Don't Suck, Don't Die : : Giving Up Vic Chesnutt / / Kristin Hersh.

• Superior document: Title is part of eBook package: De Gruyter University of Texas Press Complete eBook-Package 2014-2015
• VerfasserIn: Hersh, Kristin,
• MitwirkendeR: Petrusich, Amanda,
• Place / Publishing House: Austin : : University of Texas Press, , [2015]; ©2015
• Year of Publication: 2015
• Language: English
• Series: American Music Series
• Physical Description: 1 online resource (208 p.)
• Other title: Frontmatter --; CONTENTS --; FOREWORD --; AUTHOR’S NOTE --; I. EAT CANDY --; II. THICKETY TIME --; III. GO OUTSIDE AND LOOK AT THE MOON --; IV. FIRST, GIVE --; V. SEE YOU IN MY DREAMS --; SELECTED DISCOGRAPHY
• Format: Mode of access: Internet via World Wide Web.
• ISBN: 9781477308752; 9783110745337
• DOI: 10.7560/759473
• Access: restricted access
• Hierarchical level: Monograph
• Statement of Responsibility: Kristin Hersh.

“Friend, asshole, angel, mutant,” singer-songwriter Vic Chesnutt “came along and made us gross and broken people seem . . . I dunno, cooler, I guess.” A quadriplegic who could play only simple chords on his guitar, Chesnutt recorded seventeen critically acclaimed albums before his death in 2009, including About to Choke, North Star Deserter, and At the Cut. In 2006, NPR placed him in the top five of the ten best living songwriters, along with Bob Dylan, Tom Waits, Paul McCartney, and Bruce Springsteen. Chesnutt’s songs have also been covered by many prominent artists, including Madonna, the Smashing Pumpkins, R.E.M., Sparklehorse, Fugazi, and Neutral Milk Hotel. Kristin Hersh toured with Chesnutt for nearly a decade and they became close friends, bonding over a love of songwriting and mutual struggles with mental health. In Don’t Suck, Don’t Die, she describes many seemingly small moments they shared, their free-ranging conversations, and his tragic death. More memoir than biography, Hersh’s book plumbs the sources of Chesnutt’s pain and creativity more deeply than any conventional account of his life and recordings ever could. Chesnutt was difficult to understand and frequently difficult to be with, but, as Hersh reveals him, he was also wickedly funny and painfully perceptive. This intimate memoir is essential reading for anyone interested in the music or the artist.