Dylan Jones' definitive oral history of The Velvet Underground draws on contributions from remaining members, contemporaneous musicians, critics, film-makers, and the generation of artists who emerged in their wake, to celebrate not only their impact but their legacy, which burns brighter than ever into the 21st century. Rebellion always starts somewhere, and in the music world of the transgressive teen whether it be the 1960s of the 2020s, The Velvet Underground represent ground zero. Crystallizing the idea of the bohemian, urban, narcissistic art school gang, around a psychedelic rock and roll band - a stylistic idea that evolved in the rarefied environs of Andy Warhol's Factory - The Velvets were the first major American rock group with a mixed gender line-up; they never smiled in photographs, wore sunglasses indoors, and in the process invented the archetype that would be copied by everyone from Sid Vicious to Bobby Gillespie. They were avant-garde nihilists, writing about drug abuse, prostitution, paranoia, and sado-masochistic sex at a time when the rest of the world was singing about peace and love. In that sense they invented punk. It could even be argued they invented modern New York. And then some. Drawing on interviews and material relating to all major players from Lou Reed, John Cale, Mo Tucker, Andy Warhol, Jon Savage, Nico, David Bowie, Mary Harron and many more, award-winning journalist Dylan Jones breaks down the band's whirlwind of subversion and, in a narrative rich in drama and detail, with an irresistible narrative pull, proves why The Velvets remain the original kings and queens of edge.

The Eighties were about big ideas writ large - new money, new style, gender fluidity, gay pride, attritional politics, the 'special relationship', nuclear fear, AIDS, cocaine, ecstasy, tabloid royalty, the rise of urban pop, and ultimately geopolitical chaos. Using a big narrative approach, Dylan Jones' history of the decade in pop frames the decade through some of its most important and popular hits, choosing records which either epitomised their time, or ushered in a new cultural shift. So we move seamlessly from Rapper's Delight and the genre defining moment of hip hop into The Specials' spectral, Ghost Town; from ABC and the apotheosis of New Pop (The Look of Love) to Madonna's breakthrough moment with Like a Virgin, and so on. In the '80s each year brought a new twist as technology shifted and genres snowballed, MTV reigned supreme and the story of pop became globalised. It was a decade of excess in all areas, especially ambition, but it was in the transcendent moments of pop perfection that the '80s found its true art-form. Subjective and idiosyncratic, SHINY AND NEW takes us from downtown New York to post-industrial Manchester, in the first widescreen attempt to weave together the stories, the songs and events that re-shaped music and society.

Mae'r gwerslyfr hwn wedi'i gymeradwyo gan CBAC. Anogwch fyfyrwyr i ymgysylltu a'r Gymraeg wrth iddynt ddarganfod mwy am eu gwlad, eu llenyddiaeth a'u treftadaeth, tra'n datblygu'r sgiliau gwrando, darllen, siarad ac ysgrifennu sydd eu hangen ar gyfer TGAU. Wedi'i gynllunio gan dim o arbenigwyr pwnc, mae'r Llyfr Myfyrwyr hygyrch hwn yn dilyn dull dysgu sy'n seiliedig ar sgiliau. - Darganfod cyfoeth o adnoddau a gweithgareddau newydd: bydd y cwrs un llyfr cost-effeithiol hwn yn helpu i ddatblygu dysgwyr uchelgeisiol a galluog ac ysbrydoli cariad at y Gymraeg - Helpu pob myfyriwr i symud ymlaen gyda chynnwys gwahaniaethol sydd wedi'i gynllunio i ddarparu ar gyfer lefelau amrywiol o wybodaeth a gallu - Archwilio diwylliant, hunaniaeth a llenyddiaeth Cymru gyda'ch myfyrwyr, gan weithio drwy weithgareddau difyr sy'n eu galluogi i gael hwyl gyda thafodiaith, ysgrifennu eu barddoniaeth eu hunain a dadansoddi dramau - Datblygu dealltwriaeth myfyrwyr o ramadeg a geirfa ar draws gwahanol gyd-destunau gyda dull seiliedig ar sgiliau o siarad, gwrando, darllen ac ysgrifennu - Gosod sylfeini cadarn ar gyfer TGAU: mae cwestiynau yn arddull PISA, fideos, llenyddiaeth, sgiliau cyfieithu a sgiliau prawf ddarllen yn cael eu cyflwyno'n raddol, gan baratoi myfyrwyr ar gyfer cynnwys a mathau o gwestiynau TGAU - Cydweithio a'ch adrannau Saesneg ac ITM gyda nodiadau athrawon sy'n dangos cysylltiadau trawsgwricwlaidd. --- This textbook has been endorsed by WJEC. Encourage students to engage with the Welsh language as they discover more about their country, literature and heritage, while developing the listening, reading, speaking and writing skills needed for GCSE Designed by a team of subject specialists, this accessible Student Book takes a skills-based approach to learning. - Discover a wealth of new resources and activities: this cost-effective single-book course will help develop ambitious and capable learners and inspire a love of the Welsh language - Help all students progress with differentiated content designed to cater for varying levels of knowledge and ability - Explore Welsh culture, identity and literature with your students, working through engaging activities that allow them to have fun with dialect, write their own poetry and analyse plays = Develop students' understanding of grammar and vocabulary across different contexts with a skills-based approach to speaking, listening, reading and writing - Lay firm foundations for GCSE: PISA-style questions, videos, literature, translations and proofreading skills are introduced gradually, preparing students for GCSE content and question types

