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By Russell Brand

Opting for up the place he left off in My Booky Wook, superstar and comic Russell model info his swift climb to reputation and fortune in a surprisingly candid, resolutely humorous, and unbelievably electrifying tell-all: Booky Wook 2. Brand’s performances in Arthur, Get Him to the Greek, and Forgetting Sarah Marshall have earned him a spot in lovers’ hearts; now, with a drop of Chelsea Handler’s Chelsea Chelsea Bang Bang, a splash of Tommy Lee’s Dirt, and a spoonful of Nikki Sixx’s The Heroin Diaries, model is going the entire way—exposing the mad genius at the back of the audacious comedian we know (or imagine we all know) and love (or at the least, lust).

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Where, once clean, I’d toiled to earn the respect of my friends and laboured over my craft until eventually I may perhaps cross toe to toe with somebody. Now it was once time for me to take Edinburgh by way of storm, to stand above it like the castle, to mild the sky like the Hogmanay rockets. I used to be returning as a star, to express them what rock’n’roll comedy is all about. I was going to tear it up, show ’em where I’m from, go crazy. I was ready for anything they could throw at me. † They complained about those kids. And they weren’t crazy about the heroin either. GILDED BALLOON To Russell Brand Pablo Diablo 22 August 2000 Dear Russell Brand I have been made acutely aware of numerous incidents concerning the children you have working for you. Firstly I must point out that it is against employment law to employ minors in any capacity and that the Gilded Balloon does not allow children to work in any of its venues or areas. There was an incident on Monday when items were taken from the creation workplace. You have been trained of this and these involved have been barred from the administrative areas. I have now had additional proceedings from Venue Managers of the same children causing a nuisance in and outside of venues. This has concerned the throwing of goods at humans queuing for exhibits and abuse being given to employees and shoppers of the Gilded Balloon. This is unacceptable. I needs to hence insist that those little ones are no longer admitted to any Gilded Balloon venues or public areas and that you cease to employ them - illegally - to do flyering for you. I am sorry to have to take this action, yet they are inflicting a superb nuisance to employees and buyers alike and I could appreciate it if you could advise them to no longer come to the Gilded Balloon. I hope that I do not have to take this matter further Yours Sincerely Mick Bateman General Manager cc. Karen Koren, Artistic Director Chapter 6 No Means NOooo There’s not anything extra tragic than being in Edinburgh on 1 September, the day after the festival, or indeed in the first few days of August before it starts. Because of my inability to be punctual, my unmanageability and my lack of planning, I’ve skilled either the bookends of the month of August whilst Edinburgh pulls you into its cultural embrace; a cerebral carnival, not a carnival of just decadence. There is such a strong sense of unity in the city, a universal demeanour of purpose, advert hoc venues rapidly shaped from dentists’ ready rooms and humans appearing on road corners. But “the day after”, like the post-H-bomb TV movie that goes by that name, Edinburgh is bereft and eery or like Emily’s shop when Bagpuss has gone back to sleep – still nice, but where’s the magic? Edinburgh in its post-festival hunch most likely doesn’t have the agonising pathos that Bagpuss had– nor does it elevate so many questions, like: why was once a little woman depended on to run a second-hand store?

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