White Line Fever

Told with Lemmy's indomitable charisma and humour, this is the autobiography of a rock icon who over the past thirty years in the industry, has stayed true to his music, his fans and his pleasures. Lemmy was born Ian Fraser Kilmister in 1945, the son of a vicar who walked out on his mother when Lemmy was just three months old. Having been inspired to play the guitar by Chicks, Little Richard and Buddy Holly, Lemmy formed what would become the ultimate metal group in 1975 and christened them Motorhead. The group went on to embrace a rock-and-roll lifestyle fuelled by drink, drugs and women, and in the process released twenty-one albums and attracted a huge following. WHITE LINE FEVER is a truly headbanging tour through the last few decades of speedmetal, offering a sometimes hilarious, often outrageous, but highly entertaining trip with the frontman of the loudest rock band in the world.

In 'The Ace of Spades', Motörhead's most famous song, Lemmy, the born-to-lose, live-to-win frontman of the band sang, 'I don't want to live forever'. Yet as he told his friend of 35 years, former PR and biographer Mick Wall, 'Actually, I want to go the day before forever. To avoid the rush...'. This is his strange but true story. Brutally frank, painfully funny, wincingly sad, and always beautifully told, LEMMY: THE DEFINITIVE BIOGRAPHY is the story of the only rock'n'roller never to sell his soul for silver and gold, while keeping the devil, as he put it, 'very close to my side'. From school days growing up in North Wales, to first finding fame in the mid-60s with the Rockin' Vicars; from being Jimi Hendrix's personal roadie ('I would score acid for him'), to leading Hawkwind to the top of the charts in 1972 with 'Silver Machine' ('I was fired for taking the wrong drugs'); from forming Motörhead ('I wanted to call the band Bastard but my manager wouldn't let me'), whose iconoclastic album NO SLEEP 'TIL HAMMERSMITH entered the UK charts at No. 1. Based on Mick's original interviews with Lemmy conducted over numerous years, along with the insights of those who knew him best - former band mates, friends, managers, fellow artists and record business insiders - this is an unputdownable story of one of Britain's greatest characters. As Lemmy once said of Wall, 'Mick Wall is one of the few rock writers in the world who can actually write and seems to know anything about rock music. I can and do talk to him for hours - poor bastard.' With the hard part of his journey now over, Lemmy is set to become a legend. LEMMY: THE DEFINITIVE BIOGRAPHY explains exactly how that came to be.

The name 'Tony Iommi' sends shivers down the spines of guitarists around the world. As lead guitarist and songwriter of Black Sabbath, Tony Iommi is considered to be one of the most influential musicians of the past four decades and the inventor of heavy metal. From working class, Midlands roots, his unique playing style - a result of a disfiguring hand injury he suffered working in a sheet metal factory - created a dark and gothic sound unlike anything that had been heard before and which captured the mood of its time. Sabbath went on to become a superband, playing to massive audiences around the world and selling millions of records, and Iommi led the life of a rockstar to the fullest - with the scars from all the drug-fuelled nights of excess and wildness to show for it. Iron Manis the exclusive account of the life and adventures of one of rock's greatest heroes.

With hischiseled features, effortless screen presence, otherworldly vitality, strikingblue eyes, Jan-Michael Vincent seemed destined for superstardom. However, the real Jan-Michael Vincent was areluctant sex symbol plagued by doubt and low self-confidence, a perpetualmisfit doomed to alcoholism. Jan-MichaelVincent: Edge of Greatness covers Vincent’s entire life, beginning in hishometown of Hanford, California, and details the difference between JanVincent, a shy, small town boy, and Jan-Michael Vincent, Hollywood’s goldenboy, who was thought to be the next James Dean in the early to mid-1970s, aperiod in which Vincent delivered memorable performances in films such as Buster and Billie, The Mechanic, Tribes,and The World’s Greatest Athlete. Featuringinterviews with Vincent’s childhood classmates and friends, as well as hisformer Hollywood colleagues, including Donald P. Bellisario, Alex Cord, andRobert Englund, Jan-Michael Vincent: Edge of Greatnessreveals an eternal man-child, whose career and life symbolize the tragedy ofunfulfilled potential. David Grove is an author,film journalist, historian, and produced screenwriter. He is the author of the books Fantastic 4: The Making of the Movie, JamieLee Curtis: Scream Queen, Making Friday the 13th, and On Location inBlairstown: The Making of Friday the 13th. He lives in British Columbia, Canada. Grove missed his calling. He should have been anovelist. Thanks to Grove's vivid prose and keen eye for emotionaldetail, Edge of Greatness is reads much more like a tragicnovel than the standard biography of a mildly talented actor's rapid rise andhorrific downfall. This is the all-too-familiar story of a self-destructiveactor undone by all the temptations of Hollywood -- sex, drugs, alcohol -- andhis own hubris. The book tracks Vincent from his humble beginnings inthe central California farming community of Hanford, through his years ofstardom, and up to his current squalor, which is physical, mental andfinancial. As Grove puts it: "A black Mustang convertible and a patch of rosesout front offer the only clues to his past life, when his aquamarine eyes,chiseled features, and sun-streaked hair sang of creamy sand and sweet sex. Hehas long ceased being beautiful or strong." Vincent today is confined to a wheelchair. He has lost aleg, the result of peripheral artery disease, and he struggles with diabetes,epilepsy, and the ravages of "countless episodes of alcoholic poisoningand toxic shock." Grove goes on to say that Vincent "barely weights100 points, his teeth dangle in his jaw, brittle and emaciated" andthat the condition of his liver "has moved far beyond the simplecharacterization of cirrhosis. It's a celebration of rot." And all of those quotes are just from page one,effectively setting the stage for the tragic story to come. Sure, he gives awaythe ending, but it puts the actor's entire rise and fall into horrificperspective that haunts the book. What makes this tragedy such compellingreading, as opposed to the literary equivalent of watching a train wreck, isGrove's writing and reporting skills. Perhaps that's due to this startlingadmission from the author, at the very end of the book, when he asks himself ifhe likes Vincent: I don't like myself, which is what we have in common andwhy I was drawn to him. And he goes on to conclude: It's obvious now that he was not born; he was invented.I thought there would be more, but this is it. He got what he deserved. Wow. It's hard to turn your eyes away. -- Lee Goldberg

