REPLAY ON-DEMAND -- "WRITE YOUR BOOK" WITH DONALD THOMPSON & BOB BATCHELOR

Get Your Book Project Started (or Finished) with Help From Experts!

Watch the on-demand replay of “Write Your Book,” which outlines the steps from brainstorming through publication.

For more information, check out the conversation I had with EY Entrepreneur of the Year honoree Donald Thompson. Then, see the recent livestream we recorded at https://youtu.be/tGiNRqWGh4Q?si=1wOaFvbLm4dV2KBe

We share expert insights for leaders, entrepreneurs, and executives ready to turn their ideas into a published book. Whether you’re starting with a spark of inspiration or a rough outline, you’ll gain practical advice, motivation, and the tools you need to take the first step toward authorship.

DOUBT, FEAR, AND CONFUSION FOR MOST PEOPLE WHO WANT TO WRITE A BOOK

Roadblocks and Challenges Keep Many People from Writing Books. Overcome these Doubts and Get Your Project Off the Ground

Despite the clear benefits, many executives and senior leaders hesitate to write a book. The resistance is rarely about skill. The real challenge is often focused on fear, time, and clarity.

Photo by Tom Hermans on Unsplash

These mental roadblocks often present themselves in familiar refrains:

  • “I’m not a writer.”

  • “I don’t have time.”

  • “What if no one reads it?”

  • “It’s too late to start.”

These objections are understandable, but often shortsighted. The truth is, you don’t need to be a professional writer. You need to be a professional with insight: someone who has seen, solved, and led through challenges worth learning from.

The BIG Secret…

You don’t have to be a writer to get your ideas into the body of knowledge. As a matter of fact, some publishing insiders estimate that upwards of 60 percent of bestsellers are actually ghostwritten. Therefore, the research and writing can be supported by expert collaborators. In other words, let a professional writer put their expertise to work for your ideas or storytelling.

What matters is your willingness to own your narrative. Savvy leaders never win by themselves, so don’t think that writing your book means holing up by yourself for a year, hovering over the keyboard, and slowly driving yourself bonkers.

 Teams make winning possible, so crafting your book with the best available resources should be your goal.

The greatest risk is not writing. Executives who stay silent lose control of their story. They allow competitors, markets, or algorithms to define their leadership brand. Worse, they miss the opportunity to document their unique thinking in a way that benefits their organization and inspires their team.

 “Leaders often underestimate how much their story can inspire others. That’s not ego—it’s impact.”
 —Kurt Merriweather, Vice President of Global Marketing, Workplace Options, and co-author, The Inclusive Leadership Handbook

Many people view writing a book as a personal win. That’s fine, since everyone will have different reasons for crafting their book. Here’s another way to look at it, though. Think of your book as a strategic tool for clarity, alignment, and growth.

Your book forces you to ask:

  • What do I really believe?

  • What do I want to be known for?

  • How do I want to be remembered?

Answering those questions? That’s where great leadership begins.

For more information about writing your book, ghostwriting, or executive-level thought leadership, visit the team at ExecBrand Authority or email me directly: bob@bobbatchelor.com.

AUTHORITY ISN'T CLAIMED...IT IS AUTHORED

In a visibility-first economy, authorship is the fastest path to durable authority. Slides expire and posts evaporate, but a book endures—codifying your point of view, sharpening your leadership brand, and traveling into rooms you haven’t entered yet. Writing forces strategic clarity: What problem do you solve, for whom, and why now? That discipline becomes the spine of your thought-leadership platform and aligns message, market, and milestones.

A book also operationalizes influence. Chapters become reusable assets for keynotes, bylined articles, media appearances, investor narratives, and recruiting content—the content vault you draw from for years. Pair authorship with an intentional platform (owned media, selective PR, webinars, executive social) and you improve discoverability across search engines, AI summaries, and human gatekeepers. Measure it like any growth initiative: influenced pipeline quality, speaking demand, media velocity, share of voice on priority themes, inbound board seat interest, and hiring lift.