The ultimate record of the work of a world-class photographer. Capturing the iconic, candid, and unguarded moments of the famous and the notorious. "Terry was everywhere in the 60s - he knew everything and everyone that was happening" Keith Richards "Terry O'Neill rates rightly as one of the best photographers in the world. He captures something special" Sir Michael Caine "When it comes to photographic legends there can be few more prolific or revered than Terry O'Neill, the man who shot the greats." VOGUE "This sumptuous collection of portraits, taken over six decades, represents the best of his memorable career and should grace every coffee table in the land" The Daily Mail "I've been repeatedly asked to write my autobiography - I have seen an awful lot of famous people at their best and worst - but I'm not interested in making money trading their secrets or mine. I want my pictures to tell a story not sell a story." Terry O'Neill Terry O'Neill is one of the world's most celebrated and collected photographers. No one has captured the frontline of fame so broadly - and for so long. For more than 50 years, he has photographed rock stars and presidents, royals and movie stars, at work, at play, in private. He pioneered backstage reportage photography with the likes of Frank Sinatra, David Bowie, Sir Elton John and Chuck Berry and his work comprises a vital chronicle of rock and roll history. Now, for the first time, an exhaustive cataloguing of his archive conducted over the last three years has revisited more than 2 million negatives and has unearthed unseen images that escaped the eye over a career spanning 53 years. Similarly, his use of 35mm cameras on film sets and the early pop music shows of the 60s opened up a new visual art form using photojournalism, to revolutionise formal portraiture. His work captured the iconic, candid, and unguarded moments of the famous and the notorious - from Ava Gardner to Amy Winehouse, from Churchill to Nelson Mandela, from the earliest photographs of young emerging bands such as the Beatles and the Rolling Stones to her Majesty the Queen at Buckingham Palace. O' Neill spent more than 30 years photographing Frank Sinatra, amassing a unique archive of more than 3,000 Sinatra negatives. Add to that the magazine covers, album sleeves, film poster and fashion shoots of 1,000 stars, and Terry O'Neill - comprises the most compelling and epic catalogue of the age of celebrity.

Do you want to be at the cutting edge of this dynamic and exciting subject? This text delivers the latest research, current thinking and practice, and looks at future trends, as well as covering new topics such as effectuation, entrepreneurial opportunities and habitual entrepreneurs'. This highly successful book provides a comprehensive introduction to entrepreneurship, enterprise and small business for the undergraduate and postgraduate student. With over 30 specialist contributors from academic institutions in the UK, Europe and the USA, this third edition - while building on the foundations of the first and second - has been extensively revised and updated.

A novel for young adults about friendship and loss – and all the emotions involved such as grief, anger, longing and guilt. It tells the story of Kai who is struggling to cope with what is happening to his family. He is eventually helped by his friends, but are they too late to save him? -- Cyngor Llyfrau Cymru

