Whatever the problem, an asshole knows how to deal. And for those who don't--but want to--there's this guide. It takes the concepts covered in the bestselling original and applies them to everyday life.
Now you can quit being a pansy and get what you want without looking like a douchebag. It's spelled out step by step. Need to sign a new account? Done. Score better seats to the playoff game? Handled. Pick up that girl at the bar? Easy when you're an asshole.
Class was dismissed at the conclusion of A--holeology. Now it's time to take to the field with The Cheat Sheet.
Chris Illuminati is a freelance writer and fulltime a**hole. He's a regular contributor to sites such as AskMen.com and The BachelorGuy.com, and pretends to be witty daily on www.chrisilluminati.com. He lives at home with his wife and son.
This follow up to the debut Assholeology is as easy to read as the first. It is written so that it can be understood by all, but doesn't feel dumbed down at all. If you have the first book, you MUST have this one. If you don't have the first one, get this one, and you'll love it so much, you'll go buy the first one. Promise.
The first book Assholeology: The Science Behind Getting Your Way - and Getting Away with it told you what you already kinda knew to be true, but didn't really know how or why. This is the 'Applied Science' of being an A**hole in real life. If this book were to have come out 10 years ago I swear I would be making more money driving a sports car - these little nuggets of truth are MONEY! Buy this now or forever remain a loser.
Tampilkan postingan dengan label Paperback. Tampilkan semua postingan
Tampilkan postingan dengan label Paperback. Tampilkan semua postingan
Coldplay: Look at the Stars [Bargain Price] [Paperback]
I borrowed this book from a friend and I'm buying my own copy after reading about what is the complex group of individuals known as Coldplay.
I was very perturbed at the few mentions of how much Chris Martin was teased as a kid because people believed he was gay (so what if it was the case, which it isn't?) and how critics continue to put down the most original group that has graced music in about a decade. I'm also a bit tired of hearing the wisecracks about Martin's looks (I think the man is cute and very charming, along with the rest of Coldplay).
The first Coldplay song I heard on the radio was "Clocks" (from "A Rush of Blood to the Head") and I, at first, thought it was a new U2 single (not realizing, until I read this book, that Coldplay idolizes U2). I was hooked from then on.
I recently sat down and listened to the entire "X&Y" album again and appreciate their songwriting and vocal abilities more than ever. The group is a welcomed breath of fresh air in this day and age of corporate "music" (undertalented and overexposed starlets doubling as singers, rappers rapping over drum machines calling women every derogatory name in the book and videos being nothing more than glorified porno film shorts).
Phil O'Brien exposed Coldplay for what they really are: A complex group of individuals who value their art and their talent is appreciated (screw the naysayers!).
I was very perturbed at the few mentions of how much Chris Martin was teased as a kid because people believed he was gay (so what if it was the case, which it isn't?) and how critics continue to put down the most original group that has graced music in about a decade. I'm also a bit tired of hearing the wisecracks about Martin's looks (I think the man is cute and very charming, along with the rest of Coldplay).
The first Coldplay song I heard on the radio was "Clocks" (from "A Rush of Blood to the Head") and I, at first, thought it was a new U2 single (not realizing, until I read this book, that Coldplay idolizes U2). I was hooked from then on.
I recently sat down and listened to the entire "X&Y" album again and appreciate their songwriting and vocal abilities more than ever. The group is a welcomed breath of fresh air in this day and age of corporate "music" (undertalented and overexposed starlets doubling as singers, rappers rapping over drum machines calling women every derogatory name in the book and videos being nothing more than glorified porno film shorts).
Phil O'Brien exposed Coldplay for what they really are: A complex group of individuals who value their art and their talent is appreciated (screw the naysayers!).
Roadie: My Life on the Road with Coldplay
With a foreword by the band and exclusive photography by their bassist, this backstage, on-the-road account of Matt McGinn's life as a roadie describes touring with Coldplay, a band at the pinnacle of their success
Stuffed with insightful and authoritative tour stories about daily roadie duties, this is an insider's guide to what it means to live and work with global superstars in the world of rock 'n' roll. This memoir covers the job, the road, the gigs, the band, the relationships, the fame, the failing equipment, and the cold beers after a great show. As Coldplay moves from club gigs to arenas and stadiums worldwide, Matt goes with them; faking it as a band member on U.S. talk shows, flirting with Kylie, saving a life on a French motorway, and even pitching in with the odd guitar riff in the studio. Tales of hurricanes and heat waves, helicopter chases and private jets, plectrum hunters and projectiles all come together as Matt explains in his unique way—and regardless of the mountain (and gear) to move—that the show must always go on.
