Written in a popular rather than scholarly style, these biographical sketches of over 70 black American women in the Olympics (from 1932 to the present) highlight their rise to glory despite poverty and personal hardship. The alphabetical entries range from one sentence to 20 pages; the book also contains photos (not seen) and a checklist of results in track and field. This title's reference value is limited without bibliographical references, but its coverage of black Olympians before 1960 gives it considerable interest. Libraries holding the Negro Almanac ( LJ 6/1/90. 5th ed.) and good biographical sources on black American women can skip this title. For sports history and black studies collections.
-Sandra Math, St. John's Univ. Lib., Staten Island, .
Copyright 1992 Reed Business Information, Inc.
Modern Drummer called it a "guitar-fed workout," considered a "bristly rock song."   It was also called "thrashing," completed by "whining guitar riffs."  Los Angeles Times applauded its "headbangin' bravado," called a "hard-hitting pop-rock track with great harmonies.".   Time heralded its "restless beats" and "cool lyrical ferocity," thought to be among Jackson's edgier "walks on the wild side."  Anthony Williams of Houston Chronicle applauded it as an "angry, cautionary tale to a boy who thinks he’s got nine lives."  Dave Tianen of The Sentinel called its theme "a radical statement," considered a "blunt challenge to young men to turn away from gang violence."  It was also noted for its "heavy-metal guitar lead," portraying "a street rebel living on the edge."  The Daily Gazette called it "a rocker booming with guitar solos."  David Koen of Phoenix New Times likened it to Joan Jett , saying "Jackson proves how nasty she can really be," calling its guitar riffs "dirty" enough to induce blushing.  iTunes praised its "scorching guitar and fierce feline vocals."  Rachel Devitt of Rhapsody considered it the album's highlight, portraying Jackson as a "rocker chick."  Stereo Review praised it as "rakish" and "strutting," also "underscored by biting blues licks and a driving beat."  It was also thought to be "her most rocking song ever."  Elsewhere, it was declared "rock-edged" and "metal-tinged," featuring "sizzling guitar work," while The Boston Globe stated the song immortalized the superstition that some people already feel towards black cats.