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THIS IS ALL A DREAM WE DREAMED

Name: THIS IS ALL A DREAM WE DREAMED
Author: Blair Jackson
ISBN: 978-1-250-05856-0

AN ORAL HISTORY OF THE GRATEFUL DEAD

by Blair Jackson & David Gans ‧ RELEASE DATE: Nov. 10, 2015

Worthy of Studs Terkel and an essential addition to the books of the Dead.

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Coming on its 50th anniversary and just after the band’s farewell tour, an engaging, near-comprehensive oral history of the Grateful Dead.

If “the Grateful Dead” and “disco” are not phrases that go together, it’s not for want of their trying. As Jackson (Grateful Dead Gear—The Band's Instruments, Sound Systems, and Recording Sessions, from 1965 to 1995, 2006, etc.) and musician Gans (Conversations with the Dead: The Grateful Dead Interview Book, 1991, etc.)—collectors and archivists who know as much as nearly anyone alive about the storied band—chronicle, midway into the 1970s, with albums such as “From the Mars Hotel” and “Wake of the Flood" under their belts, the Dead were enough under the sway of Saturday Night Fever to attempt a disco-ish take on “Dancing in the Street.” Chalk it up to Mickey Hart, one of the many thorns in this thorny narrative hide, whose return to the band wrought big changes. “We had to tell him [what to play],” said guitarist Bob Weir in 1977, “which means we had to be thinking about it, which means while we were thinking about it, we might as well rethink things in general.” As fans already know but will further note, the superficially peace-and-love demeanor of the Dead disguised all sorts of tensions, from personality clashes to money worries and differences over musical direction. But it all worked, despite Jerry Garcia’s drug use and increasingly erratic behavior. Says sound tech Bob Bralove, “The energy around [the last tour with Garcia] was kind of confusing, because there was this really positive energy coming from the band, but it was missing a key ingredient.” For all that, there’s plenty of peace and love here and lots of smoke and psychedelia, as well as the usual Altamont regrets, all voiced by people in and close to the band.

Worthy of Studs Terkel and an essential addition to the books of the Dead.

Pub Date: Nov. 10, 2015

ISBN: 978-1-250-05856-0

Page Count: 528

Publisher: Flatiron Books

Review Posted Online: Aug. 14, 2015

Kirkus Reviews Issue: Sept. 1, 2015

Categories:

GENERAL NONFICTION

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NUTCRACKER

by E.T.A. Hoffmann ‧ RELEASE DATE: Oct. 28, 1996

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This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)

Pub Date: Oct. 28, 1996

ISBN: 0-15-100227-4

Page Count: 136

Publisher: Harcourt

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 15, 1996

Categories:

GENERAL NONFICTION

- BOOK REVIEW
THE NUTCRACKER AND THE MOUSE KING
by E.T.A. Hoffmann ; adapted by Natalie Andrewson ; illustrated by Natalie Andrewson

- BOOK REVIEW
THE NUTCRACKER
by E.T.A. Hoffmann & illustrated by Julie Paschkis

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TO THE ONE I LOVE THE BEST

EPISODES FROM THE LIFE OF LADY MENDL (ELSIE DE WOLFE)

by Ludwig Bemelmans ‧ RELEASE DATE: Feb. 23, 1955

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An extravaganza in Bemelmans' inimitable vein, but written almost dead pan, with sly, amusing, sometimes biting undertones, breaking through. For Bemelmans was "the man who came to cocktails". And his hostess was Lady Mendl (Elsie de Wolfe), arbiter of American decorating taste over a generation. Lady Mendl was an incredible person,- self-made in proper American tradition on the one hand, for she had been haunted by the poverty of her childhood, and the years of struggle up from its ugliness,- until she became synonymous with the exotic, exquisite, worshipper at beauty's whrine. Bemelmans draws a portrait in extremes, through apt descriptions, through hilarious anecdote, through surprisingly sympathetic and understanding bits of appreciation. The scene shifts from Hollywood to the home she loved the best in Versailles. One meets in passing a vast roster of famous figures of the international and artistic set. And always one feels Bemelmans, slightly offstage, observing, recording, commenting, illustrated.