Common objections—time, writing skill, fear of the blank page—are solvable with a professional editorial team. The real risk is silence: letting competitors and algorithms define your story. Build the book once; scale your authority indefinitely. For executives intent on commanding a category and shaping what’s next, authorship isn’t a vanity play—it’s the operating system of your influence.

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UNPACKING FAME, INFLUENCE, AND IDENTITY: WHY "THEORIES OF CELEBRITY BRANDING" MATTERS NOW MORE THAN EVER

The intersection of identity, media, and influence isn’t simply noise or distraction—it’s a language. Learning how to decode that language is a critical skill for anyone navigating the modern media ecosystem.

“Theories of Celebrity Branding” — A podcast and university course, hosted by award-winning cultural historian Bob Batchelor

From red carpets to YouTube thumbnails, Super Bowl commercials to podcast interviews, we live in a world shaped by celebrity. We don’t just consume culture—we consume people: their stories, values, failures, and reinventions. This intersection of identity, media, and influence isn’t just noise or distraction—it’s a language. And learning how to decode that language is a critical skill for anyone navigating the modern media ecosystem.

Understanding the value of branding and branding history, I launched Theories of Celebrity Branding, a podcast and online (asynchronous) course designed to explore the cultural machinery behind fame, influence, and branding in the 21st century. Whether you are a college student preparing for a communications career or a seasoned marketer wrestling with the pace of change, this podcast series offers insights into how personal and public identities are built, managed, and monetized today. And, what better way to get at branding and celebrity than to analyze it in an online course.

A Podcast That Decodes the Culture of Celebrity

The podcast version of Theories of Celebrity Branding is not just a catchy way to deliver lectures in an online course —it’s a cultural myth lab.

Each episode explores big ideas about branding, storytelling, media evolution, and leadership through the lens of celebrity. But this isn’t about tabloids or gossip. The podcast focuses on examining why Taylor Swift’s rebranding worked, how Oprah Winfrey built generational trust, and what role AI is playing in shaping how we define identity, authorship, and authenticity.

We tackle topics like:

  • The globalization of branding and how companies like Kimberly-Clark reframe messaging for global markets.

  • The evolution of thought leadership and how public figures like Brené Brown and LeBron James use storytelling to build emotional resonance.

  • The ethics of AI-generated content in a world of deepfakes and algorithmic curation.

  • How creators like Cecilia Blomdahl or bands like The Hot Sardines use social platforms to craft global personal brands.

Each episode integrates academic theory with real-world experience—from advising C-suite leaders to writing bestselling books like Stan Lee: A Life, The Gatsby Code, and The Authentic Leader.

The result? A podcast that doesn’t just explain celebrity branding—it empowers you to understand your own story and how to share it effectively.

📚 A Course That Prepares Students for the Real World

While the podcast is open to everyone, it runs parallel to the course I teach at Coastal Carolina University in the Department of Communication, Media, and Culture, also named Theories of Celebrity Branding.

Offered both in summer and in Fall 2025, this class pushes students to think critically about fame, media, influence, and identity. It’s not just theory—it’s strategic communication, media literacy, popular culture, history, marketing, and career development rolled into one.

Students learn to analyze how influence is created and sustained—and how they can develop values-based personal brands of their own.

We dive deep into my EAT ModelEngage, Adapt, Transform—and use tools like ChatGPT and Canva AI to prototype messaging and audience engagement strategies.

Stan Lee: A Life by Bob Batchelor; Foreword by Tom DeLonge of Blink-182 and To The Stars

The course isn’t about using AI to replace creativity—instead we focus on enhancing creation while staying rooted in cultural awareness, storytelling, and human empathy.

Why This Podcast and Course Matters

If you’ve read my books—like The Authentic Leader, Stan Lee: A Life, or Roadhouse Blues: Morrison, the Doors, and the Death Days of the Sixties—you know that I’m fascinated by how media, identity, and storytelling shape the modern world. This podcast and class bring those interests to life in real time.

This podcast doesn’t just explain celebrity branding, it empowers you to understand your own story and how to share it effectively.
— Bob Batchelor

Today, anyone with a smartphone can become a brand. But that means the ability to think critically about representation, influence, and authenticity is more important than ever.

