"Hello, my name is Tyler Tracer and I am falling apart. I am twenty-four years old, and I have no ability whatsoever to choose an occupation or a hair color." Meet Tyler, the singularly irresistible and straight-talking heroine of Sarahbeth Purcell's touching first novel. An incurable romantic, Tyler's chief obsessions include music, list-making -- and David, the man who broke her heart. Despite an exhaustively detailed list of reasons for why she should just forget about David once and for all -- including (but by no means limited to) chronic illness, terminal self-absorption, and geographical inaccessibility -- Tyler remains hopelessly hooked on him. Hence the wild ride she embarks upon in the wake of her father's death, a ride that takes her from her hometown in Tennessee to sunny Los Angeles, all in hopes of saving David from his ominous take on life. This hilarious and dark cross-country expedition finds our young heroine negotiating the universally perilous terrain of sex, love, and relationships with uncommon verve, wit, and more than a little recklessness. Along the way, Tyler discovers, among other things, the uniquely redemptive powers of roadkill, the fact that enduring love tends to blossom in the most unexpected and unlikeliest places, and, above all, that nothing can stop her from making her own rules and mapping out her own life. Not even herself. A joyous triumph of a debut to which readers will respond with a sense of instant recognition, Sarahbeth Purcell's Love Is the Drug spins a story of bold living and loving that crackles with energy and innovation.

    Learn about cannabis history and the issues around its legalization. Includes full-color photos of marijuana varieties.

    Being raised by his father since the age of four without any involvement from his mother, makes him feel like he’s been missing something. Regardless of his dad’s endless love, he knows that his mother has to care about him. After his dad is shot and killed, his hopes are high for reuniting with his mother, but once again, he is left without her love. Moving in with his paternal grandparents wasn’t what he expected, but it’s his fate. Learning to adapt is hard and after his introduction to music, he uses it to ease his soul. At some point it’s not enough and he turns his attention to women. Sex gives him an adrenaline rush like no other and it helps him manage his demons. However, when he meets Ulanni Alvarez at a spoken word performance, he has a different outlook on life just from that moment of being in her presence. When she leaves, he knows she will be the one to change him forever. The problem was that he would have to convince her of that fact… after he can convince himself that he deserved everything she has to offer.

    

    Scott's romantic image is however, far from the rogue which Nigel Tranter portrays in this classic work.

    As it is, the political problem remains unsolved. Democracy substitutes election by the incompetent many for appointment by the corrupt few. Democratic republics can no more dispense with national idols than monarchies with public functionaries. Government presents only one problem: the discovery of a trustworthy anthropometric method.

    (doubling possible.) / 5 ints. or unit set. Recently revived on Broadway to great acclaim, this is the rollicking tale of three down and out troupers who decide to head for Hollywood and try their luck with the newly invented talkies. Due to a series of consistent blunders, the most stupid of the three is carried to pinnacles of fame and fortune until he's literally made a god of the industry. It's a fast paced and wild romp and a marvelous spoof of tinsel land.

    You're really not going to get any deep insights, but you're getting more real life business information than you would from the Dilbert comics. Individually, the books are relatively short with plenty of spacing, largish font, Dilbert comics strewn about, and emails/letters from people that generally tell humorous stories. In other words, there's plenty of filler, but it's not necessarily a bad thing in a light read like this. Together, the books add up to a very decent length.

    Mixerman is a recording engineer working with a famous producer on the debut album of an unknown band with a giant recording budget. Mixerman is supposed to be writing about recording techniques, but somehow, through that prism, he has hit upon a gripping story. Like all great narratives, Mixerman's diary has many anti-heroes for whom we, the readers, can have nothing but contempt. The band consists of the four most dislikable human beings you can imagine. The singer is vain and pretentious. The guitarist is a serious depressive. The drummer is as "dumb as cotton," and the bassist is merely mean and petty, making him the only one that Mixerman can stand. All four of them hate each other's guts, and they haven't even been on tour yet. Mixerman takes you through the recording process of a bidding war band in over their heads with a famous record producer (also in over his head). Many find Mixerman's diary entries side-splittingly funny. Some find them maddening. And a select few feel they are the most despicable accountings of record-making ever documented.

    This title features the shooting scripts of seasons three and four.

    music explosion of the late '70s through the '90s with groups like Joy Division (soon to be the subject of an Anton Corbijn movie), New Order, and Happy Mondays leading the New Wave. At Factory, musicians and designers commingled creatively, with innovators such as Peter Saville, Den Kelly, Mark Farrow, 8VO, and Barbara Kruger elevating album covers to a new art form. The label broke further ground when it opened its own disco, the legendary Hacienda. Factory Records is the ultimate and only collection of Factory's complete graphic output, including every single piece it produced: extremely rare record sleeves, club flyers, and posters all gathered together for the first time. A must for collectors and enthusiasts, Matthew Robertson's meticulous compilation of underground ephemera is poised to introduce a new generation of music and design fans to the creative genius of Factory.

    My name is Jimmy Plush. I'm a private detective. I'm also a teddy bear. It all started when the original Jimmy Plush entered my life, offering to take my gambling debts away if I agreed to switch bodies with him. But I didn't know that being a three-foot-high plush toy would be such a living hell, especially now that everyone in town wants a piece of me. All I've gotten out of this deal is a faithful Chinese chauffeur, a custom teddybear .45, and a girlfriend who won't take off the fox suit she turns tricks in. Now I've got to keep this town clean and try to track down the real Jimmy Plush without losing my stuffing for good. Only one thing is for sure: Life is hard when you're soft. Jimmy Plush, Teddy Bear Detective is a high octane pulp satire. In the tradition of Sam Spade, The Shadow, Dick Tracy, Hellboy and Howard the Duck comes a new kind of hero, a hero that reminds us that the measure of a man is in his guts and his gun.

    Pearl Jam Twenty is an intimate and lavishly illustrated portrait of one of the world’s most influential and successful bands—by the band itself.

    In addition to all Cave's lyrics recorded with The Bad Seeds during this time, King Ink II includes several lyrics as yet unrecorded, as well as a number written for other artists and for the Wim Wenders films Faraway, So Close! and Until the End of the World. A short film treatment and a substantial essay on the subject of language and the Bible, "The Flesh Made Word, " are among further material which is not available elsewhere.

    Morris first came to national prominence at the heart of a group of virtually unknown comedians brought together by Armando Iannucci. This book follows them from their 1991 news satire On the Hour, which transferred from radio to television where it was reinvented as the equally successful The Day Today. It became impossible to watch bulletins without thinking of Morris's Paxmanesque anchor character chastising a reporter -- 'Peter! You've lost the news!' -- or authoritatively delivering nonsense headlines: 'Sacked chimney worker pumps boss full of mayonnaise.' Meanwhile co-star Steve Coogan created a lasting anti-hero in Alan Partridge, imbued with a horrible life all of his own. But Morris himself was always the most compelling character of all. Drawing on exclusive new interviews and original research, this book creates a compelling portrait of Morris from his earliest radio days and of the comedians and writers who frequently took on the industry they worked in, polarising opinion to such a degree that government ministers threatened to ban them entirely. THIS IS THE NEEEWWWWS!