Longtime friend and reporter, Neil McCormick, reveals childhood and present day stories about Bono and his band, U2. Some are born great. Some achieve greatness. Some have greatness thrust upon them. And some have the misfortune to go to school with Bono. Everyone wants to be famous. But as a young punk in Dublin in the 1970s, Neil McCormick's ambitions went way beyond mere pop stardom. It was his destiny to be a veritable Rock God. He had it all worked out: the albums, the concerts, the quest for world peace. There was only one thing he hadn't counted on. The boy sitting on the other side of the classroom had plans of his own. Killing Bono is a story of divergent lives. As Bono and his band U2 ascended to global superstardom, his school friend Neil scorched a burning path in quite the opposite direction. Bad drugs, weird sex, bizarre haircuts: Neil experienced it all in his elusive quest for fame. But sometimes it is life's losers who have the most interesting tales to tell. Featuring guest appearances by the Pope, Bob Dylan, and a galaxy of stars, Killing Bono offers an extremely funny, startlingly candid, and strangely moving account of a life lived in the shadows of superstardom. “The problem with knowing you is that you've done everything I ever wanted to,” Neil once complained to his famous friend. “I'm your doppelganger,” Bono replied. “If you want your life back, you'll have to kill me.” Now there was a thought...
The phone rings: 'Neil, it's Bono, I've just recorded a duet with Frank Sinatra!' 'Aaarrrgghh! Leave me alone. You're living the life I wanted' It's every boy's dream: to be a Rock God. Most of us leave the dream behind when reality bites, but that's not so easy when your mate's the lead singer in the biggest band in the world. Neil McCormick and Bono first met at school. Their continued friendship only highlights Neil's failure to live the dream. Self-deprecating, charming and very, very funny, this is a memoir for anyone who's ever gurned in front of the mirror as they hit the high notes on their air guitar . . .
Zero is the latest craze. Young, sexy and brilliant, he is a multi-hyphenated (singer-songwriter-rapper-producer) superstar for the digital generation. According to his publicist at least. He’s also a narcissistic, insecure, hyperactive, coke-snorting, pill-popping, loud-mouthed maelstrom of contradictions skating over the thin ice of terminal self-loathing. He has touched down in New York with his sycophantic entourage for the launch of a new single/album/movie/tour. It is countdown to Year Zero. But the boy at the centre of the media feeding frenzy is cracking up. Inside the echo chamber of his own skull, he isn't sure he deserves all the attention, doesn’t even know if he wants it anymore and is being driven half-mad by the mysterious absence of the love of his life. As the crucial hour approaches the young star cuts and runs, setting off on a wild trip across America pursued by paparazzi, fans, fortune hunters and his Mephistophelian manager, Beasley. He’s about to find out that when you have the most famous face in the world, you can run... but you can't hide.
THE TIMES TOP 10 BESTSELLERA GUARDIAN, TELEGRAPH, THE TIMES, IRISH TIMES, ROUGH TRADE, MOJO, CLASH, ROLLING STONE, UNCUT BOOK OF THE YEARFrom award-winning musician and composer Warren Ellis comes the unexpected and inspiring story of a piece of chewing gum. FEATURING AN INTRODUCTION BY NICK CAVE'Warren has turned this memento, snatched from his idol's piano in a moment of rapture, into a genuine religious artefact.'NICK CAVE'Such a mad, happy book about art and music and obsession. I'm so glad I got to read it. It made the world feel lighter.'NEIL GAIMAN'In praise of meaning-rich relics and magical things. Totally heartwarming project.'MAX PORTER'A unique study of a fan's devotion, of transcendence and of the artistic vocation - it's got depth and great warmth. It's a beautiful piece of work.'KEVIN BARRYI hadn't opened the towel that contained her gum since 2013. The last person to touch it was Nina Simone, her saliva and fingerprints unsullied. The idea that it was still in her towel was something I had drawn strength from. I thought each time I opened it some of Nina Simone's spirit would vanish. In many ways that thought was more important than the gum itself.On Thursday 1 July, 1999, Dr Nina Simone gave a rare performance as part of Nick Cave's Meltdown Festival. After the show, in a state of awe, Warren Ellis crept onto the stage, took Dr Simone's piece of chewed gum from the piano, wrapped it in her stage towel and put it in a Tower Records bag. The gum remained with him for twenty years; a sacred totem, his creative muse, a conduit that would eventually take Ellis back to his childhood and his relationship with found objects, growing in significance with every passing year.Nina Simone's Gum is about how something so small can form beautiful connections between people. It is a story about the meaning we place on things, on experiences, and how they become imbued with spirituality. It is a celebration of artistic process, friendship, understanding and love. 'This is such a beautiful f*@king book. Thank you, Warren. I highly recommend this motherf*@ker.'FLEA'A beautifully written book about the power of music and objects. I powered through it in two days.'COURTNEY BARNETT'A moving, inspiration insight into a beautiful mind.'JIM JARMUSCH'The year's most eccentric and joyful musical memoir.'DAILY TELEGRAPH (Books of the year)'[Nina Simone's Gum] is a metaphor for [Ellis'] creativity - the blossoming of a small idea into something bigger and bolder - but also a journey inside the impulsive, improvisatory mind of Warren Ellis, his passions, obsessions and superstitions.' OBSERVER'[A] beautiful, strikingly idiosyncratic book - part memoir, part essay, part conceptual art project, all testament to humans at their strangest and best . . . [Ellis] sees signifiance where others might not.'MOJO'A glorious piece of object fetishism . . . Marvel as Ellis' collection of eccentric personal mementos morphs into a celebration of the intangible wonder of music.'UNCUT'Wonderful.' THE TIMES'The most peculiar book I've ever read.' CRAIG BROWN, MAIL ON SUNDAY'Delightful . . . A joy from start to finish.' BIG ISSUE'A joyous work full of love, connection, creativity and gratitude.' THE SPECTATOR'Completely charming and joyful . . . glorious.' LA REVIEW OF BOOKS'Beautiful . . . remarkable.' NEW EUROPEAN
