Art History Books

A very enjoyable read and inspirational. I went out purchased a sketch pad and started drawing after finishing the book!

This is a great book! I read it in an hour and a half. I enjoy knowing the process people take in order to deal with life's occasional hiccups that knock the world out from under you. It helps to know that you're not the only one sometimes. It's always a relief when the person works it out positively and thinks enough to want to share it with others. Thank you, Danny!

love it, love it, love it !!!!
a wonderful inspiring little book.
perfect smaller size (6"x8") to carry along with your sketchbook to keep you encouraged in your drawing.

I suppose I had some misperceptions of this book. I was assuming there would be more inspiration that would cajole me into journaling and artwork. I also thought is was he who was disabled - it was his wife. There was little mention of how his wife's diability figured into the whole pictue of his life. As a disabled person, I thought there would be some insight into overcoming disability to do what you want. I do however, love the way he draws and journals. In the end I saw this as a simple journal that anyone might have done. I still have his other book and I have higher hopes for that.

i loved it! i recived the book for valentines day and finished in a day...its very intresting to examine dannys drawing and learn about his life in nyc..

A good film comes at you slowly, like a work of art, creeping into your soul through metaphors and meditation. That is how Suber's THE POWER OF FILM comes at you. Start anywhere and read a little or as much as you want, in small bites. Then stop and meditate on what you just read. Better yet, think of the film you're working on or just watched, and note in the wide margins what you now understand anew. A good scene in a good film should be watched time and again. Each page of this book is like a good scene. Underline it, mark it up -- and then, later, read it again, and add to your discovery of why film is so powerful.

Howard Suber is a legendary film educator at UCLA, and has taught dozens of courses on every aspect of filmmaking (except for animation). In The Power of Film, he commits his wisdom to paper, gathered over many decades of teaching.
The Power of Film is not a how-to book or theoretical treatise, however. Rather, it is a lexicon of movie storytelling concepts. The topics range from Accidents to Writing What You Know, and cover such things as the most important word in storytelling (it's `but'), the `real' American religion (individualism), the characteristics of the Hero (someone outside of society who sacrifices personal happiness and contentment for the greater good or goal) and whether happy endings are really mandatory. Suber also talks about genres (the essential characteristics of each), dramatic structure (some), and specific narrative tools such as the Macguffin. Throughout the book the emphasis is squarely on the mainstream American film, so you will be able to find many exceptions to the `rules' Suber mentions here, though `rules' isn't the right word. Rather, they are `insights' or concepts which work and have done so for ages, but which are just some of the possible narrative solutions to the problems cinematic storytelling poses.
This is a book to dip into, and which is intended to spark the imagination of the reader. Not all of the topics are equally enlightening, and I disagreed with the definition of the Crisis Point, but as an encyclopaedia of Hollywood storytelling it is currently without equal.

I found The Power of Film truly refreshing and unusually spiritual. Suber compiles years of teaching experience into a few hundred pages loaded with wisdom and wit. While not a believing man himself, his reverence for world scriptures and figures of faith who have changed the world, from Moses to Jesus to Gandhi, is rare in books on film.

Also, Suber's coinage of "Aristolatry" sure could have come in handy in film school (I went to USC, grad level), along with many of his paradigm-shattering concepts. I only had one professor who dared say that some films may have four acts -- I think he got fired!

The Power of Film is a great book that will take a prized place at the top of my list of books about filmmaking.

Howard Suber delivered a lecture to a large gathering in a theater in Kansas City this spring. What was striking about the experience was how Professor Suber turned this theater into a classroom and, by asking questions, made us active participants in a search for answers to the question: "What makes a film great?".

Suber's book, "The Power of Film", uses this same Socratic Method but the technique is necessarily different. Instead of asking questions, a writer can only pose riddles, and to this end Suber employees wit and irony to provoke careful and thoughtful reading of his concise dictionary like definitions.

The films Suber examines are American films. Without being jingoistic, he says that over the decades American films have been the most popular not only in the U.S. but all over the world. The American films he focuses on are those that have maintained their appeal ten years after they were released those, in other words, which have stood the test of time and remain perennial favorites.

The question he asks is: "What makes these films classics?"

Some of the answers are surprising. The notion, for example, that Hollywood films, to be popular, have to have a happy ending, Suber demonstrates is not true. Think of the Godfather films, Lawrence of Arabia, Chinatown. Even "It's a Wonderful Life" journeys through some very dark regions before emerging with a comic ending.