Decades tend to crest halfway through, and 1995 was the year of the Nineties: peak Britpop (Oasis v Blur), peak YBA (Tracey Emin's tent), peak New Lad (when Nick Hornby published High Fidelity, when James Brown's Loaded detonated the publishing industry, and when pubs were finally allowed to stay open on a Sunday). It was the year of The Bends, the year Danny Boyle started filming Trainspotting, the year Richey Edwards went missing, the year Alex Garland wrote The Beach, the year Blair changed Clause IV after a controversial vote at the Labour Conference. Not only was the mid-Nineties perhaps the last time that rock stars, music journalists and pop consumers held onto a belief in rock's mystical power, it was a period of huge cultural upheaval - in art, literature, publishing and drugs. And it was a period of almost unparalleled hedonism, a time when many people thought they deserved to live the rock and roll lifestyle, when a generation of narcotic omnivores thought they could all be rock stars just by buying a magazine and a copy of (What's the Story) Morning Glory? Faster Than a Cannonball is a cultural swipe of the decade from loungecore to the rise of New Labour, teasing all the relevant artistic strands through interviews with all the major protagonists and exhaustive re-evaluations of the important records of the year - The Bends by Radiohead, Grand Prix by Teenage Fanclub, Maxinquaye by Tricky, Different Class by Pulp, The Great Escape by Blur, It's Great When You're Straight... Yeah! by Black Grape, Exit Planet Dust by the Chemical Brothers, I Should Coco by Supergrass, Elastica by Elastica, Pure Phase by Spiritualized, ...I Care Because You Do by Aphex Twin and of course (What's the Story) Morning Glory by Oasis, the most iconic album of the decade.

David Bowie. Culture Club. Wham!. Soft Cell. Duran Duran. Sade. Adam Ant. Spandau Ballet. The Eurythmics. 'Excellent' Guardian 'Hugely enjoyable' Irish Times 'Dazzling' LRB 'Fascinating' New Statesman 'An absolute must-read' GQ One of the most creative entrepreneurial periods since the Sixties, the era of the New Romantics grew out of the remnants of post-punk and developed quickly alongside club culture, ska, electronica, and goth. The scene had a huge influence on the growth of print and broadcast media, and was arguably one of the most bohemian environments of the late twentieth century. Not only did it visually define the decade, it was the catalyst for the Second British Invasion, when the US charts would be colonised by British pop music - making it one of the most powerful cultural exports since the Beatles. In Sweet Dreams, Dylan Jones charts the rise of the New Romantics through testimony from the people who lived it. For a while, Sweet Dreams were made of this.

Many contemporary problems within the Earth sciences are complex, and require an interdisciplinary approach. This book provides a comprehensive reference on data assimilation and inverse problems, as well as their applications across a broad range of geophysical disciplines. With contributions from world leading researchers, it covers basic knowledge about geophysical inversions and data assimilation and discusses a range of important research issues and applications in atmospheric and cryospheric sciences, hydrology, geochronology, geodesy, geodynamics, geomagnetism, gravity, near-Earth electron radiation, seismology, and volcanology. Highlighting the importance of research in data assimilation for understanding dynamical processes of the Earth and its space environment and for predictability, it summarizes relevant new advances in data assimilation and inverse problems related to different geophysical fields. Covering both theory and practical applications, it is an ideal reference for researchers and graduate students within the geosciences who are interested in inverse problems, data assimilation, predictability, and numerical methods.

David Bailey flew to Afghanistan earlier this year to take photographs for auction to raise money for `Help for Heroes', a charity that aims to help wounded servicemen and women returning from Afghanistan. The result is his latest book of photographs, a fitting celebration of Britain's fighting heroes, showing life inside both inside Camp Bastion and also outside the perimeter, where real danger is ever-present. Dylan Jones, editor of GQ, who accompanied Bailey on the trip, provides a well informed and engaging foreword on life in the camp. All sales of this book will benefit `Help for Heroes'.

Dylan Jones' definitive oral history of The Velvet Underground draws on contributions from remaining members, contemporaneous musicians, critics, film-makers, and the generation of artists who emerged in their wake, to celebrate not only their impact but their legacy, which burns brighter than ever into the 21st century. Rebellion always starts somewhere, and in the music world of the transgressive teen whether it be the 1960s of the 2020s, The Velvet Underground represent ground zero. Crystallizing the idea of the bohemian, urban, narcissistic art school gang, around a psychedelic rock and roll band - a stylistic idea that evolved in the rarefied environs of Andy Warhol's Factory - The Velvets were the first major American rock group with a mixed gender line-up; they never smiled in photographs, wore sunglasses indoors, and in the process invented the archetype that would be copied by everyone from Sid Vicious to Bobby Gillespie. They were avant-garde nihilists, writing about drug abuse, prostitution, paranoia, and sado-masochistic sex at a time when the rest of the world was singing about peace and love. In that sense they invented punk. It could even be argued they invented modern New York. And then some. Drawing on interviews and material relating to all major players from Lou Reed, John Cale, Mo Tucker, Andy Warhol, Jon Savage, Nico, David Bowie, Mary Harron and many more, award-winning journalist Dylan Jones breaks down the band's whirlwind of subversion and, in a narrative rich in drama and detail, with an irresistible narrative pull, proves why The Velvets remain the original kings and queens of edge.

