Entertainment Books

I call it this because although it looked great: heavy stock glossy pages & pictures-under closer examination I was disappointed-perhaps after 12 yrs of "event" video i know more than i thought- staring out with lighting vs. equipment set me back right away-a separate more in depth section on actual software use would have helped too-I'm pretty good at imovie BUT not FCP or Avid- I assume those that are are already familiar with the basics & tech tricks-I would have sent it back since I was looking for more indie film info but will probably find it helpful for a community school class I'm giving-beginners new & advanced WILL find this book helpful though.

Not bad, but I have read better. It does have a lot of good pictures of the effects they are teaching and all in all this book is not bad, there are just so many others that I feel are better. Check out The "DV Rebel Guide" by Stu something or other or "101 Digital Video hacks", both I feel are better than this.
Enjoy!

I read through the book which was very informative, form ohh so thats how and TV never really was the same after. I have also tested out good part of it and got good resuslts. I would recommend it highly

I was looking for a video book that shows methods of filming ideas. Just searching I ended up with very complex cinephotographer books that contained tons of detail but too complex for casual person like myself. Just happended to stumbled across this book and was really surprised at the clear writing style and easy to understand images. For making a simple film project with no budget I thought this was the perfect book.

If you are looking to improve your video skills or making a large student project, I would highly recommend this book. For the film student or professional these tips might be already covered in school. Many of the project require nothing special, just a standard video camera and basic editing software. This is a nice change from other books that almost require Adobe After Effects to produce a good special effect.

Overall I really enjoyed this book and will keep this in my video bag to spark any ideas I might need during filming.

There are a view techniques described in this book that might come in handy someday, but the descriptions are not particularly thorough. The bottom line: this will make a good coffee table book but don't expect to learn too much.

Much has already been said about the quality of the book. I personally find that the book is a due tribute. I also must say that I have not found something on Kubrick of comparable depth.

On the content side, I would have liked to see more info on the projects that were not realized, especially on "Napoleon". And I didn't find a lot of value on the CD, since it's a spoken track instead of some audiovisual material. Nevertheless, as I said before, I haven't been able to find anything comparable to this book on Kubrick. The written material is of excellent quality, as are the pictures and graphics.

I see that Taschen is issuing a new version for it's 25th anniversary. As I understand it, it will be out on Oct/2008.

In conclusion, I am the proud and happy owner of an excellent piece of work.

I have been a Kubrick fan since I was 7 and saw "Paths of Glory" - it was the only film I ever saw that I NEEDED to know who directed it, and, what other movies of his were out there. That was 30 years ago, and I still keep all his films seperate from anything else in my collection! This book is simply INCREDIBLE! Buy it if you can.....no true Kubrick fan should be without this......it is MIND BLOWING! A true work of art covering the work of a true artist. We will not see Stanley's talent and caliber in any other film maker, at least not in my lifetime. Bravo, Stanley!

If it wasn't for its hefty weight, the book is one of the items I'd take with me if my house was on fire - without hesitation. I can't even imagine how long it took for the Taschen team to assemble this incredible book; it tries to do justice to recollect Kubrick's body of work in the form of a portable archive. Seeing this book in person is an experience in itself. The conceptual design is simply impressive: details like the texture of the binding mimicking that of a real archive is a start.

A CD of a rare uncut interview with Stanley Kubrick included in the book is a real gem. The interview takes place during Kubrick's career in its earlier years, and it provides an insight of the director that no other text interview has been able to accomplish - precisely for the reason that you hear Kubrick's voice and his unfiltered opinions. Then, of course, you have a piece of 2001's film strip as an added bonus. It's just too much for a book! And I say that gratefully.

The first part of the book is filled with glossy stills of all the films made by Kubrick. It's nice, and glossy, but the real reason I purchased this book is for part two.

Part two, or "The Creative Process", is filled with a lot of archival materials for each of Kubrick's films - especially pre-production materials: production notes, correspondences, and etc. You learn a lot about how Kubrick prepares for his films by seeing just a tiny fraction (undoubtedly) of what he does before he actually goes into production - it is one of the reasons that explain the long intervals between the director's releases. In addition, the book has an extensive collection of interviews with the director from various sources. But it is little treasures like the former that make this book special.