About the Author
Matt McGinn is a full-time roadie for the band Coldplay, and a key member of its touring force and trusted friend. He was present during the recording of the last two albums, and has circled the globe many, many times.
Pops: A Life of Louis Armstrong
Pops isn't just a good biography of Louis Armstrong's full and varied life. It's an exceptionally good biography. It shouldn't replace Laurence Bergreen's excellent Louis Armstrong: An Extravagant life (New York Times Notable Book for 1997) in anyone's library. But Teachout's book complements Bergreen's and it stand on its own as a model of sympathetic, scrupulously researched biographical writing. For those who are interested in him, there is little new that they can learn about the well examined life of this American icon.
As soon as popular critics and serious scholars started writing about that uniquely American pop music, jazz, they wrote about Armstrong. They couldn't avoid it because Armstrong, more than any other individual, set the standards and many of the conventions for jazz, in his playing and his singing. (Where would Bing Crosby have been without Louis to imitate?) He wasn't the first great jazz soloist: Sidney Bechet holds that honor by a few years. And Armstrong's seminal group, the Hot Five (later Hot Seven), played outside the recording studio just one time. It was never a working group, never a combo formed to play in the clubs and dance halls where jazz was being forged in the twenties and thirties.
Trying to imagine jazz without Armstrong is like trying to imagine modern art without Picasso or the essay form without Montaigne. His contemporaries knew it and admitted it. Even those who were on the outs with him -Earl Hines, Coleman Hawkins--knew that Louis was The Man. Red Allen, the trumpeter with (to my mind) the most beautiful sound in jazz, wanted nothing more than to sound like Louis. Jack Teagarden tried to play him on the trombone (and succeeded). Even harbingers of modernity like Dizzy Gillespie and Miles Davis, who were offended by what they saw as Armstrong's Uncle Tom antics on stage, admitted that Armstrong was The One.
A virtue of Teachout's fine book is to place Armstrong's on-stage antics and off-stage persona in context. Armstrong was by temperament, especially while performing, a sunny person, who enjoyed performing and did not draw a line between clowning and serious music making. (That's not quite accurate. Music making was the thing he cared about most in the world -even over home and his much beloved wife Lucille--and he was deadly serious about his music, but he didn't find it incongruous to perform well, to appeal to the audience. In short, as Teachout eloquently explains, Armstrong, like many performers of his generation, saw himself as an entertainer as well as and complementary to a musician. He wanted to do well in both guises, and did.
Teachout also does the reader a favor by his sympathetic and wise assessment of Louis's later performances and recordings, from the 1930s on. This is a body of work that many critics dismiss as the wreckage left over after Louis's artistic vision left him. (Even so savvy a critic as Gunther Schuller dismissed Louis's later work as uninspired.) Teachout does not argue for virtues that aren't there in Louis's often dreary big band recordings from the thirties, but he does point to individual recordings of excellence, and I found his assessment of the small group Louis led from 1947 on, the Louis Armstrong All-Stars, convincing. (Like me, Teachout finds Russ Garcia's arrangements for Louis in the late fifties an embarrassment, and, like me, wishes that Ellington and Armstrong had made more out of their one outing together, when all that happened was that Ellington sat in on piano with Louis's All-Stars.) I have decided! It's time for me to listen to more of the Louis of the thirties and forties. I've been missing out on a potential treat! I bought my first jazz record sixty years ago, when I was thirteen. It's time for me to listen to ALL of Louis, not just cherry pick across the decades.
As soon as popular critics and serious scholars started writing about that uniquely American pop music, jazz, they wrote about Armstrong. They couldn't avoid it because Armstrong, more than any other individual, set the standards and many of the conventions for jazz, in his playing and his singing. (Where would Bing Crosby have been without Louis to imitate?) He wasn't the first great jazz soloist: Sidney Bechet holds that honor by a few years. And Armstrong's seminal group, the Hot Five (later Hot Seven), played outside the recording studio just one time. It was never a working group, never a combo formed to play in the clubs and dance halls where jazz was being forged in the twenties and thirties.