“A wonderful nightmare of a book: tender and frightening, disturbing but compassionate. Fever Dream is a triumph of Schweblin’s outlandish imagination.” –Juan Gabriel Vasquez, author of The Sound of Things Falling and Reputations A young woman named Amanda lies dying in a rural hospital clinic. A boy named David sits beside her. She’s not his mother. He's not her child. Together, they tell a haunting story of broken souls, toxins, and the power and desperation of family. Fever Dream is a nightmare come to life, a ghost story for the real world, a love story and a cautionary tale. One of the freshest new voices to come out of the Spanish language and translated into English for the first time, Samanta Schweblin creates an aura of strange psychological menace and otherworldly reality in this absorbing, unsettling, taut novel.

No one in their right mind travels across Siberia in the middle of winter in a modified Russian jeep, with only a CD player (which breaks on the first day) for company. But Jacek Hugo–Bader is no ordinary traveler. As a fiftieth birthday present to himself, Jacek Hugo–Bader sets out to drive from Moscow to Vladivostok, traversing a continent that is two and a half times bigger than America, awash with bandits, and not always fully equipped with roads. But if his mission sounds deranged it is in keeping with the land he is visiting. For Siberia is slowly dying — or, more accurately, killing itself. This is a traumatized post–Communist landscape peopled by the homeless and the hopeless: alcoholism is endemic, as are suicides, murders, and deaths from AIDS. As he gets to know these communities and speaks to the people, Hugo–Bader discovers a great deal of tragedy, but also dark humor to be shared amongst the reindeer shepherds, the former hippies, the modern–day rappers, the homeless and the sick, the shamans, and the followers of ‘one of the six Russian Christs,’ just one of the many arcane religions that flourish in this isolated, impossible region.

A Rolling Stone-Kirkus Best Music Book of 2020 The definitive account of pop music in the mid-eighties, from Prince and Madonna to the underground hip-hop, indie rock, and club scenes Everybody knows the hits of 1984 - pop music's greatest year. From "Thriller" to "Purple Rain," "Hello" to "Against All Odds," "What's Love Got to Do with It" to "Wake Me Up Before You Go-Go," these iconic songs continue to dominate advertising, karaoke nights, and the soundtracks for film classics (Boogie Nights) and TV hits (Stranger Things). But the story of that thrilling, turbulent time, an era when Top 40 radio was both the leading edge of popular culture and a moral battleground, has never been told with the full detail it deserves - until now. Can't Slow Down is the definitive portrait of the exploding world of mid-eighties pop and the time it defined, from Cold War anxiety to the home-computer revolution. Big acts like Michael Jackson (Thriller), Prince (Purple Rain), Madonna (Like a Virgin), Bruce Springsteen (Born in the U.S.A.), and George Michael (Wham!'s Make It Big) rubbed shoulders with the stars of the fermenting scenes of hip-hop, indie rock, and club music. Rigorously researched, mapping the entire terrain of American pop, with crucial side trips to the UK and Jamaica, from the biz to the stars to the upstarts and beyond, Can't Slow Down is a vivid journey to the very moment when pop was remaking itself, and the culture at large - one hit at a time.

The Pocket Book is for use by doctors nurses and other health workers who are responsible for the care of young children at the first level referral hospitals. This second edition is based on evidence from several WHO updated and published clinical guidelines. It is for use in both inpatient and outpatient care in small hospitals with basic laboratory facilities and essential medicines. In some settings these guidelines can be used in any facilities where sick children are admitted for inpatient care. The Pocket Book is one of a series of documents and tools that support the Integrated Managem.