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.

Pete Burns has found a new audience with his outrageous antics on Celebrityig Brother. Whether being berated for wearing an alleged 'gorilla' coat, orestroying any one of his housemates with a withering putdown, he's thendoubted star of the show. But there's much more to Pete than meets the eye and what with his extraordinary features and sense of fashion, that reallyaying something. He became a star with the band Dead Or Alive, who had auge hit with "You Spin Me Round (Like A Record)" in the mid-80s, but untilow he has never told his own amazing story. It includes frank details of hisffairs with major rock stars, his long-time marriage, how he had to sell hisBP 2m house to pay for the plastic surgery that went wrong and causedorrific injuries to his lips. He's had an amazing career and still commands huge global following. When it came to going into the Big Brother house,ete declared he was not going to be a team player - and this sensationalook about his life shows how he's always been a true individual and a borntar.

This cultural history of the travelling freak show in America chronicles the rise and fall of the industry as attitudes about disability evolved. From 1840 until 1940, hundreds of freak shows crisscrossed the United States, from the smallest towns to the largest cities, exhibiting their casts of dwarfs, giants, Siamese twins, bearded ladies, savages, snake charmers, fire eaters, and other oddities. By today’s standards such displays would be considered cruel and exploitative—the pornography of disability. Yet for one hundred years the freak show was widely accepted as one of America’s most popular forms of entertainment. Robert Bogdan’s fascinating social history brings to life the world of the freak show and explores the culture that nurtured and, later, abandoned it. In uncovering this neglected chapter of show business, he describes in detail the flimflam artistry behind the shows, the promoters and the audiences, and the gradual evolution of public opinion from awe to embarrassment. Freaks were not born, Bogdan reveals; they were manufactured by the amusement world, usually with the active participation of the freaks themselves. Many of the "human curiosities" found fame and fortune, until the ascent of professional medicine transformed them from marvels into pathological specimens.

Secret Service agent Glinka Glickstien has been “special” from birth. Her talents were always on display, whether she was playing sports, breaking up a counterfeiting ring, or guarding people. But when she and her colleagues discover that she has been the real target of repeated attacks, not her protectees – the president’s daughters – it’s time for her to show the world why she’s called the Freak from Battle Creek. The only question is if her unique skills will be enough to save the president’s daughters from torture and death at the hands of terrorists. It will be a challenge, even for the Freak from Battle Creek and her special skill set.

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In recent years the body has become one of the most popular areas of study in the arts, social sciences and humanities. Transgressive Bodies offers an examination of a variety of non-normative bodies and how they are represented in film, media and popular culture. Examining the non-normative body in a cultural studies context, this book reconsiders the concept of the transgressive body , establishing its status as a culturally mutable term, arguing that popular cultural representations create the transgressive or freak body and then proceed to either contain its threat or (s)exploit it. Through studies of extreme bodybuilding, obesity, disability and transsexed bodies, it examines the implications of such transgressive bodies for gender politics and sexuality. Transgressive Bodies engages with contemporary cultural debates, always relating these to concrete studies of media and cultural representations. This book will therefore appeal to scholars across a range of disciplines, including media and film studies, cultural studies, gender studies, sociology, sports studies and cultural theory.