Trying to imagine jazz without Armstrong is like trying to imagine modern art without Picasso or the essay form without Montaigne. His contemporaries knew it and admitted it. Even those who were on the outs with him -Earl Hines, Coleman Hawkins--knew that Louis was The Man. Red Allen, the trumpeter with (to my mind) the most beautiful sound in jazz, wanted nothing more than to sound like Louis. Jack Teagarden tried to play him on the trombone (and succeeded). Even harbingers of modernity like Dizzy Gillespie and Miles Davis, who were offended by what they saw as Armstrong's Uncle Tom antics on stage, admitted that Armstrong was The One.
A virtue of Teachout's fine book is to place Armstrong's on-stage antics and off-stage persona in context. Armstrong was by temperament, especially while performing, a sunny person, who enjoyed performing and did not draw a line between clowning and serious music making. (That's not quite accurate. Music making was the thing he cared about most in the world -even over home and his much beloved wife Lucille--and he was deadly serious about his music, but he didn't find it incongruous to perform well, to appeal to the audience. In short, as Teachout eloquently explains, Armstrong, like many performers of his generation, saw himself as an entertainer as well as and complementary to a musician. He wanted to do well in both guises, and did.
Teachout also does the reader a favor by his sympathetic and wise assessment of Louis's later performances and recordings, from the 1930s on. This is a body of work that many critics dismiss as the wreckage left over after Louis's artistic vision left him. (Even so savvy a critic as Gunther Schuller dismissed Louis's later work as uninspired.) Teachout does not argue for virtues that aren't there in Louis's often dreary big band recordings from the thirties, but he does point to individual recordings of excellence, and I found his assessment of the small group Louis led from 1947 on, the Louis Armstrong All-Stars, convincing. (Like me, Teachout finds Russ Garcia's arrangements for Louis in the late fifties an embarrassment, and, like me, wishes that Ellington and Armstrong had made more out of their one outing together, when all that happened was that Ellington sat in on piano with Louis's All-Stars.) I have decided! It's time for me to listen to more of the Louis of the thirties and forties. I've been missing out on a potential treat! I bought my first jazz record sixty years ago, when I was thirteen. It's time for me to listen to ALL of Louis, not just cherry pick across the decades.
Art at the Speed of Life: Motivation and Inspiration for Making Mixed-Media Art Every Day
Having taken several of Pam's online classes, I was excited to see her techniques and inspirational color palette memorialized in print. Art at the Speed of Life concentrates on providing artists with a road map to incorporating art into their every day lives with helpful instructions on creating art in a more efficient manner. Interspersed throughout the book are chapters from some of my other favorite mixed-media artists and they share how to incorporate and manage an artful life in our normal routines as well. Of course it wouldn't be the perfect Mixed-Media book if it didn't also include methods on building backgrounds, adding focal points, and interesting imagery. I'm excited to try many of the techniques, such as toilette papier-mache and beeswax collage (encaustics). Instructions are clearly written and supporting photographs and sketches are meaningful and helpful. Just looking at the contents page, I have counted 22 projects/techniques and I can't wait to sit down and try them all. For me it always comes back to one question, would I buy this book again 5 years from now? For Pam's new book, the answer would definitely be YES!
"Pulp": Truth and Beauty
Pulp are considered by many to be one of the most innovative and popular bands of the late 20th century with top ten singles including "Common People" and "Disco 2000" and acclaimed albums including "This is Hardcore" and "We Love Life". However, their history goes back much further than that. The band was formed at school by Jarvis Cocker as far back as 1978. In the 15 years it took before the band enjoyed any success, they went through copious line-ups, bizarre stories and many records. From the late 1990s, long-time Pulp fan Mark Sturdy has been uncovering Pulp's history, speaking to members, ex-members and associates of the band, from their first ever bassist David "Fungus" Lockwood through to the people who were there for those now legendary early concerts and recordings. He also talks to Jarvis Cocker's sister Saskia and band member Nick Banks. The vast majority of people interviewed have never spoken at length to the media before and the result is an exhaustive exposition of Pulp's untold story, both before and after the band's mid '90s breakthrough.
the strength of this book lays in the 80`s pulp .The pulp before the common people glory. Despite not interviewing jarvis himself he interviewed almost everyone else including russle and nick . Mark Sturdy
the author is a true passionated pulp fan ,ths book was written with love and respect for the band and the music
the author is a true passionated pulp fan ,ths book was written with love and respect for the band and the music
Black Earth: The Broken Daisy
David is a happily married, self-published author and follower of Christ. His goal in this life is to write compelling fiction that is entertaining but that also portrays the power of redemption and the overcoming of evil. David's work can be seen as science fiction and fantasy, but that's not really calling it for what it is. It is Christian fiction but it is edgy. It is dark at times and it is hopeful at others. David loves to explore the deepest strands of human emotion. The stories David writes are filled with heroes and villains, time travel and galaxies, murder and rape, love and war. His exploration of redemption and of good overcoming evil will sometimes find him at controversial themes in his work, but he will always be true to the story and to the characters within.