If you are a serious fan of the master director that is Stanley Kubrick, this is the next thing to have in your possession after the DVDs. Taschen made a serious effort in paying homage to Kubrick's work as a book publisher, and they have succeeded. They could've made a lazy effort in disguise to simply profit off of Kubrick's name, but they didn't, and for that they have my respect.

Amazon now has this book available for pre-order for an October 1, 2008 release date, for $44.10 from a $70 retail cost. Look under 'The Stanley Kubrick Archives [ILLUSTRATED] (Hardcover)'. I would like information on book dimensions as the first print run was on average 40 by 30cm.

Lucky me! I scored a copy of this and I have to say it is the best book on a film artist I've ever seen. The previous reviewers weren't kidding--this thing is huge! Too large and heavy to be read anywhere but on a large flat surface, but that's not a complaint, unless you're lugging it across an airport like I did.

A spectacular book that you'll refer to repeatedly. I pored over it for hours. The first half is devoted to an incredible array of pristine stills from each film. The second half is focused on every film with a plethora of on-set photos and interviews with cast & crew. The book is helpfully tabbed by film.

A stunning look into one of the greatest of all filmmakers. So well designed that my friends were awed by its beauty. And that 70MM film strip--holy cow! IMHO, it's worth the price for just for that.

Avid fans of Prince and collections catering to fans of rock music will find this a fine in-depth survey covering the basics of Prince's life works, blending an introductory biography of the artist with an in-depth analysis of all his musical pieces both individually and collectively. The author is a professor of music at the college level: his survey offers an outstanding analysis of Prince's purposes and directions and is a 'must' for any in-depth appreciation of Prince's works.

Diane C. Donovan
California Bookwatch

My family enjoys Adventures in Odyssey very much. Relatively speaking this is not my favorite-but still worth listening to. Each adventure the characters take is a journey in learning life lessons. This mix may be better for older children. One episode deals with the subject of abortion. The producers give an excelent preview in advance of the episode. Parents will have an opportunity to listen before sharing with children. Odyssey never fails to serve up an interesting and entertaining life lesson.

Over the years, there have been a few episodes of Adventures in Odyssey that have never made it into a collection. Well, that problem is now partially resolved with this four CD set containing 12 such episodes. (Unfortunately, a few of my old favorites are still missing in action, but I know we'll never get them.)

The set starts out with four episodes that were originally part of the "Family Portraits" test series. (And yes, I'm old enough to remember listening to these each week before the show actually started.) Admittedly, they aren't the best since the storytelling was a little weak. The best of these by far is "Dental Dilemma," an absolutely hilarious tale of sibling teasing gone wrong. The others are fine, but they are rather forgettable as well.

The next three shows are shows that the producers felt didn't live up to their potential. While I certainly agree that "What Are We Going to Do About Halloween" is extremely preachy, I thought the other two were enjoyable then and are still enjoyable now. I especially enjoy "It Sure Seems Like it to Me," about exaggeration.

Then come two shows that started out with Officer David Harley and were later rewritten with Eugene. Isaac learns about the Golden Rule and Jimmy learns about crushes in two fun episodes.

Things get very serious for "Pamela Has a Problem," when Connie's California friend shows up and confesses that she's pregnant. It takes a serious, pro-life look at things and included one twist I absolutely loved. This is certainly aimed at the older end of the audience and includes an introduction with Paul McCusker.

Finally, the collection winds down with "Train Ride," in which Whit has to clear Eugene of murder, and "Isaac the True Friend" which introduces Sam as he and Isaac have an Imagination Station adventure.

And keep your computer handy. They've collected some of the retrospective shows they've done as CD-R content.

Even though there are a few below par episodes, this is still an enjoyable collection. Because of the jumps in time, you'll already need to be familiar with the series. Recommended, but only for the die hard fans.

Most of these audio drama stories have never released in a package - until now! Includes bonus booklet and audio features explaining the themes and why certain shows (such as "Pamela has a Problem") are no longer broadcast. Also included on CD-ROM: an Actor Photo Gallery with pictures of the cast and producers. 17 episodes total!

