Pete Waterman is pop. Both alone and as part of Stock, Aitken and Waterman, he produced over 200 hits in the course of 25 years. Today he is producing hits for bands such as Steps and Westlife. Now for the first time, he tells his remarkable story in his own words.
Pete Burns sadly passed away aged 57 in 2016. He became a star with the band Dead Or Alive, who had a huge hit with "You Spin Me Round (Like A Record)" but there was much more to Pete than meets the eye - and with his extraordinary features and sense of fashion, that's really saying something. His amazing autobiography includes frank details of his affairs with major rock stars, his long-time marriage, how he had to sell his GBP 2m house to pay for the plastic surgery that went wrong and caused horrific injuries. Pete had an amazing career and commanded a huge global following. When it came to going into the Big Brother house, Pete declared he was not going to be a team player - and this sensational book about his life shows how he's always been a true individual and a born star.
This exciting new paperback reveals Pete Waterman's candid, personal, and often outspoken take on 10 of the biggest names in showbiz, identifying the 10 crucial qualities needed for success and revealing some of the innermost secrets of the fame game. Readers can find out if they've really got what it takes as this book provides a chance to measure up to the icons with its unique Fame Factor grid. What are the chances of success and how can they be improved?
MODEL RAILWAYS. Following the great success of "A Train is For Life", Pete Waterman's new book gives tips on how to model railways to the very highest standard - a subject very close to his heart. Over the years Pete has brought together some of the finest railway modellers in the business and his models and layouts are renowned for their high quality, accuracy and attention to detail. This attractively illustrated book will impart practical advice, tips and techniques that he has developed over the years over a wide range of modelling topics, from locomotives and rolling stock to track, signalling, scenery and buildings, from painting to model construction. Many of the techniques are unusual but easy for the average modeller to reproduce and give results far better than perhaps more conventional methods, including the now renowned singing of teddy bear fur to create grassed embankments and cuttings.
Lee Reynolds, a discontented veteran federal wildlife officer, gets recruited by a mysterious German to help a secret eco-terrorist group that steals from environmentally negligent corporations and distributes the wealth to benefit conservation. Putting his career at risk, Lee gets in way over his head after accepting several dangerous assignments, which complicates his developing relationship with Lucy Douglas, a musician he meets at a local club. As their romance intensifies, Lee becomes a suspect in the FBI investigation of an international cyber-crime and the possible related disappearance of a U.S. congressman. With Agent Bob Waterman closing in, Lee must rely on his training and instincts to evade the FBI and save his relationship with Lucy.
It was half past five in the morning as I lurched through the front door of the B&B. Mrs. O'Sullivan appeared just in time to see me pause to admire the luminous Virgin holy water stand with integral night-light, and knock it off the wall. Politely declining the six rounds of ham sandwiches on the tray she was holding, I edged gingerly along the hallway to the wrong bedroom door and opened it." Despite the many exotic places Peter McCarthy has visited, he finds that nowhere else can match the particular magic of Ireland, his mother's homeland. In McCarthy's Bar, his journey begins in Cork and continues along the west coast to Donegal in the north. Traveling through spectacular landscapes, but at all times obeying the rule, "never pass a bar that has your name on it," he encounters McCarthy's bars up and down the land, meeting fascinating people before pleading to be let out at four o'clock in the morning. Through adventures with English hippies who have colonized a desolate mountain; roots-seeking, buffet-devouring American tourists; priests for whom the word "father" has a loaded meaning; enthusiastic Germans who "here since many years holidays are making;" and his fellow barefoot pilgrims on an island called Purgatory, Peter pursues the secrets of Ireland's global popularity and his own confused Irish-Anglo identity. Written by someone who is at once an insider and an outsider, McCarthy's Bar is a wonderfully funny and affectionate portrait of a rapidly changing country.
Pete Burns sadly passed away aged 57 in 2016. He became a star with the band Dead Or Alive, who had a huge hit with "You Spin Me Round (Like A Record)" but there was much more to Pete than meets the eye - and with his extraordinary features and sense of fashion, that's really saying something. His amazing autobiography includes frank details of his affairs with major rock stars, his long-time marriage, how he had to sell his GBP 2m house to pay for the plastic surgery that went wrong and caused horrific injuries. Pete had an amazing career and commanded a huge global following. When it came to going into the Big Brother house, Pete declared he was not going to be a team player - and this sensational book about his life shows how he's always been a true individual and a born star.
The problem of how to respond to violence involving young people continues to challenge youth workers and policy makers across Europe and the world. In this book, Mike Seal and Pete Harris draw on the findings of a two-year European research project--in which peer researchers spoke to young people--to examine different responses to youth violence. Developing a unique analytical framework that combines elements of critical theory, psychosocial criminology, and applied existential philosophy, the authors present a new model for responding meaningfully and effectively to these issues at personal/psychological, community/cultural, and structural/symbolic levels. Through a series of case studies, Seal and Harris show how these approaches have been applied in different practice settings. Essential reading in the fields of youth and community work, social work, criminology, youth justice, and youth studies, this book will stimulate critical new thinking and encourage reflective and theoretically informed responses to addressing youth violence in practice.