Picking up right where the first novel left off, Black Earth: the Broken Daisy finds Nathan Pierce and company on a mission to save his condemned sister, expose the power-abusing president to the world, and defeat the all-consuming Legion from destroying Earth.
Like the previous novel (which most-certainly needs to be read before this one) The Broken Daisy boasts a full cast of realistic, well-developed characters, and mind-blowing plots twists. Edgy and honest, the novel bites into the reader and doesn't let go page after page after page.
While there are certainly forthcoming installments in this series, the ending of this book climaxes with a crescendo that both satisfies and builds anticipation for the next novel.
Like the previous novel (which most-certainly needs to be read before this one) The Broken Daisy boasts a full cast of realistic, well-developed characters, and mind-blowing plots twists. Edgy and honest, the novel bites into the reader and doesn't let go page after page after page.
While there are certainly forthcoming installments in this series, the ending of this book climaxes with a crescendo that both satisfies and builds anticipation for the next novel.
The Andy Warhol Diaries
A fantastic look inside the head of one of the world's biggest mysteries! And the guide is none other than the man himself.
Under the platinum fright-wig, there was a swiss-made machinery that went on 24/7. This is a description of Andy's last 9 years. At times funny and piquant, at others annoying, it offers the closest thing to an autobiography there ever will be about both man & myth.
A veritable who's who and who's what (and where) of this era is there in vivid detail. From the '54 days, to Bianca and Mick's ugly split, John Lennon's murder which left Warhol aghast, to Truman Capote's passing which made him cry. Phone chats with First Ladies and litterbugs, crushes on rock stars, celebrity weddings and celebrity parties, taxi bills (oh, how he kept track of money!), loneliness in crowds and funny, catty comment on friends and foes alike with the deadpan charm that was his trademark.
This is a most precious document on pop culture and history, as seen through the eyes and lenses of a man who was gifted with talent and was virtuous enough to be totally observant.
Read it and keep it forever!
The Philosophy of Andy Warhol : (From A to B and Back Again)
Seriously, at a certain point when I was around 18 or 19, this was my Bible, or my Little Red Book - I and a handful of friends (Warhol died at about the same time) took every syllable here very, very seriously.
This is kinda funny to me now, but it's a great book still, a truly unique cultural artifact. Warhol - as always maintains the trademark deadpan aloofness here, which had a few odd purposes beyond simply looking cool: there were rare instances when he'd drop his guard and a hint of social relevance would enter the frame, which did run contrary to most of what Warhol did, here especially. Doing so would turn art into something didactic, and - as a joke doesn't work if you have to explain the punch line, art flops if you have to lead your viewers, or readers, by the hand into your meaning. Thus Warhol's stylish glibness and affected cool served a brilliant purpose - it made demands of everyone who came into contact with it.
Here we have Warhol's epigrams - spread out like some artboy approximation of 'Quotations From Chairman Mao Tse-Tung,' all about equally quotable, useless, devoid of literary merit, yet (unlike the leaden and ideologically bankrupt Chairman) also stylish and memorable, even at their most zoned out.
The other great method behind Warhol's facades is here as well - the same impulse that turned canned soup into the artworks of a once very, very poor 2nd-generation immigrant's child (if you were going hungry, Campell's soup would in fact become, and possibly remain, a beautiful thing, and we all know that beautiful things are and always will be one of the most fitting of subjects for art). These cryptic sayings and jottings all seem constructed to get us all to see the small stuff for what it is, and learn to appreciate it for that.
Warhol was like Elvis - all things to all people. And about as maddening, contradictory and semiotically intriguing as Elvis. This slim little book is one of his strangest and most magnificent achievements.
This is kinda funny to me now, but it's a great book still, a truly unique cultural artifact. Warhol - as always maintains the trademark deadpan aloofness here, which had a few odd purposes beyond simply looking cool: there were rare instances when he'd drop his guard and a hint of social relevance would enter the frame, which did run contrary to most of what Warhol did, here especially. Doing so would turn art into something didactic, and - as a joke doesn't work if you have to explain the punch line, art flops if you have to lead your viewers, or readers, by the hand into your meaning. Thus Warhol's stylish glibness and affected cool served a brilliant purpose - it made demands of everyone who came into contact with it.