"Dental Dilemma" (teasing)
"My Brother's Keeper" (sibling conflict)
"No Stupid Questions" (communication)
"A Simple Addition" (sibling rivalry)
"Honor Thy Parents" (respecting parents)
"It Sure Seems Like it to Me" (exaggerating)
"What Are We Gonna Do About Halloween?" (bringing light to darkness)
"Isaac the Benevolent" (the golden rule)
"The Trouble with Girls" (honesty/relationships)
"Pamela Has a Problem" (the sanctity of life)
"Train Ride" (pranks)
"Isaac the True Friend" (Biblical history: David and Jonathan)
(CD-ROM) "Auld Lang Syne" (celebrating Adventures in Odyssey's 1st year)
(CD-ROM) "A Look Back, I & II" (celebrating 13 years of Adventures in Odyssey / salvation)
(CD-ROM) "500" (behind-the-scenes of Adventures in Odyssey)
(CD-ROM) "Inside the Studio" (more behind-the-scenes)

This set of Adventures in Odyssey is a great listen!
It is a collection of older adventures-the ones I remember listening to on the Radio when I was a kid. A great addition to anyone's collection or a great set to start one!!

Adventures in Odyssey has long been one of my favorite audio dramas. The acting is superb and the messages quite relevant. Though I was at first skeptical of The Lost Episodes, seeing as the episodes themselves are nearly 20 years old, I was pleasantly surprised to find them as enjoyable and entertaining as some of the more recent episodes, and would highly recommend this product. It is a fabulous set and a wonderful series.

Steven Bach's book is an entertaining read, perhaps more so for those with little previous knowledge of Riefenstahl, the events leading up to the second world war and the fate of other Germans who supported the Nazis, benefitted from their collaboration with the Third Reich and then had highly successful careers in their chosen fields after the war. While the book appears to be well supported by a long list of references, it is unfortunate that Bach has a tendency to use comments from interviews with third parties to refute statements in Riefenstahl's own Memoirs while at the same time citing statements from her Memoirs when those statements support the conclusions he has already made about her. Bach also seems to feel it necessary to repeat certain facts several times during the book, almost as if a single mention were insufficient: for example, he refers twice to Riefenstahl's having given a Hitler salute at the showing of one of her films and mentions twice that Guzzi Lantscher and his brother were both devoted Nazis. This kind of repetition is unnecessary given that Riefenstahl herself admitted many times she supported Hitler. Perhaps rather than repeating what has already been established about Riefenstahl, Bach might have better devoted some time to comparing her fate with that of other prominent artists of the Third Reich such as Elizabeth Schwartzkopf who joined three different Nazi organizations and continued to deny this for decades. This is not to suggest that Riefenstahl should have been let off the hook - rather, that there were others that got away with far more than she did.

Riefenstahl biography reveals a multi-faceted conundrum. The sexually-charged and Nazi-friendly female filmmaker in a man's time (1930s-40s) , place (Nazi Germany), and business (movie making, especially as a director and producer) made two of the greatest movies ever made-- or denigrated. "Triumph of the Will" recorded and glorified the 1935 Nazi party rally in Nuremburg and Olympiad (actually a pair of movies focusing on the nationalistic results and the athletic beauty of the competition) documented the 1936 Berlin Olympic games, at which Hitler and Nazi racism were spectators if not headline participants.

For these, Riefenstahl was rightfully praised as a film maker and rightfully castigated then and later as a propagandist for Hitler's Aryan racist regime. Riefenstahl was an insider whose work was funded and assisted directly by Hitler, Goebbels, Speer, and Bormann, but in the post-war settling of accounting claimed to be either blissfully unaware of the atrocities or outspoken against them--neither likely given her intelligence and her sponsorship.

But "LR" had a life before and after Hitler, which Bach's book covers well. Interestingly she started her career in front of the camera, and finished her career as a pariah from the mainstream because of her questionable political history and her insatiable egotism which made her impossible to work with.

After reading Jurgen Trimborn's admirable but somewhat inaccessible biography of Riefenstahl, I sought out this book in hopes that it would be friendlier to a Riefenstahl novice such as me. It certainly is an easier read and a much better starting place.

Steven Bach, of Final Cut fame, writes from the standpoint of a motion picture enthusiast. He also has a POV where Riefenstahl's Nazi associations are concerned and he doesn't hide it. For Bach Riefenstahl is the living version of Klaus Mann's Mephisto, a careerist willing to do anything and associate with anyone to advance her "art." He also makes the case (clearly building on Trimborn's work, among others) that Riefenstahl not only had no problem with anything Hitler did or said, she likely agreed with most if not all of it.

