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For the first time, more than 15 years after four boys from London were first thrown together to form what would go on to become one of the most successful and infamous groups of the boyband era, Lee, Antony, Duncan and Simon tell their full, no-holds-barred story in their own inimitable words.Blue first rose to fame and mega-stardom in 2001. With 3 UK Number 1 Platinum-selling albums, 2 Brit Awards and 16 million records to their name, they quickly became the crushes of choice for the noughties generation.But their tendency to say exactly what they think, wear their hearts on their sleeves and court controversy (usually unintentionally) has meant that they’ve rarely left the limelight, or public hearts and minds, since.Blue: All Rise: Our Story is the boys’ intimate tell-all account charting the highs and the lows of their incredible career, the stories behind the headlines, and our favourite face-palm-worthy Blue moments. With explosive new reveals, never-before-seen photos, and all the latest updates – including Simon’s engagement and his struggle with depression, Lee’s brush with cancer, Duncan’s devastation at the passing away of his best friend, original It Girl Tara Palmer-Tomkinson, and how Antony’s adapting to fatherhood all over again, this is the story every 2000s teen has been waiting for, from four lads who’ve come out the other side older, wiser and closer than ever.

The first publication of Kurt Cobain's diaries, which were found after his death in 1994. Genuinely moving, provocative and candid, and suprisingly funny, pieces of writing which, as a whole, provide a unique account of the rise and fall of a great popular artist and icon.

That Bird Has My Wings is the astounding memoir of death row inmate Jarvis Masters and a testament to the tenacity of the human spirit and the talent of a fine writer. Offering scenes from his life that are at times poignant, revelatory, frightening, soul-stirring, painful, funny, and uplifting, That Bird Has My Wings tells the story of the author’s childhood with parents addicted to heroin, an abusive foster family, a life of crime and imprisonment, and the eventual embracing of Buddhism.

In this intimate and open account - nothing like any rock-and-roll memoir you've ever read - Alex Van Halen shares his personal story of family, friendship, music and brotherly love in a remarkable tribute to his beloved brother and band mate. 'A remarkable memoir' Classic Rock 'A highly emotional read' Guardian In his rough yet sweet voice, Alex recounts the brothers' childhood, first in the Netherlands and then in working class Pasadena, California, with an itinerant musician father and a very proper Indonesian-born mother - the kind of mum who admonished her boys to "always wear a suit" no matter how famous they became - a woman who was both proud and practical, nonchalant about taking a doggie bag from a star-studded dinner. He also shares tales of musical politics, infighting, and plenty of bad-boy behaviour. But mostly his is a story of brotherhood, music, and enduring love. "I was with him from day one," Alex writes. "We shared the experience of coming to America and figuring out how to fit in. We shared a record player, an 800 square foot house, a mom and dad, and a work ethic. Later, we shared the back of a tour bus, alcoholism, the experience of becoming famous, of becoming fathers and uncles, and of spending more hours in the studio than I've spent doing anything else in this life. We shared a depth of understanding that most people can only hope to achieve in a lifetime." There has never been an accurate account of them or the band, and Alex wants to set the record straight on Edward's life and death.

The New York Times bestseller based on the Oscar nominated documentary film In June 1979, the writer and civil rights activist James Baldwin embarked on a project to tell the story of America through the lives of three of his murdered friends: Medgar Evers, Malcolm X and Martin Luther King, Jr. He died before it could be completed. In his documentary film, I Am Not Your Negro, Raoul Peck imagines the book Baldwin never wrote, using his original words to create a radical, powerful and poetic work on race in the United States - then, and today. 'Thrilling . . . A portrait of one man's confrontation with a country that, murder by murder, as he once put it, "devastated my universe"' The New York Times 'Baldwin's voice speaks even more powerfully today . . . the prose-poet of our injustice and inhumanity . . . The times have caught up with his scalding eloquence' Variety 'A cinematic séance . . . One of the best movies about the civil rights era ever made' Guardian 'I Am Not Your Negro turns James Baldwin into a prophet' Rolling Stone

Join the band on their journey to superstardom.This is the only official book from 1D charting their journey since 2012—from the places they visited and fans they met, to their thoughts and feelings, hopes and dreams, highs and lows. It was a phenomenal time—and this is a phenomenal story.Packed with exclusive beautiful photos, backstage snapshots, hand-written annotations, and brand-new insights into the boys' world, Where We Are is a unique book that no fan's life is complete without—bringing the 1D story right up to date.