So why do people go to see these films? Suber suggests that going to the movies is akin to going to church, that what people need and want is to experience time honored rituals that put us in touch with our humanity.

As a practicing filmmaker, I have spent many hours over the years thinking about how to use the power of film to move an audience and I am always looking for help. Of the many available, I have culled a few "essential" books on film theory and aesthetics. Eisenstein's "Film Sense" and "Film Form" are two, Pudovkin's 'Film Technique and Film Acting", Mascelli's "Five C's of Cinematography" and a few others. Suber's "The Power of Film" has already taken its place with these.

Why? Because first of all, the book is packed with information and insight covering every subject about American film, literally from A to Z. Second, the insights are uncannily precise. A brief example: I don't like using flashbacks because I feel they are too easy but I find I must at times because they are sometimes necessary and I haven't been able to think of anything better. This is in Suber's definition of "Flasbacks":

"The reason flashbacks came back is that they are not merely
stylistic flourishes, like iris shots; they are necessary tools
that, so far, cannot be replaced by others."

The authority of this statement is reassuring, but notice the two words: "so far"; this tiny insertion leaves open the possibility and, indeed, ecourages the search for other ways.

How to transition to a flashback?

"The camera moves to a tight close up of a character's eyes, they
glaze over and we hear an echo chamber voice..."

I fear that every time I use this device that someone in the audience is going to yell out: "Visual cliche!". It never happens and I continue to use it because, as Professor Suber says: "no one has come up with anything substantially better.".

This is a sampling of some of what can be considered Suber's practical advise; but this book is very rich and has a broad range and covers everything from the technical to the philosophical.

The entry for "Tragedy" is three pages long but delivers a store of wisdom. One paragraph in this concise definition is about "impulsivity", and the final line reads:

"Impulsivity we see over and over again leads to tragedy."

The philosopher Martin Buber in his book "Good and Evil" devotes pages of discussion to the tendancy to impulsivity and how it is an aspect of evil. Suber's book is obviously a distillation of years of thinking and study not only about film but also about human nature.

The entries that make up this book are cross referenced. This cross referencing, like the use of wit and irony, is not only an practical aid, but also an encouragement to explore the connection of ideas.

Suber has carefully culled the essential ideas of what makes a film "great" and this selection reveals that the subject in Suber's mind has a unity, that it constitutes an aesthetic, an interlocking system of ideas. It is an indication of Howard Suber's wisdom as a teacher that he does not expound this system but only indicates it; and because this system must be discovered and recreated by every reader, it will always be new.

Getting the book and reading all of the blurbs on the cover written by film experts like Coppola and several successful Hollywood screenwriters, I was a bit concerned that perhaps I had purchased an insiders handbook, which might prove too esoteric for the casual reader. The 'power of the book' Prof. Suber has written, is his ability to take substantive information and make it enjoyable reading. The book is written in bite size stories, alphabetized by topic, each insightful and entertaining. I often sat down with the intent of a quick read of one or two articles and discovered I had read seven or eight. The topics are easy to digest, yet informative enough to go back and read several times.
Certainly as Bill Cosby used to say, "Be careful or you just might learn something". Film students and pros, no doubt already know about(and swear by)this book, this review is for the rest of us, those who just like films. The Power of Film would make a terrific gift for lovers of films of all ages and is certainly a must read for anyone with film career aspirations.

Small compact paperbook can take with me when traveling. Am enjoying the brevity, but not as much the small print type, but still very enjoyable book.

I love this book. It shows a beautiful example of the artists work in alphabetical order and a great short history of each artist. I discovered a lot of artists I wasn't familiar with. It's a great quick reference and easy/enjoyable reading. It's more than I expected! A must for anyone interested in art/artists.

A bargain at the cover price and even better at the prices listed here at Amazon. I have copies at both my homes and am always referring to it. Would that Phaidon could do the same for music and lovers of great literature.

An excellent mini art history book. It covers the majority of well known artists with a representative work. All this and the paperback is small enough to carry around. I present it to my students for special achievements.

This little book couldn't be any more straightforward or useful. Over the span of 500 pages, each page is devoted to a different artist, with one representative work by that artist and a short description of his or her life and work. At the end, an invaluable 6-page glossary provides short and informative descriptions of the major genres and schools of art (e.g., Fauvism, Constructivism, Expressionism, etc.) that don't require a PhD to understand, as well as explanations of common art materials and techniques (e.g., gesso, fresco, tempera, etc.). It's a great value, and much more inexpensive than almost any other art book this informative. Buy it now!