This project gives students and listeners the tools to navigate—and lead—in this complex space.

What’s Next?

If you’re a student in my class—welcome. This podcast is your toolkit, guide, and creative prompt.

If you’re a communication professional, educator, marketer, or curious listener—Theories of Celebrity Branding will give you an insider view into how cultural identities are formed, challenged, and transformed.

👉 Listen now on Spotify
👉 Follow me on LinkedIn
👉 Explore upcoming courses at Coastal Carolina
👉 Learn more about me and my books

New episodes drop regularly on Spotify, Apple Podcasts, and wherever you listen.

🎧 Subscribe.
🧠 Think deeply.
📢 Tell your story.
🔥 Lead with purpose.

We’re just getting started.

BOB BATCHELOR LAUNCHES NEW PUBLISHING VENTURE: TUDOR CITY BOOKS

International bestselling author Bob Batchelor, renowned for his expertise in cultural history and biography, has launched Tudor City Books, a new publishing company headquartered in Raleigh, North Carolina. Specializing in a range of subjects, including crime fiction, entertainment and pop culture history, memoir, and biography, Tudor City Books aims to bring exceptional works to a broader audience.

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ROADHOUSE BLUES: MORRISON AND THE DOORS LIKE YOU'VE NEVER SEEN BEFORE!

Reviews of ROADHOUSE BLUES

 Roadhouse Blues: Morrison, the Doors, and the Death Days of the Sixties won the 2023 IPA Book Award in Music and has been lauded by critics, readers, and Doors aficionados across the globe.

2023 Independent Press Award for Roadhouse Blues

REVIEWS

“Fascinating, informative, extraordinary, and essential reading for the legions of Jim Morrison fans.” – Midwest Book Review

“Bob Batchelor writes with great eloquence and insight about the Doors, the greatest hard-rock band we have ever had, and through this book, we plunge deeply into the mystery that surrounds Jim Morrison. It is Batchelor’s warmth and compassion that ignites Roadhouse Blues and helps explain Morrison’s own miraculous dark fire.” – Jerome Charyn, PEN/Faulkner Award finalist

Splash page for Roadhouse Blues, designed by the eminent Brad Norr

“The most important book for Doors fandom since No One Here Gets Out Alive—and incomparably better! Grouped with Ray, Robby, and John’s books, this is the fourth gospel for fans of The Doors.” – Bradley Netherton, The Doors World Series of Trivia Champion and host of the “Opening The Doors” podcast

“Batchelor writes well and his narrative flows smoothly. His work is an insightful look at the Doors as creative artists and a compelling portrait of Morrison.” – Thomas Hauser, Pulitzer Prize and National Book Award nominee

“Smart, engaging…Batchelor has a technique and perspective that runs through his work: paint a vivid description of what happened, but then, more than a mere journalist or biographer, delve into how it happened and then why it happened. The what is documentarian; the how, and especially the why, require the kind of analysis with imagination that Roadhouse Blues provides.” – Jesse Kavadlo, PopMatters

Roadhouse Blues, published by Hamilcar Publications

WHAT DID STAN LEE DO DURING WORLD WAR II

A Fact-Filled, Frequently Asked Question by Stan Fans Everywhere!

Pearl Harbor brought the war to America. Winning hinged on creating an interlocked infrastructure to support the troops. Businesses of all sizes rallied to the cause. Democracy hung in the balance!

Although still a teenager, Stan Lee enlisted on November 9, 1942, just as the US faced its first skirmish on the coast of North Africa. He took the Army General Classification Test and scored high, qualifying for the Signal Corps.

The war was good for comic books. In 1943 more than 140 were on newsstands, reportedly “read by over fifty million people each month.” In 1944, Fawcett’s Captain Marvel Adventures sold 14 million copies (up 21 percent). Superhero titles drove sales, but publishers also expanded into humor, funny animals, and teen romance. Captain America remained Timely’s most popular series.

“How would you like my job?” Lee asked his friend Vince Fago.

Veteran animator Fago had worked on Superman and Popeye for Fleischer Studios. Battling with Disney, Max Fleischer’s shop differed by focusing on human characters, such as Betty Boop and Koko the Clown, rather than talking mice, ducks, and other anthropomorphic figures. Martin Goodman paid Fago $250 a week.

