Despite some nice miniatures, a snide, rather pointless, lazy book.
In his fiction (Redback, 1987; Peeping Tom, 1985, etc.) and now with this travelogue/sociologue/personalogue about his semi-Jewishness, Jacobson seems fated never quite to cast off the perception of him as a Philip Roth wannabe perpetually one step behind (both in talent and intellectual plasticity) his American master.
Given a deal by the BBC and PBS to wander Jewish venues such as the Concord resort, the Simon Wiesenthal Center, Israel, and his grandparents' Lithuania, Jacobson is ever defensively atwitter, waving the antenna of his jokey skepticism. He detests the religious like the Lubavitcher Rebbe and the Hasidim of Jerusalem not only because they no doubt would be scandalized by Jacobson's gentile wife and his own secularism but also on the grounds of aesthetics: "How is it that austerity on matters of religious faith and ritual almost invariably accompanies laxity in matters of art, music, proportion, tact, ethics, manners, civic probity, passing decency and whatever else you can think of that isn't religious faith and ritual.'' Had he spent less time flexing his condescension, Jacobson might have been able to arrive at some provisional conclusions as to why (there are an established few, after all, not all of them anti-Semitic, too)—but, instead, his screed is wrapped inside a Carnegie Deli corned-beef sandwich of wise-guy superiority and overeducated disaffiliation.
Despite some nice miniatures, a snide, rather pointless, lazy book.Pub Date: Jan. 21, 1994
ISBN: 0-87951-521-X
Page Count: 502
Publisher: Overlook
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Nov. 1, 1993
An enjoyable slice of 20th-century music journalism almost certain to provide something for most readers, no matter one’s...
Music journalist and musician Wald (Talking 'Bout Your Mama: The Dozens, Snaps, and the Deep Roots of Rap, 2014, etc.) focuses on one evening in music history to explain the evolution of contemporary music, especially folk, blues, and rock.
The date of that evening is July 25, 1965, at the Newport Folk Festival, where there was an unbelievably unexpected occurrence: singer/songwriter Bob Dylan, already a living legend in his early 20s, overriding the acoustic music that made him famous in favor of electronically based music, causing reactions ranging from adoration to intense resentment among other musicians, DJs, and record buyers. Dylan has told his own stories (those stories vary because that’s Dylan’s character), and plenty of other music journalists have explored the Dylan phenomenon. What sets Wald's book apart is his laser focus on that one date. The detailed recounting of what did and did not occur on stage and in the audience that night contains contradictory evidence sorted skillfully by the author. He offers a wealth of context; in fact, his account of Dylan's stage appearance does not arrive until 250 pages in. The author cites dozens of sources, well-known and otherwise, but the key storylines, other than Dylan, involve acoustic folk music guru Pete Seeger and the rich history of the Newport festival, a history that had created expectations smashed by Dylan. Furthermore, the appearances on the pages by other musicians—e.g., Joan Baez, the Weaver, Peter, Paul, and Mary, Dave Van Ronk, and Gordon Lightfoot—give the book enough of an expansive feel. Wald's personal knowledge seems encyclopedic, and his endnotes show how he ranged far beyond personal knowledge to produce the book.
An enjoyable slice of 20th-century music journalism almost certain to provide something for most readers, no matter one’s personal feelings about Dylan's music or persona.Pub Date: July 25, 2015
ISBN: 978-0-06-236668-9
Page Count: 368
Publisher: Dey Street/HarperCollins
Review Posted Online: May 15, 2015
Kirkus Reviews Issue: June 1, 2015
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
BOOK TO SCREEN
BOOK TO SCREEN
BOOK TO SCREEN
Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...
Privately published by Strunk of Cornell in 1918 and revised by his student E. B. White in 1959, that "little book" is back again with more White updatings.
Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis (whoops — "A bankrupt expression") a unique guide (which means "without like or equal").Pub Date: May 15, 1972
ISBN: 0205632645
Page Count: 105
Publisher: Macmillan
Review Posted Online: Oct. 28, 2011
Kirkus Reviews Issue: May 1, 1972
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