The King departed this world during the month of punk Rock's apotheosis. Punk had set out to destroy Elvis, or at least everything he came to represent, but never got the chance. Elvis destroyed himself before anyone else could. Nearly forty years after his death, Rock's ultimate legend and prototype just won't go away and his influence and legacy are to be found not just in music today, but the world over. Elvis Presley has permeated the modern world in ways that are bizarre and inexplicable: a pop icon while he was alive, he has become almost a religious icon in death, a modern-day martyr crucified on the wheel of drugs, celebrity culture, junk food and sex. In Elvis Has Left the Building, Dylan Jones takes us back to those heady days around the time of his death and the rise of punk. He evokes the hysteria and devotion of The King's numerous disciples and imitators, offering a uniquely insightful commentary on Elvis's life, times and outrageous demise. This is a fresh account, written with the authors customary panache, recounting how Elvis single-handedly changed the course of popular music and culture, and what his death meant and still means to us today.

'It's just another song to me. I've written 1,000 of them and it's really just another one.' Jimmy Webb

'When I heard it I cried. It made me cry because I was homesick. It's just a masterfully written song.' Glen Campbell

The sound of 'Wichita Lineman' was the sound of ecstatic solitude, but then its hero was the quintessential loner. What a great metaphor he was: a man who needed a woman more than he actually wanted her.

Written in 1968 by Jimmy Webb, 'Wichita Lineman' is the first philosophical country song: a heartbreaking torch ballad still celebrated for its mercurial songwriting genius fifty years later. It was recorded by Glen Campbell in LA with a legendary group of musicians known as 'the Wrecking Crew', and something about the song's enigmatic mood seemed to capture the tensions in America at a moment of crisis. Fusing a dribble of bass, searing strings, tremolo guitar and Campbell's plaintive vocals, Webb's paean to the American West describes a telephone lineman's longing for an absent lover, who he hears 'singing in the wire' - and like all good love songs, it's an SOS from the heart.

Mixing close-listening, interviews and travelogue, Dylan Jones explores the legacy of a record that has entertained and haunted millions for over half a century. What is it about this song that continues to seduce listeners, and how did the parallel stories of Campbell and Webb - songwriters and recording artists from different ends of the spectrum - unfold in the decades following? Part biography, part work of musicological archaeology, The Wichita Lineman opens a window on to America in the late-twentieth century through the prism of a song that has been covered by myriad artists in the intervening decades.

'Americana in the truest sense: evocative and real.' Bob Stanley

Combining the unique heritage of gentlemen s tailoring with a progressive approach to street style, London is fast becoming the world s capital of men s fashion. For this book, Dylan Jones presents a discerning sartorialist s guide to the capital, from London s coolest neighbourhoods to the studios of its most influential designers and beyond. Beginning with an exploration of London s chicest urban villages, the book reflects the extraordinary eclecticism of the city s street style from envelope-pushing streetwear in Shoreditch to classic tailoring in Mayfair. Forays into the coolest and hardest-to-find menswear shops in the city at once reveal the sources of the fashions on display and capture the atmosphere of the capital. At the heart of the book are profiles of London s top designers from world renowned brands to up-and-coming names, these are the designers whose work is shaping the future of menswear. Legends such as Paul Smith and Vivienne Westwood, whose flair for subversion colors their refinement, sit alongside younger designers such as Christopher Shannon and Agi and Sam, pioneers of bringing graphics and pattern to luxury streetwear. Icons of classic elegance such as Tom Ford and Burberry contrast with a new generation of designers, from Nigel Cabourn to Mr. Hare, whose redefined silhouettes and innovative materials take the traditions of Savile Row into the new millennium.

The sound of 'Wichita Lineman' was the sound of ecstatic solitude, but then its hero was the quintessential loner. What a great metaphor he was: a man who needed a woman more than he actually wanted her.