The fighting overseas was heavy stuff; readers yearned for lighter comedic fare. Fago specialized in funny animals, so Timely used Disney as a model, essentially transforming into Disney-lite. They published amusing animal tales, such as Comedy Comics and Joker Comics. Lee had concocted some of these characters, like Ziggy Pig and Silly Seal (co-created with artist Al Jaffee, the future Mad magazine illustrator). Fago estimated that each comic had a print run of about 500,000. “Sometimes we’d put out five books a week or more,” Fago remembered. “You’d see the numbers come back and could tell that Goodman was a millionaire.”

Goodman also wanted to gain female readers. Miss America, a teenage heiress who gained superhuman strength and the ability to fly after being struck by lightning, first appeared in Marvel Mystery Comics #49 (November 1943), with Human Torch and Toro on the cover thwarting a Japanese battleship. In January 1944, Miss America became a title character. However, when sales dropped, the next issue was delayed until November, publishing as Miss America Magazine #2. A real-life model portrayed the character in her superhero outfit. For the relaunch, Fago and his team gradually eliminated superhero material in favor of topics deemed more appropriate for teen girls.

***

Lee went through basic training at Fort Monmouth, an enormous base in New Jersey that housed the Signal Corps. It also served as a research center – radar was developed there and the handheld walkie-talkie. In subsequent years, they would learn to bounce radio waves off the moon.

Stan Lee with his beat-up jalopy

Stan learned how to string and repair communications lines – a path to combat duty (like his former boss Jack Kirby). Army strategists knew wars were often won by infrastructure – the Signal Corps kept communications flowing, but they could barely keep up with demand. Other training centers opened at Camp Crowder, Missouri, and Camp Kohler, near Sacramento. By mid-1943, the Corps’ consisted of 27,000 officers and 287,000 enlisted men, backed by another 50,000 civilians.

Pearl Harbor heightened concern that German subs or planes might mount a surprise attack during the cold New Jersey winter. Lee patrolled the base perimeter, claiming the frigid wind whipping off the Atlantic nearly froze him to death.

The beachfront burden ended when Lee’s superior officers discovered his work in publishing. They placed him in a special outfit producing instructional films and other wartime materials. Lee wrote fast and in a breezy style that recruits and trainees could comprehend.

The Army liked these traits too. At the Training Film Division, based in Astoria, Queens, he joined eight other artists, filmmakers, and writers to create public relations pieces, propaganda materials, and information-sharing documents. Education was critical for the war effort. Imagine, millions of young Americans were enlisting and they collectively had about an eighth grade education. They needed to learn how to fire machine guns, run offices, and build bridges, barracks, and other essentials necessary to win the war. They needed training materials that they could understand and put to immediate use.

The Army purchased a large building flanked by rows of tall, narrow windows at 35th Avenue and 35th Street. Colonel Melvin E. Gillette commanded the efforts. Inside the Army built the largest soundstage on the East Coast, enabling filmmakers to create a variety of military settings and scenes. The old movie studio (built in 1919) soon rivaled the major Hollywood production companies.

Prop department at the Long Island facility

“I wrote training films, I wrote film scripts, I did posters, I wrote instructional manuals,” Lee said. “I was one of the great teachers of our time!” The Signal Corps group included many famous or soon-to-be-famous individuals, including three-time Academy-award winning director Frank Capra, New Yorker cartoonist Charles Addams, and children’s book writer and illustrator Theodor Geisel, who the world already knew as “Dr. Seuss.” The stories that must have floated around during staff meetings!

Lee took up a desk in the scriptwriter bullpen, to the right of eminent author William Saroyan – at least when the pacifist author visited the office. Saroyan, who had won a Pulitzer Prize (but rejected it) for his play The Time of Your Life (1939), usually worked from a Manhattan hotel. Lee and the others, including screenwriter Ivan Goff and producer Hunt Stromberg Jr., earned the official Army military occupation specialty designation: “playwright.”