I bought this book for my father who is a WWII vet. He sat and laughed and laughed. He loved it. He even brought it with him to his WWII army reunion for the guys to read. I would highly recommend this book.

I really enjoyed the experience of reading and viewing "Up Front". My parents had the book in our home and I remember having the same experience in the early 50's. I truely enjoyed the art work of Bill Mauldin. It was around that time that I became interested in World War II history and drawing and I think I was influenced in both areas by this book. Over the years and as a result of several moves the book disappeared. I was recently reminded of it's existence by a recent issue of World War II Magazine which had a article about Bill Mauldin, "Up Front" and showed several of the cartoons. I immediately purchased it on amazon.com. It bought back so many memories. The hard cover was the same as the book in our home so many years before. If you are a WWII buff you will definately enjoy Mauldin's insight into the lives of the infantry soldier in the front lines. It's a great book.

I received my item as described and delivered as scheduled.
I am very satisfied with my transaction.

The copy of this Book, that I grew up with was my Father's 1945 Paperback Edition. As a Kid, I was drawn in to these amazing Cartoons by Bill. When I was about 13, I read the Text to this Great Book, and was Blown Away by it! In my view, Bill Mauldin has written the Most Honest Account of World War II that you are gonna find. From a Dogface's Point-Of-View, this Book is a History Lesson for all of us.

War is indeed a Tragic Thing, and it is still Real in 2008. But to be Honest about it AND to be able still Laugh, This is what makes: "Up Front", such a special Book for me. It reminds me of my Pop, who served in Patton's Third Armored from 1943-1945. My Dad loved a Good Paperback, and through his Bookshelf, I was able to Discover some Fantastic Stuff, but from Mark Twain to Steinbeck, this is my Favorite from his Collection.

The Muddy Faces of Willie and Joe are the faces of Millions of American Veterans of World War II. These were our Father's and Grandfather's, this is the Story of those GI's....From their Muddy Foxholes...FIVE STARS !!!

Of course, this is not a novel. It's a collection of cartoons as they appeared in the Armed Services newspaper Stars and Stripes. The cartoon began to appear in 1944 as the invasion of Europe was underway and millions of Allied troops were fighting their way through Italy and France and into the heart of the third reich.
After a few false starts, Mauldin settled on two characters, Willie and Joe-infantry men. Willie and Joe (who were barely distinguishable from each other) were concerned with all the things that veterans said concerned them during the war. Lousy food was as much of a concern as enemy artillery, fear of cold, wet feet as annoying as the fear of death.
The cartoons, and Mauldin's self-effacing recollections together form a kind of narrative that is at once immensely personal and deeply historical. Mauldin was a pioneer. It was ten years before Cornelius Ryan The Longest Day: The Classic Epic of D-Dayturned personal narratives into history and almost forty before Ken Burns came along.The War - A Film By Ken Burns and Lynn Novick
Mauldin was, in effect, the only war reporter who was relatively uncensored. Since his cartoons carried no strategic information, his only worry was the military's possible perception that he might be lowering troop morale with his swipes at the brass and the rear-echelon. Fortunately, some American sensibility that 'it's good to laugh at the boss even if the boss is us' prevailed.

Up Front was one of the few books that my parents kept by their bedside. This is the book that helped the post-war generation remember the war as it was fought by the men who did the hard work. A quiet masterpiece.

Lynn Hoffman, author of bang BANG: A Novel

This is the best cartooning and illustration
book that has EVER been created. It accomplishes cartoons and
illustrating and explains everything. THIS is
the only book you will ever need. Don't let this
book escape you, you will NEVER forgive yourself if
you let this treasure get away. It is total visual
instruction. Easy to understand. Easy to attempt.
It is the book I keep on the drawing desk next to me
because it is so complete. Wow!!!!!!---- Luisa Felix

What I like about this book is the fact that it is not only instructional for comic book artists but also for all artists. He writes and draws to enhance what he is teaching so that it is not even noticed by the reader that he is being taught. I have met Scott and he is as entertaining and funny in person as he is in his book.

Great book for beginning comic artists. You will not be taught technical details for how to draw or lay out panels, but you will be shown how to pace comics, shown some basic face anatomy in the context of emotion, given a few inspirational tips on choosing characters, and so on. Probably an interesting read even for people who aren't sure that they want to get into comics.

