Booky Wook 2: This Time It's Personal

By Russell Brand

Selecting up the place he left off in My Booky Wook, superstar and comic Russell model information his quick climb to popularity and fortune in an incredibly 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 fanatics’ hearts; now, with a drop of Chelsea Handler’s Chelsea Chelsea Bang Bang, a touch 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 in the back of the audacious comedian we know (or imagine we all know) and love (or at the very least, lust).

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After seeing me for the fourth time and with the ever-growing swell of interest in my TV work, Lesley provided me a pilot on cool indie tune station 6 track. Initially I was paired with Karl Pilkington, Ricky Gervais’s savant-ish sidekick, who is an first-class comedic foil and highly funny in his own right. I suppose Karl maintains the perspective of some articulate bumpkin, straight from King’s Cross, casting yokel wisdom on our urban ways. Karl, though, was already well known for his paintings with Ricky and Steve Merchant, Ricky’s writing partner, so he had already been branded. I had my own coterie of fun pals and was once double prepared to create a instant wonderland with them. My mate Greg, recognized as Mr Gee, a mysterious hard-shelled, soft-centred, confectionery-obsessed south London poet who had done gigs with me in Brixton and held me back from the precipice of unwinnable drug bargains numerous occasions. Then there was once Trevor Lock, Cocky-Locky, an ageless philosophy graduate, a dishy square, tiny, handsome face, a thick brush of Hugh Grant hair and an really diverse, profound wisdom of substitute, indigenous, shamanistic jungle culture. He was a wise nerd. Then there was Matt and his dry, neurotic, mischievous mind, my hoppo, the commentator minstrel of my picaresque misadventures for the six years past. Matt is like a sulky, comedically blessed legal responsibility. We have a strong connection and a deep, demanding friendship. Like all good double-acts we are forever on the brink of never speaking again. It was to make for good radio. We did a couple of pilots in which I designated Matt and Trev particular roles – Matt used to be to run the table (that ability he used to be responsible of the buttons and enjoying in tracks), whereas Trevor may take care of listener competitions. In fact either those roles have been arbitrary, really they were there to provide me varying surfaces to bounce off, then Gee would sum it all up with a rhyme he’d write as the show was in process. as soon as I learn of myself, which is a behavior I ought paintings to dispatch, that I was once Britain’s first electronic big name. This I loved. I like being the first, basic or inaugural anything, it appeals to the pioneer in me. Thank God I’m strong at exhibiting off and telling jokes, or there’d be a genuine probability that I’d crop up in The Guinness Book of Records winking into a beard of bees or a bath of beans – whatever to consider the Neil Armstrong rush of stomping on virgin moon airborne dirt and dust. This bit of self-obsessed reflection, however, used to be pertinent. The Big Brother show was on digital TV, the MTV show likewise, and 6 Music is a digital station. This meant that the first viewers I garnered had to intentionally search me out. I wasn’t splashed all over terrestrial small screen television or bellowing out on advertisement radio, I was sequestered off at the esoteric end of the dial, learning, constructing a dating with my viewers (some have argued a bit too intimately), a dating that used to be fortified by means of the handy introduction of social networking websites like MySpace and fb.

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