As home front efforts intensified, Lee traveled to other bases, essentially crisscrossing the Southeast and Midwest. Each base had a critical need for easy-to-understand manuals, films, and public relations documents. Stan wrote about using combat cameras, caring for weapons, and other topics he knew little about. In these situations, he utilized a familiar motto – simplify the information. “I often wrote entire training manuals in the form of comic books. It was an excellent way of educating and communicating.”

One post took Lee to Fort Benjamin Harrison in Indiana, just northeast of Indianapolis – a jarring locale for a New York City native who had not ventured outside the city. He worked with the Army Finance Department, which struggled to keep up with payrolls. Watching the wannabee-accountants march, Lee noticed they lacked vigor. He penned a song for them, inserting new lyrics over the famous “Air Force Song.” The peppy tune included memorable lines, like “We write, compute, sit tight, don’t shoot,” but it improved morale.

Stan used humor to help the men absorb the complex procedures. “I rewrote dull army payroll manuals to make them simpler,” Lee remembered. “I established a character called Fiscal Freddy who was trying to get paid. I made a game out of it. I had a few little gags. We were able to shorten the training period of payroll officers by more than 50 percent.” He joked: “I think I won the war single-handedly.”

I rewrote dull army payroll manuals to make them simpler. I established a character called Fiscal Freddy who was trying to get paid. I made a game out of it. I had a few little gags. We were able to shorten the training period of payroll officers by more than 50 percent...I think I won the war single-handedly.
— Stan Lee

Lee moved to another project, calling it “my all-time strangest assignment,” creating anti-venereal disease posters aimed at troops in Europe. Sexually transmitted diseases had plagued armies throughout history. American leaders considered the effort deadly serious. Despite implementing extensive education campaigns, the military still lost men to syphilis and gonorrhea. The British – less willing to confront the taboo epidemic – had 40,000 men a month being treated for VD during the Italian campaign.

Military leaders went to extreme measures to thwart STDs, including the creation of propaganda posters showing Hitler, Mussolini, and Tojo deliberately plotting to disable Allied troops via disease. Many of these images, such as the ones famously created by artist Arthur Szyk, depicted the Axis leaders as subhuman animals, with rat-like features or as ugly buffoons.

Unsure how to combat the scourge, Lee promoted the prophylactic stations set up by the armed forces. Men visited the huts when they thought they were infected, which involved a series of rough and painful treatments. “Those little pro stations dotted the landscape,” Stan said, “with small green lights above the entrance to make them easily recognizable.” He wrestled with different taglines, ultimately hitting upon the simplest: “VD? Not me!”

Lee illustrated the poster with a cartoon image of a happy serviceman walking into the station, the green light clearly visible. Army leaders liked its simplicity and flooded bases with the posters. Ironically, the print may have ranked among Lee’s most-seen, yet also the most roundly ignored.

According to lore, the other “playwrights” couldn’t keep up with Stan, forcing the commanding officer to order him to slow down. While it is difficult to quantify the importance of the films, posters, photos, and training aids the Signal Corps produced, analysts determined they cut training time by 30 percent. Signal Corps efforts also provided from 30 percent to 50 percent of newsreel footage for movie theaters, which kept the public informed. Lee, Capra, Geisel, and the other Army “playwrights” did vital work.

Lee used downtime to keep his fingers dipped in Timely ink and his pockets filled with Goodman’s money as a freelance writer. With the extra money, Stan purchased his first automobile for $20 – a 1936 Plymouth with a fold-up windshield. Stationed near Duke University in Durham, North Carolina, the unique windshield allowed the warm Southern air to blow in his face as he cruised the back roads of tobacco country.

No matter where the Army sent him, Lee received letters outlining stories from Fago every Friday. Stan then typed up the scripts, sending them back on Monday. In addition to working on comics, Lee also helped out with the pulps. He wrote cartoon captions for Read! magazine, including this short ditty in January 1943: “A buzz-saw can cut you in two / A machinegun can drill you right thru / But these things are tame, compared— / To what a woman can do!” The accompanying drawing shows a plump woman feeding her bald husband – chained to a doghouse. The ribald humor fit within Goodman’s magazines, filled with sexist overtones and racy photographs.

