Having relative unknowns document Tupac’s meteoric rise and abrupt end is risky, but Pearce demonstrates his impact.
There’s a Tupac Shakur–sized hole in the middle of this compelling oral history about the revered rapper and actor and his legacy—and that’s by design.
Pearce, a music writer and editor at the New Yorker, wanted to use only new interviews for the project, which means that the words of the late rapper and Juice actor don’t appear much in a book about him, aside from the occasional footnote. For various other reasons, his family and inner circle don’t say much either. Conspicuously missing are conversations with his Black Panther mother Afeni Shakur or Death Row Records co-founder Suge Knight. Instead, we hear from people who know parts of Shakur’s story, including teachers, friends from early in his career, and reporters and authors. Their insights are more about Shakur the man rather than 2Pac the myth: his quick temper and heartfelt apologies, loyalty and paranoia, and well-documented work ethic. But they pale in comparison to Shakur’s work and the way he has previously described his life and art with his own charismatic delivery. As Pearce writes in the author’s note, “it quickly became a balancing act: Where to provide insight versus where to provide clarity?” The success of that balancing act will depend on the reader. Shakur fans looking for new details about how their hero approached his biggest albums and movie roles won’t find much new here. However, Pearce’s interviews provide interesting background on the East Coast–West Coast rap rivalry and offer more clarity about who may have killed Shakur in Las Vegas in 1996 at age 25—even though no formal charges have ever been filed. Those are the times when this book feels like essential Tupac reading rather than a nice supplement.
Having relative unknowns document Tupac’s meteoric rise and abrupt end is risky, but Pearce demonstrates his impact.Pub Date: June 8, 2021
ISBN: 978-1-982170-46-2
Page Count: 288
Publisher: Simon & Schuster
Review Posted Online: May 24, 2021
A blissfully vicarious, heartfelt glimpse into the life of a Manhattan burlesque dancer.
A former New York City dancer reflects on her zesty heyday in the 1970s.
Discovered on a Manhattan street in 2020 and introduced on Stanton’s Humans of New York Instagram page, Johnson, then 76, shares her dynamic history as a “fiercely independent” Black burlesque dancer who used the stage name Tanqueray and became a celebrated fixture in midtown adult theaters. “I was the only black girl making white girl money,” she boasts, telling a vibrant story about sex and struggle in a bygone era. Frank and unapologetic, Johnson vividly captures aspects of her former life as a stage seductress shimmying to blues tracks during 18-minute sets or sewing lingerie for plus-sized dancers. Though her work was far from the Broadway shows she dreamed about, it eventually became all about the nightly hustle to simply survive. Her anecdotes are humorous, heartfelt, and supremely captivating, recounted with the passion of a true survivor and the acerbic wit of a weathered, street-wise New Yorker. She shares stories of growing up in an abusive household in Albany in the 1940s, a teenage pregnancy, and prison time for robbery as nonchalantly as she recalls selling rhinestone G-strings to prostitutes to make them sparkle in the headlights of passing cars. Complemented by an array of revealing personal photographs, the narrative alternates between heartfelt nostalgia about the seedier side of Manhattan’s go-go scene and funny quips about her unconventional stage performances. Encounters with a variety of hardworking dancers, drag queens, and pimps, plus an account of the complexities of a first love with a drug-addled hustler, fill out the memoir with personality and candor. With a narrative assist from Stanton, the result is a consistently titillating and often moving story of human struggle as well as an insider glimpse into the days when Times Square was considered the Big Apple’s gloriously unpolished underbelly. The book also includes Yee’s lush watercolor illustrations.
A blissfully vicarious, heartfelt glimpse into the life of a Manhattan burlesque dancer.Pub Date: July 12, 2022
ISBN: 978-1-250-27827-2
Page Count: 192
Publisher: St. Martin's
Review Posted Online: July 27, 2022
An engrossing and ominous chronicle, told by a master of the form.
Documenting perilous times.
In his most recent behind-the-scenes account of political power and how it is wielded, Woodward synthesizes several narrative strands, from the Jan. 6, 2021, insurrection and Hamas’ Oct. 7, 2023, attack on Israel to the 2024 presidential campaign. Woodward’s clear, gripping storytelling benefits from his legendary access to prominent figures and a structure of propulsive chapters. The run-up to Russia’s invasion of Ukraine is tense (if occasionally repetitive), as a cast of geopolitical insiders try to divine Vladimir Putin’s intent: “Doubt among allies, the public and among Ukrainians meant valuable time and space for Putin to maneuver.” Against this backdrop, U.S. Sen. Lindsey Graham implores Donald Trump to run again, notwithstanding the former president’s denial of his 2020 defeat. This provides unwelcome distraction for President Biden, portrayed as a thoughtful, compassionate lifetime politico who could not outrace time, as demonstrated in the June 2024 debate. Throughout, Trump’s prevarications and his supporters’ cynicism provide an unsettling counterpoint to warnings provided by everyone from former Joint Chief of Staff Mark Milley to Vice President Kamala Harris, who calls a second Trump term a likely “death knell for American democracy.” The author’s ambitious scope shows him at the top of his capabilities. He concludes with these unsettling words: “Based on my reporting, Trump’s language and conduct has at times presented risks to national security—both during his presidency and afterward.”
An engrossing and ominous chronicle, told by a master of the form.Pub Date: Oct. 15, 2024
ISBN: 9781668052273
Page Count: 448
Publisher: Simon & Schuster
Review Posted Online: Oct. 15, 2024
Kirkus Reviews Issue: Dec. 15, 2024
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