Bach's style is that of a gossipy Hollywood bio, which is fine by me, but he's no fan magazine hack. He knows the power of the snide observation and, best of all, how damning Leni's own words were. At times Riefenstahl comes across as downright delusional about her artistic abilities and men's lust for her. To hear her tell it no man so much as entered the same zipcode as Leni Riefenstahl without falling madly in love with her.

Some may have disagreements about Bach's assessment of Riefenstahl's artistic contributions. I've only seen clips of her work so my own opinion is somewhat limited. Bach does make a good case the Riefenstahl either stole the ideas of others or took credit for their work. Bach doesn't buy the argument that the art is more important than the character or actions of the artist. He also doesn't buy that Riefenstahl was much of an artist.

This is no love letter to Leni. It is an entertaining read. Gossipy, slightly bitchy (as one reviewer here has aptly noted), and full of telling details and quotes, this is a easy entry into the myths and controversy that make up Leni Riefenstahl.

Of all the existing books on Leni Riefenstahl--and there are a lot of them out there, including Riefenstahl's own self-exculpatory memoirs--Bach's treatment is in my opinion the most lucid, judicious, and detailed. Unlike many film enthusiasts who try to excuse away Riefenstahl's work for Hitler and the Nazi party, Bach bears down hard on this period in Riefenstahl's oeuvre, situating it in the context of world history, film history, and Riefenstahl's personal development. Riefenstahl is one of those insoluble artistic paradoxes: her best, most creative films were done in the service of one of the most evil ideologies ever invented. Bach is at his best dealing with this material. He spices things up with a few too many details of Riefenstahl's romantic adventures, which are ultimately unedifying and completely irrelevant to any assessment of her importance as a historical figure. Nonetheless, Bach has produced a stunning book which deserves to become the standard account of the subject.

There have been many attemps to stain Riefenstahl's image along the years, and this one is not the most successful at all. It serves little purpose to the academic bunch. It ashames those that search for objectivity. It ashames those that perceive that Bach has waited for Leni's death (102 years old) to publish this piece of propaganda.

Bach fails on piercing the German mindset that prevailed in the pre-Shoah years. From Triumph of the Will (1935) to the final solution (1942) there are 7 years that searchers will keep on investigating otherwise than in this failed book. Years that can't be blamed on Leni.

Mr Bach, Leni Riefenstahl is a victim of her time. Don't try to bury her merits as an artist into this pile of ordure you have written. The reasons for the Shoah have to be sought somewhere else.

Look for Fiendlander's works for example and leave Leni aside. That's too cheap and un-academic. It's 2008 now and we don't need Leni's head to be cut off to please the masses. She was an artist. We need a deeper insight. The kind of insight that explains how such a German cultivated country faced a cultivated Jewishness in such a violent, deranged manner as to lead to a Shoah. And for that, Mr Bach, Leni's influence plays little relevance.

I've met Ben and he is exactly how he presents himself in this book -- a witty, charismatic man who has overcome adversity and remembers where he come from. This is a good, inspiring story of recovery.

One Thing or Your Mother

Kirsten Beyer (2008)

RATING: 4/5 Stakes

SETTING: Season 2

T.V. CHARACTER APPEARANCES: Buffy, Angelus, Drusilla, Spike, Willow, Principal Snyder, Giles, Joyce, Xander, Cordelia, Larry, Johnathan, Oz, Detective Stein, Detective Winslow, The Mayor, Allan

MAJOR ORIGINAL CHARACTERS: Josh Grodin (demon summoner), Paulina Snyder (Principal's mom), Todd Harter (tutor), Callie (child vamp)

BACK-OF-THE-BOOK SUMMARY: "It's tough being a teenage Slayer. On the verge of failing her junior year--thanks to annoying Principal Snyder, who seems to be acting even stranger than usual lately--Buffy agrees to meet with a tutor. Not helping her studies is the fact that lately she's been exhausted, waking up each morning feeling more tired than she did the night before. To make matters worse, she's tasked with investigating the disappearance of a child . . . a little girl who happens to have gone missing mere hours before a child vampire surfaced in Sunnydale, accompanied by a wheelchair-bound male who fits Spike's description perfectly. Fighting off exhaustion and uneasy at the prospect of staking a child vamp, Buffy learns that Principal Snyder is the target of a sleep-deprivation spell that has taken over Sunnydale. Putting aside her fear that her tutor is out to get her, and hoping that the sleeping spell is affecting both humans and demons, Buffy investigates Snyder's off behavior. She follows him to his childhood home to discover that he has arranged to have his abusive mother banished to the demon dimension. Meanwhile, Drusilla, who has been playing mother figure to the child vampire, is learning how difficult it is to be a parent. As sleep takes hold of the citizens of Sunnydale, Buffy beings to realize that unless she breaks the spell soon, the nightmare is just beginning."

