hung up because Dylan is not a “singer,” in some purist’s definition, ask yourselves this: “How does it feel?”

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Again, for those who argue that Bob Dylan is not a poet, he never claimed to be. But he invented his own language; a language that changed the world. Is inventing a language worthy of the Nobel prize? You decide.

Genius is by definition untouchable by the rest of us, which is why it is genius. Artists possess the courage to attack and slay conventional wisdom, which makes them unique. Bob Dylan ended Bringing It All Back Home with “Baby Blue,” whose final lines are: “Strike another match, go start anew/And it’s all over now, Baby Blue.” Indeed.

Highly recommended.

Dave Moyer

Dave Moyer is a public school superintendent and the author of Life and Life Only: A Novel; a story about life, love, baseball, and Bob Dylan.

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At This Hour

“We got the bubble-headed beach-blonde who comes on at five/She can tell you about the plane crash with a gleam in her eye/It’s interesting when people die/Give us dirty laundry.” Don Henley

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The Newsmakers: A Novel by Lis Wiehl and Sebastian Stuart (Thomas Nelson, $26.99, 352 pages)

Erica Sparks is a recovering alcoholic who capitalizes on a fluke event to rejuvenate her career. A former televison anchor, she is cast off to nowhere land but manages to be in the right place at the right time. With a convergence of looks, talent and luck, she finds herself back on the media map.

Sparks is separated from her daughter, falls in love with her producer, lands her own TV show, and confronts evil within a matter of weeks. She could easily be the next superhero in a Marvel blockbuster.

The book is co-written by Lis Wiehl with Sebastian Stuart, although the collaboration is not explained. It is the 12th book by Wiehl, seven of which are “April Henry” stories, and three of which are “Pete Nelson” stories. For those who are drawn to Sparks, there will be another Sparks story as is made clear by the final paragraph of The Newsmakers.

The story unravels a bit deliberately and then hurries along to its neat conclusion. It is, for the most part, enjoyable. However, it’s a bit much to accept that within within two weeks our protagonist is on site at a boat crash linked to terrorism, is a witness to the murder of a political figure, is offered a Cable TV position on the Global News Network, and comes within milliseconds of being part of an on-air tragedy. It sounds like the synopsis of a Lifetime made-for-TV film.

So this is not a deep read for serious thinkers. It’s more of a quick read for the beach or a plane ride. And, yes, there is an audience for such delightful if improbable fluff.

Recommended.

Dave Moyer

A review copy was provided by the publisher.

The Newsmakers was released on October 4, 2016.

Dave Moyer is a school district superintendent and is the author of Life and Life Only, a novel about baseball, love and Bob Dylan.

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