In this Time Top 100 Book of the Year, the National Book Award finalist and New York Times bestselling author of Heartland “analyzes how Dolly Parton’s songs—and success—have embodied feminism for working-class women” (People). Growing up amid Kansas wheat fields and airplane factories, Sarah Smarsh witnessed firsthand the particular vulnerabilities—and strengths—of women in working poverty. Meanwhile, country songs by female artists played in the background, telling powerful stories about life, men, hard times, and surviving. In her family, she writes, “country music was foremost a language among women. It’s how we talked to each other in a place where feelings aren’t discussed.” And no one provided that language better than Dolly Parton. In this “tribute to the woman who continues to demonstrate that feminism comes in coats of many colors,” Smarsh tells readers how Parton’s songs have validated women who go unheard: the poor woman, the pregnant teenager, the struggling mother disparaged as “trailer trash.” Parton’s broader career—from singing on the front porch of her family’s cabin in the Great Smoky Mountains to achieving stardom in Nashville and Hollywood, from “girl singer” managed by powerful men to self-made mogul of business and philanthropy—offers a springboard to examining the intersections of gender, class, and culture. Infused with Smarsh’s trademark insight, intelligence, and humanity, this is “an ambitious book” (The New Republic) about the icon Dolly Parton and an “in-depth examination into gender and class and what it means to be a woman and a working-class hero that feels particularly important right now” (Refinery29).
"Meticulous in its research, forensic in its reasoning, robust in its argument, and often hilarious in its debunking... a highly entertaining rumble with the century's major conspiracy theorists and their theories." --John Lahr, National Book Critics Circle Award-winning author of Tennessee Williams From an award-winning journalist, a history so funny, so true, so scary, it's bound to be called a conspiracy. Our age is obsessed by the idea of conspiracy. We see it everywhere- from Pearl Harbor to 9/11, from the assassination of Kennedy to the death of Diana. In this age of terrorism we live in, the role of conspiracy is a serious one, one that can fuel radical or fringe elements to violence. For David Aaronovitch, there came a time when he started to see a pattern among these inflammatory theories. these theories used similarly murky methods with which to insinuate their claims: they linked themselves to the supposed conspiracies of the past (it happened then so it can happen now); they carefully manipulated their evidence to hide its holes; they relied on the authority of dubious academic sources. Most important, they elevated their believers to membership of an elite- a group of people able to see beyond lies to a higher reality. But why believe something that entails stretching the bounds of probability so far? In this entertaining and enlightening book, he examines why people believe conspiracy theories, and makes an argument for a true skepticism: one based on a thorough knowledge of history and a strong dose of common sense.
Since the rise of Napster and other file-sharing services in its wake, most of us have assumed that intellectual piracy is a product of the digital age and that it threatens creative expression as never before. The Motion Picture Association of America, for instance, claimed that in 2005 the film industry lost $2.3 billion in revenue to piracy online. But here Adrian Johns shows that piracy has a much longer and more vital history than we have realized—one that has been largely forgotten and is little understood. Piracy explores the intellectual property wars from the advent of print culture in the fifteenth century to the reign of the Internet in the twenty-first. Brimming with broader implications for today’s debates over open access, fair use, free culture, and the like, Johns’s book ultimately argues that piracy has always stood at the center of our attempts to reconcile creativity and commerce—and that piracy has been an engine of social, technological, and intellectual innovations as often as it has been their adversary. From Cervantes to Sonny Bono, from Maria Callas to Microsoft, from Grub Street to Google, no chapter in the story of piracy evades Johns’s graceful analysis in what will be the definitive history of the subject for years to come.
A night that began with a dinner to celebrate his eleventh wedding anniversary ended in a jail cell for Michael Bryant. He was charged with dangerous driving causing death and criminal negligence causing the death of cyclist Darcy Sheppard. Ironically, he had helped write the legal test for the same charges sixteen years earlier. Bryant, as Ontario's attorney general, was the man responsible for administering 500,000 criminal charges every year in that province. He now faced prosecution by the same justice system. The charges were eventually dropped, but nothing could undo what had happened to Sheppard-or Bryant.
The first book to go beyond the scandal and distraction of the world's most infamous local politician, and reveal what drives Rob Ford and the many voters who steadfastly support him. Eye-opening and at times frightening, The Only Average Guy cuts through the uproar that followed Ford everywhere. A journalist before entering politics, Filion peels back the layers of an extremely complicated man. Weaving together the personal and political stories, he explains how Ford's tragic weaknesses helped propel him to power before leading to his inevitable failure. Through Ford, the book also explains the growing North American phenomenon by which angry voters are attracted to outspoken candidates flaunting outrageous flaws. For fifteen years, Toronto city councillor John Filion has had an uncommon relationship with Rob Ford. Sitting two seats away from the wildly unpredictable councillor from Etobicoke, who served as mayor from 2010 to 2014, Filion formed an unlikely camaraderie that allowed him to look beyond Rob's red-faced persona, seeing a boy still longing for the approval of his father, struggling with the impossible expectations of a family that fancied itself a political dynasty.