Here we have Warhol's epigrams - spread out like some artboy approximation of 'Quotations From Chairman Mao Tse-Tung,' all about equally quotable, useless, devoid of literary merit, yet (unlike the leaden and ideologically bankrupt Chairman) also stylish and memorable, even at their most zoned out.
The other great method behind Warhol's facades is here as well - the same impulse that turned canned soup into the artworks of a once very, very poor 2nd-generation immigrant's child (if you were going hungry, Campell's soup would in fact become, and possibly remain, a beautiful thing, and we all know that beautiful things are and always will be one of the most fitting of subjects for art). These cryptic sayings and jottings all seem constructed to get us all to see the small stuff for what it is, and learn to appreciate it for that.
Warhol was like Elvis - all things to all people. And about as maddening, contradictory and semiotically intriguing as Elvis. This slim little book is one of his strangest and most magnificent achievements.
The Boy in the Moon: A Father's Search for His Disabled Son
Walker Brown was born with a genetic mutation so rare that doctors call it an orphan syndrome: perhaps 300 people around the world also live with it. Walker turns twelve in 2008, but he weighs only 54 pounds, is still in diapers, can’t speak and needs to wear special cuffs on his arms so that he can’t continually hit himself. “Sometimes watching him,” Brown writes, “is like looking at the man in the moon – but you know there is actually no man there. But if Walker is so insubstantial, why does he feel so important? What is he trying to show me?”
In a book that owes its beginnings to Brown’s original Globe and Mail series, he sets out to answer that question, a journey that takes him into deeply touching and troubling territory. “All I really want to know is what goes on inside his off-shaped head,” he writes, “But every time I ask, he somehow persuades me to look into my own.”
In a book that owes its beginnings to Brown’s original Globe and Mail series, he sets out to answer that question, a journey that takes him into deeply touching and troubling territory. “All I really want to know is what goes on inside his off-shaped head,” he writes, “But every time I ask, he somehow persuades me to look into my own.”
Ian Brown is an author and a feature writer for The Globe and Mail whose work has won a total of nine Gold National Magazine and National Newspaper awards. He is the host of CBC Radio’s Talking Books, as well as the anchor of TVO’s two documentary series, Human Edge and The View from Here.
Warren Ellis' Apparat Volume 1
Warren Ellis tried to figure out how adventure comics would have developed without sixty-odd years of super hero comics. The result is a series of one-shots that follow some of the classic themes of the old action comics. This volume collects the first four.
Science Fiction is up first with a very bizarre tale and amazing graphics (you really have to pay attention to all of the little details in the graphics).
Detective fiction takes an interesting turn with a detective who has a tendency to sleep in dumpsters. He and his new partner have a murder to solve.
The wonder of Pilot heroes follows as a flying ace retires from a team of hero pilots. This one is a little strange as well as being a pilot has little to do with the story. Also the art was unstable with characters looking young one moment and beyond middle age the next and vice versa.
The final story takes the mantle of Doc Savage, The Shadow and The Spider with a different eccentric millionaire fighting crime with the help of strange substances. I felt this was the best overall considering both story and art.
Readers will be a little disappointed to find out how long we might have to wait for any more of these stories and there is also a tendency to want to see more stories about some of these characters (I really liked the detective). Check it out.
Science Fiction is up first with a very bizarre tale and amazing graphics (you really have to pay attention to all of the little details in the graphics).
Detective fiction takes an interesting turn with a detective who has a tendency to sleep in dumpsters. He and his new partner have a murder to solve.
The wonder of Pilot heroes follows as a flying ace retires from a team of hero pilots. This one is a little strange as well as being a pilot has little to do with the story. Also the art was unstable with characters looking young one moment and beyond middle age the next and vice versa.
The final story takes the mantle of Doc Savage, The Shadow and The Spider with a different eccentric millionaire fighting crime with the help of strange substances. I felt this was the best overall considering both story and art.
Readers will be a little disappointed to find out how long we might have to wait for any more of these stories and there is also a tendency to want to see more stories about some of these characters (I really liked the detective). Check it out.
