January 27, 2020
Music writer Hirsch celebrates the career of music comedian Alfred “Weird Al” Yankovic in this thoroughly researched debut biography. Best known for his parodies, Hirsch argues that Yankovic is much more than a comedy act, and that his songs allow listeners to “be whoever you are,” as “he creates a mix of tribute and mockery in his work, and he mocks himself just as he slyly takes down the bad behavior of others.” Hirsch charts Yankovic’s rise to fame, beginning with 1979’s “My Bologna” (a take on the Knack’s “My Sharona,” which he recorded in a bathroom at California Polytechnic State, where he worked as a student DJ), and recounts how artists have responded to having their work remade (Coolio was originally outraged by Yankovic’s “Amish Paradise” parody of his “Gangsta’s Paradise,” but years later admitted, “I was being cocky and stupid.... The song’s actually funny as s___”). Hirsch details dozens of songs, at times to the point of overkill, as in an entire section devoted to politics (Yankovic addresses gun violence in several songs including his original song “Trigger Happy” and “Canadian Idiot,” a parody of Green Day’s “American Idiot”). While it probably will not win over any new fans, this is the perfect volume for all who proudly rock out to Weird Al.
February 1, 2020
With 40-plus years in the music industry and multiple Grammy wins, "Weird Al" Yankovic (b. 1959) has enjoyed remarkable success, especially given that his output has consisted almost entirely of song parodies. His hilariously bizarre hits have spoofed everything from Michael Jackson's "Beat It" ("Eat It") to Coolio's "Gangsta's Paradise" ("Amish Paradise"). Musicologist Hirsch (Anneliese Landau's Life in Music) combines a close reading of Yankovic's work with thorough research, explaining that his success is rooted in both his clever turn of phrase and his willingness to take on complex themes. The author searches for deeper meanings, asking probing questions: What is Yankovic saying about race, religion, and gender? What is really going on in "Angry White Boy Polka"? While this scholarly treatment may sound too serious for such entertaining fare, Hirsch keeps the tone energetic. She calls herself an "Al-cademic" (the subject matter makes it impossible to avoid wordplay) and livens the text with funny anecdotes and interviews with Yankovic and his band members. VERDICT This engaging read skillfully documents the hard work that goes into being silly; readers will emerge with a newfound respect for Yankovic.--Terry Bosky, Madison, WI
Copyright 2020 Library Journal, LLC Used with permission.
February 15, 2020
There's something dangerous about serious analysis of comedy, but musicologist Hirsch's look into the discography of pop parodist Weird Al Yankovic keeps things fun. After a brief look at his influences (including Dr. Demento, who wrote the introduction), she mines literary and social criticisms and, backed up by an exhaustive survey of Yankovic in the media, dissects his work to prove that he is more than just a novelty act. Despite his nice-guy reputation and accordion-driven nerdiness, Yankovic writes hits like White & Nerdy, Amish Paradise, and Eat It that take serious jabs at politics, racial stereotypes, and toxic masculinity. Some of her applications of theory are a stretch (does My Bologna subvert the heteronormative search for love, or is it just a funny rhyme with My Sharona ?) and though she applies criticism, Hirsch is not critical (why so many fat characters in his songs?). Hirsch is clearly a fan, and her geeking out over Yankovic's terrible (wonderful) puns and keen (and keenly juvenile) sense of the absurd will endear the book to readers who are fellow Al-colohics.(Reprinted with permission of Booklist, copyright 2020, American Library Association.)