Stan also wrote mystery-with-a-twist-ending short stories, similar to the ones in Captain America. In “Only the Blind Can See” (Joker, 1943-1944), the gag is on the reader, who eventually realizes a supposedly blind panhandler (assumed a phony) was telling the truth. Written in second person so Lee can speak directly to the reader (addressed as “Buddy”), one learns that the down-on-his-luck beggar had been too prideful. The truth comes to light when a speeding car hits the blind man. These short stories served as training for the science fiction and monster comic books that Lee would write after the war.

Stan’s afterhours writing for Timely went largely unnoticed by his superiors, but once got him arrested (in typical Lee madcap fashion). One Friday a bored mail clerk overlooked Stan’s letter, reporting an empty mailbox. Lee swung by the closed mailroom on Saturday and spied a letter in his cubby – with the Timely return address.        

Fearful of missing a deadline, Lee asked the officer in charge for the letter. The harried officer told Lee to worry about the mail on Monday. Angry, Stan used a screwdriver to gently loosen the hinges and freeing the missive. When he realized what Lee did, the mailroom supervisor went berserk, reporting him to the base captain. They charged Lee with mail tampering and threatened to throw him in Leavenworth prison. Luckily, the colonel in charge of the Finance Department intervened. In this instance, Fiscal Freddy really did save the day!

***

Stan’s signature and a quick roll of his ink-stained thumb across the Army discharge papers made it official – in late September 1945 Sergeant Lee returned to civilian life. Practically before the ink dried, the 23-year old roared off base. His new black Buick convertible had hot red leather seats, flashy whitewall tires, and shiny hubcaps – a noticeable upgrade from the battered, $20 Plymouth.

Lee received a $200 bonus (called “muster out pay”), given to soldiers so they could jumpstart their post-military lives. Half went into a savings account and Lee pocketed the rest. The Army had allotted him $42.12 to get back to New York City from Camp Atterbury in central Indiana, about 50 miles south Fort Harrison.

Excited to get back to the Big Apple, Stan joked that he “burned my uniform, hopped into my car, and made it non-stop back to New York in possibly the same speed as the Concorde!” The editor desk awaited in the new headquarters on the fourteenth floor of the Empire State Building. Lee zoomed off on the 700-mile trip to the Big Apple.

Stan Lee: A Life by biographer and cultural historian Bob Batchelor

FLASH SALE -- MAD MEN: A CULTURAL HISTORY, $2.99

Get the eBook at Deep Discount! Limited Time…

"Valuable insight into the historical moments of the 1960s that inform and shape our understanding of the television series." -- Journal of American Culture

Mad Men: A Cultural History

Mad Men: A Cultural History -- FLASH SALE -- $2.99

Published by Rowman & Littlefield

NEW PODCAST -- "TALES OF THE BOURBON KING: THE LIFE AND TRUE CRIMES OF GEORGE REMUS"

Filled with mayhem, mountains of illicit cash, and rivers of bourbon, “Tales of the Bourbon King” presents the life and crimes of George Remus, bootleg king of the Jazz Age, a dazzling true crime spectacle. With gunfights and fisticuffs, he turned America into his violent playground, grafting his way into Warren Harding’s White House. A model for Jay Gatsby, Remus’s story epitomizes the spectacular 1920s – until it came crashing down in an improbable tale of deceit and rage, centered on the dastardly G-man who stole his wife, leading directly to a fateful gunshot that ended her life.

Read more

ROADHOUSE BLUES NAMED 2023 INDEPENDENT PRESS AWARD BEST MUSIC BOOK

Cultural Historian Bob Batchelor Wins Independent Press Award® for Roadhouse Blues, Rollicking Tale of 1960s and 1970s America; Published by Hamilcar Publications

BOSTON & RALEIGH, March 20, 2023 – Shrouded in mystery and the swirling psychedelic sounds of the Sixties, the Doors have captivated listeners across seven decades. Jim Morrison—haunted, beautiful, and ultimately doomed—transformed from rock god to American icon. Yet the band’s full importance is buried beneath layers of mythology and folklore.