The first official account of the iconic record label. An NME Book of the Year 2013 A Rough Trade Book of the Year 2013 A Times Literary Supplement Book of the Year 2013 This Mortal Coil, Birthday Party, Bauhaus, Cocteau Twins, Pixies, Throwing Muses, Breeders, Dead Can Dance, Lisa Germano, Kristin Hersh, Belly, Red House Painters. Just a handful of the bands and artists who started out recording for 4AD, a record label founded by Ivo Watts-Russell and Peter Kent in 1979, a label which went on to be one of the most influential of the modern era. Combining the unique tastes of Watts-Russell and the striking design aesthetic of Vaughan Oliver, 4AD records were recognisable by their look as much their sound. In this comprehensive account concentrating on the label's first two decades (up to the point that Watts-Russell left), music journalist Martin Aston explores the fascinating story with unique access to all the key players and pretty much every artist who released a record on 4AD during that time, and to its notoriously reclusive founder. With a cover designed by Vaughan Oliver this is an essential book for all 4AD fans and anyone who loved the music of that time.

The hysterical, shocking and incredibly intimate memoir from one of the most original and unique comedians alive today. Hello! I'm Brian Limond, aka Limmy. You might know me from Limmy's Show. Or you might not know me at all. Don't worry if you don't. They asked me to write a book about mental health, because I sometimes talk about my mental health in tweets and interviews, like suicidal thoughts and anxiety, and what I've done to try and deal with it. I said to them, oh, I don't know if I could fill a whole book with just that. But how's about I write a general autobiography type of thing, and all the mental health stuff will naturally appear along the way? I could talk about growing up and slashing my wrist and taking acid all the time and getting done for car theft and feeling like a mad freak that would never amount to anything. And then how I made my own sketch show. I directed it and everything. Plus I'm a dad. I'm an adult. But I still feel like that mad freak from years ago. I still feel like chucking it all away, for a laugh. I asked them if they wanted me to write about all that, plus some other stuff. Like being an alky. And my sexual problems. Stuff like that. They said aye. So here it is.

The definitive, career-spanning collection of writing from Anthony Bourdain, assembled for the first time in book form Anthony Bourdain represented many things to many people--and he had many sides. But no part of his identity was more important to him, and more long-lasting, than that of a writer. The Anthony Bourdain Reader is a collection of his best and most fascinating writing, and touches on his many pursuits and passions, from restaurant life to family life to the "low life," from TV to travel through places like Vietnam, Buenos Aires, Paris, and Shanghai. The Anthony Bourdain Reader is also a showcase for new and never-before-seen material, like diary entries from Bourdain's first trip to France as a teenager and "It's Cruel and Unforgiving Terrain," a piece on the New York restaurant scene, as well as unpublished short fiction like "I Quit My Job Yesterday" and chapters from No New Messages, his unfinished novel. These newly discovered pieces all contribute to give the fullest picture of the man behind the books. The Anthony Bourdain Reader is a testament to the enduring and singular voice Bourdain crafted, with eclectic and curated chapters that encapsulate the unique brilliance of his restless mind. Edited by Bourdain's longtime agent and friend Kimberly Witherspoon and with a foreword by Patrick Radden Keefe, this is an essential reader for any Bourdain fan as well as a vivid and moving recollection of the life and legacy of one of our most distinctive writers.

The influence of Miles Davis's "second great quintet," consisting of Davis (trumpet), Wayne Shorter (tenor saxophone), Herbie Hancock (piano), Ron Carter (bass), and Tony Williams (drums) continues to resonate. Jazz musicians, historians, and critics have celebrated the group for its improvisational communication, openness, and its transitional status between hard bop and the emerging free jazz of the 1960s, creating a synthesis described by one quintet member as "controlled freedom." The book provides a critical analytical study of the Davis quintet studio recordings released between 1965-68, including E.S.P., Miles Smiles, Sorcerer, Nefertiti, Miles in the Sky, and Filles de Kilimanjaro. In contrast to the quintet's live recordings, which included performances of older jazz standards, the studio recordings offered an astonishing breadth of original compositions. Many of these compositions have since become jazz standards, and all of them played a central role in the development of contemporary jazz composition. Using transcription and analysis, author Keith Waters illuminates the compositional, improvisational, and collective achievements of the group. With additional sources, such as rehearsal takes, alternate takes, session reels, and copyright deposits of lead sheets, he shows how the group in the studio shaped and altered features of the compositions. Despite the earlier hard bop orientation of the players, the Davis quintet compositions offered different responses to questions of form, melody, and harmonic structure, and they often invited other improvisational paths, ones that relied on an uncanny degree of collective rapport. And given the spontaneity of the recorded performances-often undertaken with a minimum of rehearsal-the players responded with any number of techniques to address formal, harmonic, or metrical discrepancies that arose while the tape was rolling. The book provides an invaluable resource for those interested in Davis and his sidemen, as well as in jazz of the 1960s. It serves as a reference for jazz musicians and educators, with detailed transcriptions and commentary on compositions and improvisations heard on the studio recordings.