Scott McCloud takes the insights that made him a celebrity in Understanding Comics and takes them further away in Making Comics, this time focusing in the craft itself. Much of his knowledge is useful not only to comic creators, but to people interested in visual and audiovisual arts, and sometimes to artists in general. His concepts and diagrams ("mmmmm... diagrams.") are clear and powerful. Scott McCloud: a theorist who likes to be understood.
I loved the much needed notes sections and the activities and exercises he suggests, which take the book one step even further from a great theoretical book.

I definitely don't care to make comics and although I occasionally pick-up a random issue or a graphic novel, I really don't read them much either. I was mainly interested in this book because I heard of good things about it and I wanted to be more informed about the process someone has to go through to make a comic. Although this book mainly focuses on creating a story, it held my attention and I feel like I walked away with a little more knowledge than I did before. I lot of the storytelling techniques I read in this book are things I've heard of in books about storytelling in other mediums, but it contains a lot of things specific to comics too. This is probably one of the more funny books I've read on the subject of storytelling and I like this approach better than a straightforward textbook approach. I don't think I'll be coming back to this book much for reference, but I'm glad I read it.

I learned so much about all of my favorite artists in this book. This book is tastefull done (unlike Building a Mystery by Judith Fitzgerald). The author actually talked to the artist and got their perspectives on many different topics and the meanings behind their songs, which makes this book true and somewhat autobiographical. It is good to see a book also where the artists are not portrayed as glamorous. These black and white photos seem the bring the artists back down to the same level that the reader is working on. It is a really nice book and an interesting read.

Well, I am going to read the book, if I ever get a credit-card...which hopefully there's another option..( or I'll be broke before I get paid....) Anyhow, I'm sure this book is well worth reading..TO me anything by any of these great artist(s) who have inspired me in my darkest hours of frustration.. I will never give up the God given gift(s) thanks to you all!!!! (And hopefully we'll all Jam before New Year's Eve!!!!!) -C

com) from Atlanta, Georgia November 14, 1998 Dear Emma and Marc, Solo is awesome, the images and narrative are both soulful and powerful. As a practicing artist I'm attracted to the imagery in your book. The photographs have a cinematic quality to them, in particular the series of photo's of Holly Palmer. When I look at the images in your book I feel spirit and emotion of the people represented through your imagery. Examples of what I'm referring to are images of Lucinda Williams (pg 290 and 300), Sheryl Crow (pg 273), Roseanne Cash (pg 246), Jewel (pg 224), Shawn Colvin (pg 39), and Sarah (pg 18)... I like the way the narrative and art work weave together like a quilt, your images make me feel good. More on Solo later... Peace, Love, and Understanding, Freddy Ciminelli

This is the finest example of what beautiful photography and amazing storise can do for your soul. This book should be read by every woman in America at every age. The stories are personal, enlightening and truly amazing! There is so much to learn from SOLO... I return to it daily.

The night I bought this book I sat down and finished the whole thing. I bought this book because I was a huge fan of Sarah McLachlan and Shawn Colvin, Jewel and Cheryl Crow, but I learned so much more from the other singers too. Sarah's interview struck me as the most down to earth, but every interview was intriguing and I just couldn't put it down. Some of the artists I had never even listened to like Ani Difranco but then next day I borrowed a friends CD and I have to say thanks to this book my CD collection has gotten a lot larger! Thank you Emma and Mark! The only bad thing about this book is......it ended! (and Tori Amos wasn't in the book, but was mentioned by Sarah McLachlan! =)So that was fine by me!!!)

In his wonderful and fascinating book Unspeakable ShaXXXspeares, Richard Burt, the leading scholar of Shakespeare and film studies, pioneers research into the manifold ways Shakespeare enters into American popular culture. Concentrating mostly on film but attending as well to television sit-coms, Burt offers penetrating insight into everything from mainstream adaptations of Shakespeare to "low" spin-offs in which Shakespeare's language almost entirely disappears. Burt explores both what film and mass media have done to Shakespeare and also what Shakespeare enables our culture to do trhough film and other electronic media. Readers intersted in this book will be happy to know that Burt has since edited a related collection entitled Shakespeare After Mass Media and has co-edited Shakespeare, the Movie II.