Cultural historian and biographer Bob Batchelor looks at the band and its significance in American history in Roadhouse Blues: Morrison, the Doors, and the Death Days of the Sixties (Hamilcar Publications).

Roadhouse Blues Wins 2023 IPA Book Award in Music

In recognition of the book’s excellence in writing, cover design, editorial production, and content, the Independent Press Award recognized Roadhouse Blues as the 2023 book award winner in the Music category. Selected IPA Award Winners are based on overall excellence among the tens of thousands of independent publishers worldwide. Roadhouse Blues is the third award Batchelor has earned from IPA.

Roadhouse Blues is candid, authoritative, and a wonderful example of Batchelor’s absorbing writing style,” said Kyle Sarofeen, Founder and Publisher, Hamilcar Publications. “Taking readers beyond the mythology, hype, and mystique around Morrison, the book examines the significance of the band during a pivotal era in American history. Readers and reviewers have proclaimed that Roadhouse Blues is the most important book about the Doors ever written, just behind the memoirs of Ray Manzarek, John Densmore, and Robby Krieger.”

Cultural Historian Bob Batchelor Wins 2023 Independent Press Award — #GabbyBookAwards

“Independent publishing is pushing on every corner of the earth with great content,” said Gabrielle Olczak, Independent Press Award sponsor. “We are thrilled to be highlighting key titles representing global independent publishing.”

REVIEWS OF ROADHOUSE BLUES

“Fascinating, informative, extraordinary, and essential reading for the legions of Jim Morrison fans.” – Midwest Book Review

“Bob Batchelor writes with great eloquence and insight about the Doors, the greatest hard-rock band we have ever had, and through this book, we plunge deeply into the mystery that surrounds Jim Morrison. It is Batchelor’s warmth and compassion that ignites Roadhouse Blues and helps explain Morrison’s own miraculous dark fire.” – Jerome Charyn, PEN/Faulkner award finalist

“The most important book for Doors fandom since No One Here Gets Out Alive—and incomparably better! Grouped with Ray, Robby, and John’s books, this is the fourth gospel for fans of The Doors.” – Bradley Netherton, The Doors World Series of Trivia Champion and host of the podcast “Opening The Doors

For more information, please visit independentpressaward.com. To see the list of IPA Winners, please visit: https://www.independentpressaward.com/2023winners

An excerpt “My Doors Memoir” is available at

https://hannibalboxing.com/excerpt-roadhouse-blues-morrison-the-doors-and-the-death-days-of-the-sixties/ (Open Access)

Hamilcar Publications

https://hamilcarpubs.com

Foreword by Carlos Acevedo

ISBN 9781949590548, paperback

ISBN 9781949590548, eBook 

ABOUT BOB BATCHELOR

Bob Batchelor is the author of Roadhouse Blues: Morrison, the Doors, and the Death Days of the Sixties and Stan Lee: A Life. He has published widely on American cultural history, including books on Bob Dylan, The Great Gatsby, Mad Men, and John Updike. Rookwood: The Rediscovery and Revival of an American Icon, An Illustrated History won the 2021 IPA Award for Fine Art. The Bourbon King: The Life and Crimes of George Remus, Prohibition’s Evil Genius won the 2020 IPA Book Award for Historical Biography. Stan Lee: The Man Behind Marvel was a finalist for the 2018 Ohioana Book Award for Nonfiction.

Batchelor’s work has been translated into a dozen languages and appeared in Time, the New York Times, Cincinnati Enquirer, American Heritage, The Guardian, and PopMatters. He hosts “Deep Cuts” on the New Books Network podcast and is creator/host of the John Updike: American Writer, American Life podcast. He has appeared as an on-air commentator for National Geographic Channel, PBS NewsHour, BBC, PBS, and NPR. Batchelor earned a doctorate in Literature from the University of South Florida. He and his wife Suzette live in North Carolina with two wonderful teenage daughters. Visit him at www.bobbatchelor.com or on Facebook, LinkedIn, or Instagram.

Contact: 

Kyle Sarofeen, Publisher, Hamilcar Publications

kyle@hamilcarpubs.com

OR

Bob Batchelor, bob@bobbatchelor.com

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