Uffie
High Quality Content by WIKIPEDIA articles! Uffie (born Anna-Catherine Hartley on December 9, 1987) is an American-born, Hong Kong-raised, Paris-based rapper, vocalist, entertainer and songwriter currently signed by French music label Ed Banger Records. She incorporates the genres of synthpop, electronica, hip hop, rap and dance into her music and often works with her fellow label-mates, DJ Feadz and Mr. Oizo. She is perhaps best known for her singles "Pop the Glock", "First Love" and "Hot Chick" and her collaboration with labelmates Justice on the single "Tthhee Ppaarrttyy." Her long awaited debut album, Sex Dreams and Denim Jeans will be released through Ed Banger Records in spring 2010.
Smashing Pumpkins: Tales of a Scorched Earth
My girlfriend bought me this book for my birthday and I couldn't wait to get started on it because I'm a huge Pumpkins and Corgan fan. After about the fifth page I was already disappointed. I could hardly stand reading the author's long, drawn out, overly dramatic way of informing the reader. Every sentence felt like work to read because the author goes out of her way to try and impress with her large vocabulary and endless, dragging, dry descriptions on every single event.
I couldn't agree more with all the bad reviews written before me. If you strip all the dry filler from this book you wouldn't have much left, and of that most SP fans probably know 75% of it already. Don't be fooled by the good reviews that attack the intelligence of the people criticizing this book. I understand the words the author uses, but it makes for difficult reading that doesn't flow well at all. Like I said, reading this was like work. I'm very disappointed. I've never liked/disliked a book so much that I would actually write up a review, but I don't want others out there to go through what I did and waste their (or their girlfriend's) money. You can get better information about the band by studying their lyrics and finding interviews with them online.
I couldn't agree more with all the bad reviews written before me. If you strip all the dry filler from this book you wouldn't have much left, and of that most SP fans probably know 75% of it already. Don't be fooled by the good reviews that attack the intelligence of the people criticizing this book. I understand the words the author uses, but it makes for difficult reading that doesn't flow well at all. Like I said, reading this was like work. I'm very disappointed. I've never liked/disliked a book so much that I would actually write up a review, but I don't want others out there to go through what I did and waste their (or their girlfriend's) money. You can get better information about the band by studying their lyrics and finding interviews with them online.
The first, and only biography I have ever read of smashing pumpkins, and the worst biography I've ever read by anyone. Hanson over-utilises long words and skirts around even the slightest hint of any member of the band's private life in a bid to appear intellectual and inoffensive. In actual fact this only serves to irritate the reader. The photo section is the only real piece of green in this boring concrete patchwork, but even that is thin and devoted to the gish days. Although hanson clearly has a respect and perhaps a love of the pumpkins, her over-egging of songs like I am One and Siva is annoying. The real fault of the book though is its effort to appeal to indie kids who think they're clever, but even they would probably hate this clinical trash. I don't normally write amazon reviews, in fact this is only my second, but any prospective fan thinking of buying this book should look towards the mellon collie or adore CDs. Don't buy this, if you see a good review of this book, the person who wrote it was bribed. This is long, boring, irritating and over-intellectual with no real let up.
Freaky Dancin'
This is a story of Bez, the man with the maracas and Shaun Ryder's sidekick in the Happy Mondays. Bez was the embodiment of the eighties 'Madchester' scene - when asked by a journalist why he took so may drugs he replied, 'It's my job.' "Freaky Dancin'" is a rollercoaster ride through the excesses of rock 'n' roll. It is also the story of how a petty criminal, with no future, got up on stage one night at The Hacienda and found himself famous. 'No one has truly and more fully lived the rock lifestyle since "The Who's Keith Moon". This is the most honest, funny, outrageous, drug-fuelled rollercoaster of an autobiography since "Howard Marks". A cult classic.' - "Mirror". 'Bez emerges as a dangerous lunatic whose entire life is motivated by the pursuit of drugs. But, like his book, he's almost impossible not to like. Top one.' - "Mix Mag". 'Bez presents his life as a triumph against the odds, the pills and thrills of a hyperactive kid who couldn't settle on anything except drugs and petty crime but fronted one of the most important bands of the past ten years.' - "The Times". 'Bez's life story reads like that of a man who stole the world, sold it, bought it back on the cheap, and then left it on the back of a written-off jeep somewhere in the Caribbean.' - "New Musical Express".
Vinyl Frontier: The Making of "Stone Roses"
In April 1989 The Stone Roses released their debut album, the eponymous "The Stone Roses". Setting the album in the context of the Manchester scene at the time and the subsequent career of the band, as part of the 'Vinyl Frontier' series 'The Making of The Stone Roses' traces the studio dramas, musical politics and creative inspiration that lay behind a modern classic that is consistently rated highly among fans and critics alike.
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