Popular music, today, has supposedly collapsed into a 'retromania' which, according to leading critic Simon Reynolds, has brought a 'slow and steady fading of the artistic imperative to be original.' Meanwhile, in the estimation of philosopher Alain Badiou, a significant political event will always require 'the dictatorial power of a creation ex nihilo'. Everywhere, it seems, at least amongst commentators of a certain age and type, pessimism prevails with regards to the predominant aesthetic preferences of the twenty first century: popular music, supposedly, is in a rut. Yet when, if ever, did the political engagement kindled by popular music amount to more than it does today? The sixties? The punk explosion of the late 1970s? Despite an on-going fixation upon these periods in much rock journalism and academic writing, this book demonstrates that the utilisation of popular music to promote political causes, on the one hand, and the expression of dissent through the medium of 'popular song', on the other hand, remain widely in practice today. This is not to argue, however, for complacency with regards to the need for expressions of political dissent through popular culture. Rather, the book looks carefully at actual usages of popular music in political processes, as well as expressions of political feeling through song, and argues that there is much to encourage us to think that the demand for radical change remains in circulation. The question is, though, how necessary is it for politically-motivated popular music to offer aesthetic novelty?
A lavishly illustrated, large-format reference book by two preeminent experts on North American shorebirds More than half a century has passed since the publication of The Shorebirds of North America, Peter Matthiessen’s masterful natural history of what is arguably the world’s most amazing and specialized bird group. In the intervening decades, our knowledge about these birds has grown significantly, as have the threats to their populations and habitats. Pete Dunne and Kevin Karlson celebrate Matthiessen’s classic book with this updated and expanded natural history of North American shorebirds. This elegantly written book begins by introducing readers to the unrivaled splendor of shorebirds and goes on to cover topics ranging from their biology and habitats to courtship and breeding, flight, the perils of migration, and conservation. Detailed accounts convey the richness and variety of the five family groups, with incisive, fact-filled descriptions of all 52 species of shorebirds known to breed in North America. Featuring hundreds of breathtaking images by Karlson and other photographers and drawing on the latest science, The Shorebirds of North America is a worthy tribute to Matthiessen’s enduring work and an indispensable reference for bird lovers everywhere.
To wander the streets of a bankrupt, often lawless, New York City in the early 1970's wearing a tee shirt with PLEASE KILL ME written on it was an act of arch nihilism, and one often recounted in the first reports of Richard Hell filtering into pre-punkUK. Pete Astor, an archly nihilistic teenager himself at the time, was most impressed. The fact that it emerged (after many years) that Hell himself had not worn the garment but had convinced junior band member Richard Lloyd to do so, actually fitted very well with Astor's older, wiser, and more knowing self. Here was an artist who could not only embody but also frame the punk urge; just what was needed to make one of the defining records of the era.Having seeded and developed the essential look and character of punk since his arrival in New York in the late 1960's, Richard Hell and The Voidoids released Blank Generation in 1977. Pete Astor's portmanteau approach uses objective and subjective perspectives to articulate the meanings of the album, combining academic rigour with the reception-based subjectivities that are key to understanding our relationships to popular culture"--
An adventure-filled romp through one of aviation’s most notable, dangerous and entertaining pursuits: airshows! In the early days of aviation, all flights were airshows. Spectators gathered whenever a new flying machine attempted to leave the ground—the trick was to get them to pay. Takeoffs and landings did not sell tickets but people lined up, money in hand, to watch a “dip of death,” in which an aviator would dive from as high as he or she dared and pull up at the last second. Risk always sells and flying was man’s riskiest endeavor yet. From the start the “exhibition pilots” stood out. Everything about an aerobatic routine requires a degree of skill and a commitment to practice inconceivable to even most pilots, presenting innumerable risks to life and limb. And with risk, often, comes tragedy. The Crowd Pleasers is a sweeping history of air show accidents beginning in 1910 with the death of Charles Rolls, co-founder of Rolls-Royce, and ending in the present day. It brings to light some of the most notable air show accidents of all time and explores the aviators behind them. Their stories, their motivations. In so doing, it illuminates the role played by choice, social circumstance and fate in these often devastating accidents, and the lives attached to them. A must-read for all aviation buffs.
For more than three decades, a punk underground has repeatedly insisted that 'anyone can do it'. This underground punk movement has evolved via several micro-traditions, each offering distinct and novel presentations of what punk is, isn't, or should be. Underlying all these punk micro-traditions is a politics of empowerment that claims to be anarchistic in character, in the sense that it is contingent upon a spontaneous will to liberty (anyone can do it - in theory). How valid, though, is punk's faith in anarchistic empowerment? Exploring theories from Derrida and Marx, Anyone Can Do It: Empowerment, Tradition and the Punk Underground examines the cultural history and politics of punk. In its political resistance, punk bears an ideological relationship to the folk movement, but punk's faith in novelty and spontaneous liberty distinguish it from folk: where punk's traditions, from the 1970s onwards, have tended to search for an anarchistic 'new-sense', folk singers have more often been socialist/Marxist traditionalists, especially during the 1950s and 60s. Detailed case studies show the continuities and differences between four micro-traditions of punk: anarcho-punk, cutie/'C86', riot grrrl and math rock, thus surveying UK and US punk-related scenes of the 1980s, 1990s and beyond.
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