This violent and introspective memoir reveals not only 50 Cent's story but also the story of a generation of youth faced with hard choices and very few options. It is a tale of sacrifice, transformation, and redemption, but also one of hope, determination, and the power of self. Told in 50's unique voice, the narrative drips with the raw insight, street wisdom, and his struggle to survive at all costs -- and behold the riches of the American Dream.

Just a Little From the Top is an autobiography of a lifetime in music. Roderick Elms' love of music throughout his childhood and secondary school at The City of London School led to the Royal Academy of Music, and a full time career at the highest level of music-making in London. It includes a multitude of anecdotes, many humorous, and reveals some of the workings of the music profession, including occasions when things have gone wrong, as a result of practical or mechanical failures, or due simply to incompetent leadership. In addition to his freelance performances for the BBC from the late seventies until the present, Roderick Elms describes the periods he spent with the London Symphony Orchestra, London Philharmonic Orchestra and the Royal Philharmonic Orchestra. There is a chapter about his work and travels as pianist with the eminent cellist Mstislav Rostropovich. He has made numerous solo recordings with the London orchestras and these are detailed together with the many film soundtracks to which he has contributed, notably the complete The Lord of the Rings, trilogy. Composing and arranging has also been a big part of his life and there is a chapter about this and the CD recordings made of his music (including 'A Little Fall-ish!'; 'Festive Frolic'; 'Moody Moves'; 'A Windy Christmas'). A little early biographical information takes the reader through the wonderful experiences gained by many from musical opportunities provided by the Redbridge Music Service and its music advisor, Malcolm Bidgood OBE. It also takes a trip through some of the Redbridge-based musical groups which played such a big part in the lives of young musicians living in that area in the late-sixties, seventies and eighties. Not least, the internationally unknown Gnaff Ensemble.

THE GREATEST IMMIGRANT SUCCESS STORY OF OUR TIME
His story is unique, and uniquely entertaining, and he tells it brilliantly in these pages.
He was born in a year of famine, in a small Austrian town, the son of an austere police chief. He dreamed of moving to America to become a bodybuilding champion and a movie star.
By the age of twenty-one, he was living in Los Angeles and had been crowned Mr. Universe.
Within five years, he had learned English and become the greatest bodybuilder in the world.
Within ten years, he had earned his college degree and was a millionaire from his business enterprises in real estate, landscaping, and bodybuilding. He was also the winner of a Golden Globe Award for his debut as a dramatic actor in "Stay Hungry."
Within twenty years, he was the world's biggest movie star, the husband of Maria Shriver, and an emerging Republican leader who was part of the Kennedy family.
Thirty-six years after coming to America, the man once known by fellow body-builders as the Austrian Oak was elected governor of California, the seventh largest economy in the world.
He led the state through a budget crisis, natural disasters, and political turmoil, working across party lines for a better environment, election reforms, and bipartisan solutions.
With Maria Shriver, he raised four fantastic children. In the wake of a scandal he brought upon himself, he tried to keep his family together.
Until now, he has never told the full story of his life, in his own voice.
Here is Arnold, with total recall.

The long-awaited memoir from John Fogerty, the legendary singer-songwriter and creative force behind Creedence Clearwater Revival. Creedence Clearwater Revival is one of the most important and beloved bands in the history of rock, and John Fogerty wrote, sang, and produced their instantly recognizable classics: "Proud Mary," "Bad Moon Rising," "Born on the Bayou," and more. Now he reveals how he brought CCR to number one in the world, eclipsing even the Beatles in 1969. By the next year, though, Creedence was falling apart; their amazing, enduring success exploded and faded in just a few short years. Fortunate Son takes readers from Fogerty's Northern California roots, through Creedence's success and the retreat from music and public life, to his hard-won revival as a solo artist who finally found love.

This biography of Michael Mosoeu Moerane (1904-1980) surveys the unique life, times and music of the first classically educated African composer in southern Africa.

The Times Do Not Permit is the first extended overview of the life, times, and music of Michael Mosoeu Moerane (1904-1980), a composer brought up in rural South Africa in the early twentieth century. It offers a close study of African choral music that dates back to mission schools and colleges in the Eastern Cape, where a number of future African composers, as well as future political leaders, were educated. Moerane was one of many mission-trained musicians who wrote short a cappella choral works for churches and schools.

The Times Do Not Permit explores the political changes and social conditions that made life for Moerane both possible and impossible as a composer. He was the first black South African to qualify with a BMus degree in 1941. However, this caused difficulties for him both within the African choral circuit, where his advanced modernist style was considered strange and difficult, and within white concert life, from which he was largely excluded. Only his symphonic poem for orchestra, Fatšo La Heso, attained some recognition locally and internationally during his lifetime, and the score survived, unlike many of the piano pieces and smaller instrumental works he wrote.

In addition to telling the story of his ancestry, upbringing, education and teaching career, Christina Lucia offers an analysis of his music, the famous symphonic poem and four of his choral pieces, to reflect the major themes he expressed. The Times Do Not Permit is supplemented with interviews with those who knew Moerane, and ends with a coda of professional letters to, from and about him that gives his voice a presence in the absence of much personal documentation.