This book is about a promoter’s journey in the beginnings of the Acid House music scene that took over Great Britain back in the late 1980s, cementing a new popular culture that would grip the masses of rebellious youth at the end of a prolonged period of Thatcherism. Genesis is run by Wayne Anthony, the author of this book. In it he incandescently writes an emotional, truthful and honest tale of a rather strange journey that would shock the average person. As a later promoter in the acid house music scene I could relate to many of the experiences one gets when running events and I found the book to be a great memoir of an often overlooked music movement after it was so successfully repressed shortly after its foundation by the 1994 Criminal Justice Bill. Genesis began by breaking into warehouses in East London that were disused. Sound systems would be set up, blissful decor applied top the venue and impromptu bars set up. A top security firm was always necessary for the promoter as vast amounts of cash would be made by Acid House Warehouse parties attracting thousands of clubbers. From the outset Wayne is running a constant battle against the authorities. The police initially are caught a bit unawares and Wayne can hone his blagging skills to great effect with false contracts drawn up and police not no driven to break up the illegal events as they were pretty clueless as to what was happening. As time progressed and the media driven frenzy about the dangers of ecstasy and the wild nature of acid house in the U.K., these police armed with more government powers became more hostile and violent towards organisers. The security firm was mainly ex military and the whole operations of running the early Genesis events by Wayne and his team were arranged with military style precision, from cutting edge party phone numbers, to vast flyer distribution, to electrical engineers, co-ordinating a synchronised arrival of guests to each event and ensuring that trouble and accidents were kept to a minimum. Genesis teamed up with the likes of Biology and also with Fantasy FM and were a major force in the London scene. Wayne is very candid about the drugs involved in acid house and we hear of wild cash excesses at the events leading to mass quantities of cocaine. He eulogises about ecstasy and its life-changing effects and its influence on the culture of the nation yet also, later in the book he does acknowledge that he suffers from most of the major mental health effects of long term ecstasy use that had been foreseen by doctors in the early days. He predicts a future generation of 50 something mental patients whose heads are completely shot! A particular acid experience involving an ex girlfriend going completely off the rails indicates some of the potential dangers of narcotics use. Wayne concludes with advice to youngsters not to make the same mistakes with chemicals and that they can have more productive lives and indeed enjoy dance music culture just as much without all the add-on chemicals. Some of the incidences involving organised crime kidnapping him and also promoters hijacking events by pretending to be Genesis, and also the constant battle against police show some of the darker issues that many promoters are faced with. We see early dance music political activity in demonstrations by the masses to fight for party rights. I loved the tales of DJs and early house music records that I know very well and it was great hearing a real account of the hedonistic days of the ‘Class of 88’ which unfortunately I was a bit too young to experience in the full sense, only coming into the British U.K. music scene properly in the mid 1990s.