Written in 1968 by Jimmy Webb, 'Wichita Lineman' is the first philosophical country song: a heartbreaking torch ballad still celebrated for its mercurial songwriting genius fifty years later. It was recorded by Glen Campbell in LA with a legendary group of musicians known as 'the Wrecking Crew', and something about the song's enigmatic mood seemed to capture the tensions in America at a moment of crisis. Fusing a dribble of bass, searing strings, tremolo guitar and Campbell's plaintive vocals, Webb's paean to the American West describes a telephone lineman's longing for an absent lover, who he hears 'singing in the wire' - and like all good love songs, it's an SOS from the heart.

Mixing close-listening, interviews and travelogue, Dylan Jones explores the legacy of a record that has entertained and haunted millions for over half a century. What is it about this song that continues to seduce listeners, and how did the parallel stories of Campbell and Webb - songwriters and recording artists from different ends of the spectrum - unfold in the decades following? Part biography, part work of musicological archaeology, The Wichita Lineman opens a window on to America in the late-twentieth century through the prism of a song that has been covered by myriad artists in the intervening decades.

Just who does David Cameron think he is? In an engaging series of landmark interviews that will define the would-be prime minister ahead of the next election, Dylan Jones finds out. David Cameron is asking you for the keys to Number 10 - but is he a smartly dressed smoothie with all the right lines, or a gifted politician who instinctively understands the country's priorities? A throwback to the age when privilege brought power, or a dynamic alternative to a Labour Party that has run out of ideas? Award-winning journalist Dylan Jones set out to answer these questions in a series of wide-ranging and candid interviews that will define David Cameron ahead of the next election - and for years to come. A book about a politician for people who don't buy books about politicians, 'Cameron on Cameron' will, for many, settle the question of whether David Cameron has got what it takes to lead the country. What Cameron thinks may soon become what Britain does - and Jones teases out the details of Cameron's positions on the big issues. From the Iraq war to our friendship with America, from education to immigration, 'Cameron on Cameron' will make for an unprecendented view into a politician's world and a document of practical use in our democracy. From the Conservative Party's bouts of vicious internal backstabbing to Cameron's marriage to Samantha and their family life - 'Cameron on Cameron' lays bare the forces which shape the man who may succeed Gordon Brown before the decade is out.

** Shortlisted for the NME Best Music Book Award 2018 ** THE SUNDAY TIMES BESTSELLER A TIMES BOOK OF THE YEAR A GUARDIAN BOOK OF THE YEAR A HERALD BOOK OF THE YEAR AN IRISH INDEPENDENT BOOK OF THE YEAR 'The definitive book on Bowie' The Times Drawn from a series of conversations between David Bowie and Dylan Jones across three decades, together with over 180 interviews with friends, rivals, lovers, and collaborators - some of whom have never before spoken about their relationship with Bowie - this oral history is an intimate portrait of a remarkable rise to stardom and one of the most fascinating lives of our time. Profoundly shaped by his relationship with his schizophrenic half-brother Terry, Bowie was a man of intense relationships that often came to abrupt ends. He was a social creature, equally comfortable partying with John Lennon and dining with Frank Sinatra, and in Dylan Jones's telling - by turns insightful and salacious - we see as intimate a portrait as could possibly be drawn. Including illuminating, never-before-seen material from Bowie himself, drawn from a series of Jones's interviews with him across three decades, DAVID BOWIE is an epic, unforgettable cocktail-party conversation about a man whose enigmatic shapeshifting and irrepressible creativity produced one of the most sprawling, fascinating lives of our time. ***NOW REVISED AND EXPANDED***

*Includes an exclusive new chapter* 'Excellent' Guardian 'Hugely enjoyable' Irish Times 'Dazzling' LRB 'Fascinating' New Statesman 'An absolute must-read' GQ An NME and BBC Culture Book of the Year 2020 For a while, Sweet Dreams were made of this. From the testimony of the people who lived it, comes Dylan Jones' masterful history of the Blitz kids, synth-pop and the style press, from 1975 to 1985. 'Few music scenes have received more opprobrium than the New Romantics. A bunch of fame-grabbing clothes-horses? Certainly. But also, a progressive force that opened new routes for music while embracing most genders, ethnicities and sexual preferences.' MOJO 'Compelling reading for those who lived and breathed the indulgence of the era without realising its significance or contemplating its legacy.' Simon Armitage 'Dylan Jones explains how a bunch of penniless nightclub show-offs morphed into pop royalty in the 1980s . . . An excitable patchwork of interviews, punctuated with gossip and pertinent theory.' UNCUT 'It's all here: the swishing, the androgynous preening, the sweetly-dreamt synth-pop splendour of early '80s Britain. Something was happening, and Mr. Jones knew what it was.' Barney Hoskyns

