Author Melissa Chemam's in-depth study of the influences that led to the formation of the Wild Bunch and then Massive Attack looks into Bristol's past to explore how the city helped shape one of the most successful and innovative musical movements of the last 30 years. Chemam gives a unique insight into Massive Attack - 3D, Daddy G and Mushroom - their influences, collaborations and politics and the way in which they opened the door for other Bristol musicians and artists including Banksy. The book is published under licence from Anne Carriere in France by Tangent Books in partnership with PC Press. Its French title is En Dehors De La Zone De Confort De Massive Attack A Banksy aAÂ (978-2-8433-7809-6)

The Vinyl Factory presents 3D and the art of Massive Attack by Robert del Naja (aka 3D) a 300-page 12"x12" hardback reversible book format with two different covers starting at the past or the present (with screen printed front covers) on the visual history of the artist and his band who have sold over 11 million records worldwide. Compiled and designed by 3D using images from a personal archive and original artifacts scanned by the artist for the record. Robert's artwork has come to define the iconic style of his band and the book explores their visual history, presenting both familiar and previously unseen work, from his influential graffiti and stencil art in the Wild Bunch-era of the 80s to Massive Attack cover designs and paste-ups and paintings. Also included is his work made in collaboration with Nick Knight, Tom Hingston, Judy Blame and Michael Nash Associates, as well as unseen photographs documenting Del Naja's ongoing LED work with United Visual ArtistsUnited Visual Artists, and his recent work with filmmaker Adam Curtis. The 300-page book also features an in-depth interview with the artist, where he describes the development of the band's artwork and record sleeve designs, as well as offering insight into his process and inspirations. Del Naja's background as a graffiti artist has shaped his evolving aesthetic, as well as a strong ethos of do it yourself creativity. His instincts as an artist were forged in an atmosphere of spontaneity and innovation - from making flyers to throwing warehouse parties - and this way of working informed the first record sleeves he created. Inspired by magazine culture and comics, 3D drew on wide-ranging influences, from New Yorks hip-hop scene and Japanese graphics, Jean-Michel Basquiats cultural juxtapositions to Warhols pop imagery, politics and punk.

In 1991, a loose-knit collective released a record called Blue Lines under the name Massive Attack, splicing together American hip-hop and soul with the sounds of the British underground. With its marauding bass lines, angular guitars, and psychedelic effects, Blue Lines built on the Caribbean soundsystems and nascent rave scene of the 1980s while also looking ahead to the group's signature blend of epic cinematics and lush downtempo. In the process, Blue Lines invented an entirely new genre called trip hop and launched the career of a rapper named Tricky. Ultimately, Blue Lines created the sonic playbook for an emerging future: hybrid, digital, cosmopolitan, and rooted in the black and immigrant communities who animated the urban wreckage of the postindustrial city. Massive Attack envisioned an alternate future in sharp counterpoint to the glossy triumphalism of Brit Pop. And while the group would go on to bigger things, this record was both a warning shot and a definitive statement that sounds as otherworldy today as on the day of its release. As Blue Lines's iconic flame logo spun on turntables the world over, Massive Attack and their spaced-out urban blues reimagined music for the 1990s and beyond.

I think it's pretty well accepted that Spurs are the Guv'nors now!''To my horror I see to my right my pal holding his hand, slumped against a wall and pouring with blood.'From the author of the bestselling Tottenham Massive comes this incendiary follow-up - the most searingly honest and brutal book ever written about football.Trevor Tanner is the man at the head of the Tottenham Massive. In this all new account of life with the firm, he reveals the emotional stress and headache of the year long trial which resulted in him walking out a free man - but not before he'd gone on the run for a month and seen the stress the case put his family and close friends under. He tells how it feels to have left the legacy for what is arguably the best firm the country has seen in more than 20 years.'To be honest, in my mind, Millwall are the only team who could probably give us a bit of a go

Richard King's account of the several years he spent working in a Bristol independent record shop in the early 90s is destined to become a classic of music writing. We live in an age when the most beautiful of recording formats, vinyl, is back in vogue and thriving. In the early 90s, with the march of the cd and record company disinterest oin the format, vinyl was looking like an anachronism. And with its demise came the gradual erosion of a once beautiful and unique landscape known as the independent record shop. Richard King, author of How Soon is Now, blends memoir and elegiac music writing on the likes of Captain Beefheart, CAN and Julian Cope, to create a book that recalls the debauched glory days of the independent record shop. Chaotic, amateurish and extravagantly dysfunctional, this is a book full of rare personalities and rum stories. It is a book about landscape, place and the personal; the first piece of writing to treat the environment of the record shop as a natural resource with its own peculiar rhythms and anecdotal histories.

The proposed book is best described as a linguistically oriented textbook taking the grammar of English as its subject matter. It is directed to professional teachers of English (ESL and EFL) and their students, as well as those currently training to become teachers of English. The book is also likely to be of interest to interpreters, translators and other English language professionals. It will explore selected aspects and problem areas of English from a broadly “functional” linguistic perspective. My experience as a teacher and teacher trainer has shown me that this perspective has the potential to inspire teachers and students with a genuine enthusiasm for the grammatical features of English and that it often enables them to “make sense” of the grammar in a way that all too often other approaches signally fail to do. An important focus of the book is on understanding grammar as a series of conventionalized patterns rather than a set of rules (which is how grammar has traditionally been presented). Moreover, unlike many other grammar books, this book emphasizes how the grammatical constructions under consideration are employed in various types of communicative situation, attention being given to the importance of discourse context in interpreting the target forms. In line with contemporary linguists generally, the approach adopted is descriptive rather than prescriptive. While the main focus is on English, I offer occasional comments on how the issue under discussion is expressed in languages other than English. Apart from the inherent interest which I hope such comparisons may have for the reader, I take the view that these can be helpful in casting further light on the grammar of English.