One doesn't usually expect to find oneself laughing when reading a book of criticism written by an academic, much less a book on Shakespeare. But Burt's book is frequently just that, funny to the point of making me laugh out loud. Burt has a refreshingly off-beat sense of humor, and the materials he has discovered--such as an adult movie version of Hamlet--aer themselves often hilarious as well, though not always intentionally so. But far from being just a laugh riot, the book is also a serious, critically sophisticated analysis of Shakespeare's fate incontemporary mass media, where much of hte lnagugae is cut or confined to well-known quotations. Burt's final chapter on films about teaching Shakespeare is quite moving, and Burt has the courage to raise difficult questions without pretending he is able to answer them. He is right to think that the questions are more important than the answers. Burt is to be congratulated for writing his book in a clear and engaging prose style without sacrificing the complexity of his thought.

One of the many strengths of Burt's truly excellent book is that it not only discusses Shakespeare adaptations but uses Shakespeare, or of ShaXXXspeares, to discuss post-war American popular culture. Burt's theory of the loser as critic has ramifications for all criticism, not just Shakespeare. This is a profound, original, and engaging book.

I happened to be doing research for my thesis on Shakespeare in the university library and, while looking for other books, I was intrigued by the three XXXs in the title of Burt's book on the shelf, so I pulled it off and looked through it. What a daring work of cultural criticism! When I saw the chapters on Shakespeare porn, I marvelled both at the courage of the man to write such a book and how at the publisher who took it on. Of course, I check it out and read it. I especially was drawn to the chapter on action films and Burt's point that while the films cannibalize others, no one in the films ever eats; the characters are anorexic. The book is full of similarly wonderful insights. I am a cinephile, and very much appreciated Burt's quite hip approach to ShaXXXspeare. Now, it's back to those other, rather staid books of Shakespeare criticism, I was orginally looking for.

Whatever you think about Shakespeare, it is impossible not to agree with the points Burt makes in this book. His analysis is right on the money and you will never be able to look at Shakespearean movies or literature in the same way. A fantastic book and a must read.

This book is such a great collection of tiki decor and knick-knacks that you don't even need to read the captions to enjoy it. My wife and I want to turn one of our rooms into a tiki bar. We thought we would need to do a lot of looking to get a good idea of what real post-war tiki bars were like. Well, look no further. This book has it all. If you type in "tiki" in an Internet search engine, it wouldn't come up with this many ideas. This book reviews everything from the blue prints to the big tiki restaurants down to the coasters underneath the amazing assortment of tiki mugs. The title could not have been more appropriate. This is the definitive book of tiki. Have great fun looking through the book. Depending on your age, it might make you nostalgic for those lost days.

If you have the slightest interest in the subject, you have to have this book. it is an amazing piece of work, and a visual feast. It is one book I pick up again and again, and always notice something new. Buy it.

Truly a wonder of nature this Book of Tiki. Chances are, you might so your parents or grandparents in the pictures, from the days before you considered them old.

The text of the book goes briefly through the various sources of Polynesian pop-culture, and where it branched off. From Michener's South Pacific, to the Lanai apartments in Anytown, USA.

The pictures, brought through the archives of time in the form of various postcards and of the now empty lots that once were Tiki bowling alleys and apartments, show us a fascinating time of tehnicolor wonder and primitive naivete. This was before PC was PC.

All around, a fantastic read, whether you're a full on tiki freak, or you simply wonder why grandpa wore a Hawaiian shirt to your wedding.

Like all Taschen books, this book is visually STUNNING! Just leafing through the pictures never gets boring. The real treat is the book is also jam packed facts, folklore, drink recipies, and so much more. More information about Tiki than I ever knew existed.

Plenty of eye-candy in this book, but very well balanced with informative and fun content. A must have for the Tiki enthusiast!

This book is a must have for anyone interested in Tiki or kitsch art. Describing themselves as "urban archaeologists" seeking remnants of Tiki culture, the authors provide a fun and informative look at this vanishing art form. The book does an acceptable job presenting the evolutionary history of Tiki, from the 1920s to the present. Key events, such as the establishment of Trader Vic's, and the Kon Tiki craze of the late 40s, are looked at in further detail. There is also a good look at the "artifacts" of Tiki art and architecture throughout the United States. The book is packed with color photos of Tiki mugs, matchbooks, buildings, and much more.

However, the book does lean a bit too much towards making the book eye candy. The Book of Tiki uses intense colors, and ultra-hip page compositions that make it difficult to read (typically Taschen, but I still found it distracting). Also, a consolidation of information would have made it easier to reference, such as a table differentiating the different "Trader" Tiki businesses. Also, some of the text ("Exotica and the Tiki style were denounced as contrived rituals of the imperialist establishment at the same time that the Vietnam war developed into and ugly mistake, with native huts and palm trees burning on TV."), had me wondering if they were being tounge-in-cheek, or were actually serious.

