A Chapter and Verse elején (oldalszámot hirtelenjében nem találok) írja is, hogy: "I wrote to loads of advertising agencies in Manchester, because they were the only places with any scope for anything to do with art back then. I went for a few interviews and was offered two jobs at the same time. Both were for less money than I was on at the town hall, but that didn't really matter: I just wanted to do something I could put a bit of heart into."

Ő is volt akkoriban már minden, csak akasztott ember nem, ahogy mondani szokták. :)

"Sure enough, about six to eight months after the demise of Greendow, they set up Cosgrove Hall Animation, and I became a filler on kids' cartoons like Jamie and the Magic Torch, painting the colours on to the cells after they'd been drawn by the animators. It was definitely a step up from being a runner, but not having an art qualification higher than my O level did hold me back a bit. Everyone at Cosgrove Hall had been to art college except me, so I was always going to be behind in the pecking order. I liked the job, but it was very repetitive and, aware I couldn't really progress any further, I grew bored. I signed up for art classes at night school and, as usual, I turned up late for the first one. I opened the door and rushed in, and there in the middle of the room was a completely naked middle-aged woman, surrounded by people with easels. Everyone looked at me; I looked at everyone, I looked at the model; she looked at me and my jaw dropped. I hadn't expected that at all. Either way, it didn't really help me with graphic art and animation, which is what I needed to learn. I asked Cosgrove Hall if I could go on day release to college, but they said they couldn't really stretch to that."

Pont tegnap beszélgettünk róla Szigivel, hogy a punk generációból sokan kaptak valamilyen képzőművészeti képzést... végül is érthető, hogy az An Ideal for Living borítóját Barney tervezte.