This state-of-the-art book provides a window on contemporary European entrepreneurship and small business research. The papers selected demonstrate the applied nature of entrepreneurship research as well as the various contributions that entrepreneurship can make to local, regional and national development. Written by international experts, the book reveals the heterogeneity of entrepreneurship in terms of substantive content and the methodologies employed. With both quantitative and qualitative approaches well represented, Entrepreneurship and Growth in Local, Regional and National Economies covers topics such as regional perspectives on entrepreneurship, new venture creation and growth, business exits, knowledge-based entrepreneurship and social inclusion. Furnishing the reader with rich and leading entrepreneurship research, this book will be invaluable for entrepreneurship and small business researchers as well as postgraduate and advanced undergraduate students of entrepreneurship. Policy makers will also find much of great interest to them.

'A wholly successful endeavour carried along by waves of infectious enthusiasm' Mojo 'Fascinating' New Statesman The '80s were about big ideas writ large - new money, new style, gender fluidity, gay pride, attritional politics, the 'special relationship', nuclear fear, AIDS, cocaine, ecstasy, tabloid royalty, the rise of urban pop, and ultimately geopolitical chaos. Dylan Jones' history of the decade in pop frames the '80s through some of its most important and popular hits, choosing records which either epitomised their time, or ushered in a new cultural shift. So we move seamlessly from 'Rapper's Delight' and the genre defining moment of hip hop into The Specials' spectral, 'Ghost Town'; from ABC and the apotheosis of New Pop ('The Look of Love') to Madonna's breakthrough moment with 'Like a Virgin', and so on. Subjective and idiosyncratic, Shiny and New takes us from downtown New York to post-industrial Manchester, in the first widescreen attempt to weave together the stories, the songs and events that re-shaped music and society.

___________________ 6 JULY, 1972 David Bowie appears on Top of the Pops for a third time. His quiff is big, bold, and the colour of fire. His make-up is lavish. His jumpsuit is a wild burst of colourful patterns, like a fluorescent fish skin. He carries a brand-new blue acoustic guitar. There's excitement, mixed with incredulity. And then he begins to play. It's a moment that will change the world of music forever. This is Ziggy Stardust, what would become Bowie's most famous persona. It's an instant seismic shift in the zeitgeist. This one performance embeds Ziggy Stardust into the nation's consciousness, and music will never be the same again. In When Ziggy Played Guitar, Dylan Jones looks back at one of the most influential moments in pop history,the birth of an icon, and the myriad unexpected ways that David Bowie reshaped pop culture.

Decades tend to crest halfway through, and 1995 was the year of the Nineties: peak Britpop (Oasis v Blur), peak YBA (Tracey Emin's tent), peak New Lad (when Nick Hornby published High Fidelity, when James Brown's Loaded detonated the publishing industry, and when pubs were finally allowed to stay open on a Sunday). It was the year of The Bends, the year Danny Boyle started filming Trainspotting, the year Richey Edwards went missing, the year Alex Garland wrote The Beach, the year Blair changed Clause IV after a controversial vote at the Labour Conference. Not only was the mid-Nineties perhaps the last time that rock stars, music journalists and pop consumers held onto a belief in rock's mystical power, it was a period of huge cultural upheaval - in art, literature, publishing and drugs. And it was a period of almost unparalleled hedonism, a time when many people thought they deserved to live the rock and roll lifestyle, when a generation of narcotic omnivores thought they could all be rock stars just by buying a magazine and a copy of (What's the Story) Morning Glory? Faster Than a Cannonball is a cultural swipe of the decade from loungecore to the rise of New Labour, teasing all the relevant artistic strands through interviews with all the major protagonists and exhaustive re-evaluations of the important records of the year - The Bends by Radiohead, Grand Prix by Teenage Fanclub, Maxinquaye by Tricky, Different Class by Pulp, The Great Escape by Blur, It's Great When You're Straight... Yeah! by Black Grape, Exit Planet Dust by the Chemical Brothers, I Should Coco by Supergrass, Elastica by Elastica, Pure Phase by Spiritualized, ...I Care Because You Do by Aphex Twin and of course (What's the Story) Morning Glory by Oasis, the most iconic album of the decade.