REVIEW

Whew! The summary on the back of the book is almost as long as the book itself! With such a thorough description of the plot already provided, I can move right into some commentary. One Thing or Your Mother is set in Buffy Season Two and the author has paid close attention to continuity and included several minor characters from the show, like Larry, Allan, and police detectives Winslow & Stein. The revelation that Principal Snyder had to make a deal with The Mayor to have the abusive Mrs. Snyder sent to a demon dimension is done quite well and adds some strange sympathy to the figure of Principal Snyder. The subplot involving Drusilla deciding to be "mother" to a vampire child is also well-written and includes excellent portrayals of Drusilla's fickleness, Angelus' volatility, and Spike's ability to show tenderness as surprising times. Overall, the book has a creepy, dark feel that is missing from too many Buffy novels. It's one worth picking up.

I'm not really sure where to begin. I am a huge Buffy fan and wanted this to be a refreshing and new read. The plots were confusing in the fact that they didn't fit together well. There were three things happening that weren't really explained.

plot 1) A little girl has gone missing. Buffy finds her at the playground. But is shocked to find that she has been turned into a vampire.

plot 2) Everyone in Sunnydale is tired. And Buffy keeps noticing Principle Snyder walking around in daze at night.

plot 3) Buffy has a new tutor. A very cute boy she thinks she might like. But he is more then meets the eye.


The book was good. I laughed out loud at parts and smiled at others. But there were parts were I was scratching my head trying to remember if I had missed something important.
Could have been better.

Of course I've mostly pointed out the bad things. If you are a Buffy fan you should read it!!! It has the humor and the feeling of a show.


A plus was having Spike in the story and showing how Angel was making his life much harder. I liked his realtionship with little Callie. It fit well with the Spike from the show.

I enjoyed this book. Kirsten Beyer really captured the voice, the tone, of the show. Plus, I loved her idea of what Principal Snyder's childhood must have been like in order to create the little troll that he becomes as an adult. It's a fun read, and one of the best Buffy books I've read in a long time. I hope she writes more.

I loved this book. It takes place during the season 2 time period. Angelus is stalking Buffy and Spike is well......Spike (got to love him). Great story....takes me back to Buffy at her best. If you are a fan......any book about Buffy is rated an A+++++++++!!!!!!

Reading BTVS One Thing or Your Mother is like watching an episode of what I consider "Classic Buffy". The story takes place during the second season of Buffy, after Episode 19 ("I Only Have Eyes for You") and before the season finale (Episode 21 & 22 "Becoming"). Angel has lost his soul, murdered Jenny Calendar, and begun to wage his emotional war against Buffy.

Like a TV episode, there is a main plot (why is everyone in Sunnydale continually falling asleep, how is Principal Snyder connected, and how can Buffy put a stop to it before everyone falls into permanent slumber?), and a small subplot with Angelus, Drusilla & Spike (still in the wheelchair). The theme of the sub-plot also ties in with main plot's theme. There are a few surprises, and there is some foreshadowing of both events in "Becoming" and the Third Season of Buffy.

I really enjoyed the story and recommend it to any Buffy fan looking for a good new story to excite their imagination. Kirsten Beyer has a great feel for both the characters and the story flow, and it's a shame that this is probably the only BTVS story we'll be able to read of hers.

I bought this book and read it in one setting. There are a few stories told here that I didn't know about, and he does seem to take golf very seriously. I myself detest golf but I must admit Alice is very persuasive. The style of writing utilized here is very difficult to resist and I found the book difficult to set down.
There are a few parts in the book where Alice discuses his religious faith, but he's not pushy with it. There are some genuinely funny stories relayed in the book and he does cover a few of the lesser known events of his career.
Overall I would recommend this to anyone with an interest in classic rock. I'm not a big golf person and would not know how good his golf tips are.

This book starts as bombastic, bloated, unintelligible drivel--and goes downhill from there. The best thing about it is the cover. The second best thing is that it is biodegradable, so it won't hurt the environment when you toss it into the trash, where it belongs.

Taking Bob Dylan's Basement Tapes as a starting point this book wanders through the foundations of American music investigating some shadowy folk byways.

