Today we examine a touching new comic dedicated to two talented lost souls from the 1990s Columbus rock scene.
This in-depth study introduces the world to a relatively unknown figure: Saul Holiff, Johnny Cash’s manager throughout Cash’s glory years, and who is partially responsible for transforming the man into the mythic figure we know today. This book shows just how hard–and thankless–that job was.
Once Upon A Time In Shaolin: The Untold Story Of Wu-Tang Clan’s Million-Dollar Secret Album, The Devaluation of Music, And America’s New Public Enemy No. 1
The untold story of Wu-Tang Clan’s album Once Upon A Time In Shaolin is one of modern music’s most interesting capers, a compelling philosophical and artistic statement, and at times a downright insane story.
Much like the subject matter it documents, Lizzy Goodman’s oral history of the New York Rock Scene is a smorgasbord of gossip that’s heavy on the dish and surprisingly devoid of any real sustenance.
Smoke, Snort, Swallow, Shoot: Legendary Binges, Lost Weekends, & Other Feats Of Rock & Roll Incoherence (Lesser Gods)
This collection of excerpts from notable and notorious rock and roll biographies and memoirs focuses on tales of excess and abuse from all corners of the music world.
A loving, intimate–yet respectfully guarded–peek into the life of Prince Rogers Nelson, as told by his ex-wife. It’s a beautiful yet tragic tale of love and loss that serves as a tribute to the man she loved.
Writer Joan Didion’s latest work is a collection of notes from two unpublished essays from the 1970s, and contains an insightful, interesting, and compelling look at the South during a time of transition.
Essayist Alana Massey has taken on the task of comparing numerous aspects of women in pop culture, connecting them to the lives of young women and how the two intersect. All The Lives I Want is an excellent introduction to a wonderful new voice.
Unlike former bandmate Peter Hook’s autobiographies, New Order frontman Bernard Sumner’s autobiography is terse, vague, and not particularly revelatory or insightful; it feels like a half-hearted retort to Hook’s book, a year before Substance appeared, creating for a dull read from someone capable of writing a much, much better book.
Peter Hook’s long-awaited final entry into his trilogy about his career is a hefty tome that is at times funny, angry, sad, and frustrating, but Substance is, ultimately, a love letter to the band that, for better or worse, made him the man he is.