Nevertheless, this book is the current bible for Tiki aficionados, and is well worth having on your bookshelf.

Everyone else who has reviewed this book say is great. Maybe it is, but because I haven't received anything I guess the only thing that I could say is "don't buy anything here, you'll get nothing".

For anyone in art quilting or wanting to be, this book gives an in depth look into the thoughts and creations of Nancy Crow. The color in the book is excellent and there is an abundance of pictures. This is a "Must have" for anyone who loves color and fabric and original art.

Nancy Crow is the ultimate quilter's quilter. Her advice, thoughts and pictures of her work and projects are more than any quilter could hope for. This book will enhance any quilter's library.
It was one of the best b-day presents I've ever received.
Diane

Since the 1970s, Crow has been an unquestioned "catalyst and prime mover of the art quilt movement" for her belief that the medium of quilts contained "the potential for intense experimentation and a place in the centers of art exhibition and discussion." Anyone who sees quilts Crow has done will not deny this. By 1990 Crow's art quilts displaying "technical innovations [and] complex compositions [involving] inventive deconstructions and reconfigurations of historic quilt patterns melded with pattern and color relationships of Crow's own inventions" were attracting wider notice among quilters and in art circles for convincingly demonstrating the artist's belief about the potential of the medium. In recognition of this, this high-quality art book follows Crow's work from about 1990 to the present in bountifully-illustrated chapters covering a few years at a time. This format allows for the laying out of numerous of the art quilts while focusing on specific innovations and her creativity and growth in these most productive and creative years. This also gives space for Crow to regularly make comments on sources, techniques, and aims of particular quilts and ideas surrounding her art. A good, published poet--as an introductory poem by her evidences--Crow has much to say about self-knowledge and creativity. Crow's quilts with their dramatically-arranged, vivid geometric shapes have the presence of a work of art. Practically single-handed with the interest and encouragement of quilting enthusiasts, she has modernized quilt-making by changing it from a tradition-bound craft with limited artistic aspects to an art with reminiscences of its origins in American crafts.

Amazing book. great information, stories. Lots of pictures of striking quilts show-casing the progress of this wonderful artist. Also shows pictures of Nancy Crow's studio and timber frame barn - must be an amazing place to create. This book is a wonderful value and very inspiring to any artist regardless of preferred media.

The Ramones' popularity keeps growing--it's a shame that Joey, Dee Dee and Johnny didn't live to enjoy it. As a result of their popularity, so many--TOO MANY--Ramones books have been written and it seems like a new one comes out every month. If you are a die-hard Ramones fan, this is the ONLY book you need. Monte was with them from the beginning to the end and was partly responsible for making them the best touring band ever. He tells it like it was, and it is a fascinating read. Buy the book!

This is the best book on The Ramones, period. I absolutely loved it!! The pictures are so cool and the stories are even better. I recommend this book to anyone who loves The Ramones. Great purchase.

This book is a GREAT read for any Ramones fan, but it was very heartbreaking in the end to see how "the remaining band members" treated Joey at the Rock & Roll Hall of Fame induction. I only wish Joey's mom and brother would have stepped up on stage to accept that award for Joey. He indeed was the most kind hearted soul and he deserved more recognition then what he got that night. May he rest in peace.

The more I read and learn about Johnny, the more complicated and intriguing I find him. It could be easy to dismiss him as a jerk but then something like the "milk and cookies every night" story comes up and endears him to you.

The book is entertaining, and I am glad I bought it and read it. Many passages/statements in the book are hilarious (to me).

Think about these dynamics: Take the 4 (original) band members, who are the only ones that truly were The Ramones, in my opinion: 1 had an Obsessive-Compulsive Disorder. 1 is Bi-Polar, which is usually called Manic-Depressive. 1 would often be so stressed out that he would simply leave the band. 1 was a taskmaster. (You can find out whom I am referring to if you read the book.) Oh, you need to add in a man who was with them the entire time that The Ramones were together. Add the other "distractions" that the Ramones and their entourage indulged in and remember that this band played over 2,000 concerts in 20+ years period, and you can just imagine the problems they faced, the interesting things they experienced, etc al.

My only criticism of the book is that it is not "user friendly." There is no index, glossary, etc. Had it been "user friendly," I would have given it 5 stars.