While the metaphor (actual towns populated by the characters in the songs) is a little overwrought the overall effect of the book is powerful.

I found it particularly exciting to see links to other musicians I like such as Nick Cave and Kirstin Hersh.

Greil Marcus Should Marry Bob Dylan...he's already written a long love-letter. True there are a lot of interesting musical relationships brought out in the author's discussion, but the details of the Basement Tapes are just not there. Marcus' approach is that of an ethno-musicologist, and one who is too close to his subject. Personally, the bias from the start of the book and the torturous prose were very hard to stomach. I can not recommend this book to anyone, and it will keep me away from anything else by Greil Marcus again. I only wish I could have been warned before I bought it.

Greil Marcus has somehow parlayed his college degree in the obsolete "myth-symbol" school of American Studies into a career as a philosopher of American music. In the process, he has conjured up some of the worst books ever published on rock and roll. Marcus confuses "myth" with the LSD-fuelled '60s fan dreams of musicians as shamans, elves and hobbits. Imagine Jim Morrison, Marc Bolan & Robert Plant attempting to be critics while still on the Kool Aid that produced "Prophets Seers and Sages, The Angels of the Ages", "Stairway to Heaven" and Morrison's ideas about rock concerts as Dionysian rites. Marcus fashioned "Mystery Train", his first sycophantic journey into over-stimulated ego-crazed fan-boy fantasy. Then, after spending too many nights rolling joints on the sleeves of John Wesley Harding and trying to figure out which one was Quinn The Eskimo, Marcus encountered Harry Smith's Anthology of American Folk Music and completely lost his mind. In this horrible re-issue of "Invisible Republic" Marcus treats early American folk artists like Dock Boggs and Robert Johnson as if they were mythical beings rather than men. He then tries to turn Dylan's Basement Tapes into a natural successor to the "mystery school" of these artists. Mere words cannot express the mediocrity of Marcus's meditations. Please, if you have any soul, avoid this book. But dont let Marcus's mind-rot put you off Dock Boggs and Harry Smith's Anthology and Dylan's Basement Tapes -- Marcus does have good taste in music, he just doesn't have anything worth saying to say about it.

(this is the updated verion of Marcus' "Invisible Republic")

In 1965, Bob Dylan played Newport with an electric band. Playing songs from the groundbreaking "Highway 61 Revisited", Dylan-- in one of the finest performances of his career-- was roundly booed by the audience and condemned by critics.

Why?

Greil Marcus' fascinating book starts with this question: why were audiences so hostile to Dylan's new material and style? Marcus' thesis is that Dylan on Highway 61 rediscovered the folk music that America had forgotten, a folk music which had been co-opted by the '30s (and subsequent) Left, a music which was much older and much, much weirder than the work of Woody Guthrie and other late '50s exemplars of the folk tradition. Audiences were in for a shock when Dylan's surreal imagery and often apolitical but weirdly resonant lyrics replaced his plainer earlier folk tunes and protest songs.

The book's former title is an allusion to Ralph Ellison's novel "The Invisible Man," whose protagonist is invisible to his fellow Americans because they choose not to see him. In the same way, the very, very weird music of Dock Boggs, Mississippi John Hurt and many others, documented with loving care by Harry Smith, the compiler of the seminal "The Anthology of American Folk Music," was invisible to mainstream audiences during the 1950s and '60s, just as the history they documented was invisible to the majority of its time. It is a countercultural history in song of the U.S., including everything from slave narratives, love ballads, ancient blues, mythical re-tellings of political events, etc. This music is much richer and more complex than the mid-twentieth century folk music familiar to Dylan fans.

Marcus illuminates the connections between Dylan's mid-60s work and the "The Anthology of American Folk Music" and shows how Dylan's leap forward-- into surrealism, wild juxtaposition, historical allusion, electric instrumentation and only elliptical allusions to politics-- was also a leap backward into the Anthology's traditions.

This is one of those books whose ideas make the head spin. Marcus writes clearly but manages to keep the imagination running on overdrive. Like Pynchon, Levi-Strauss, Murakami and Dylan himself, the work is as much a set of ideas as an invitation to connect the many dots. As well as a fascianting tour through the work of Dylan, the Band and the Anthology, this is partly an alternative history of the U.S. and a pretty incisive reminder that folk music, as Dylan once said "is pure mystery."