The Pet Shop Boys are one of the most successful and unusual bands of the last five decades. They are the pop duo that proves pop music can be modern, ecstatic and playful as well as serious and intelligent, winning them legions of devoted fans throughout the world. In 1989, Neil Tennant and Chris Lowe invited journalist Chris Heath and photographer Lawrence Watson to shadow them around Hong Kong, Japan and the UK as they embarked on their first-ever tour. This book is the result: an immersive portrait giving access into the duo’s inner sanctum, showing them in brilliantly observed detail as they work, relax, gossip, argue and occasionally try to make sense of what they do. ‘As clear a picture as could be wished for of the seething mass of elegant contradictions that is the Pet Shop Boys’ on-the-road experience.’ Independent on Sunday ‘This superbly reported book transcends tired rock journalism cliché. It’s about what it means to be a pop star, what it means to be a Pet Shop Boy... how to love pop, hold it to a higher standard and subvert its expectations.’ Laura Snapes

The Pet Shop Boys came of age at a time of deep socio-political tension. From the rise of sexual politics and awareness to Thatcherite neoliberalism and the Cold War, this book explores the cultural and political impact of the band and offers a fascinating window into the late 20th and early 21st centuries. An archetypal 'gay band', it shows how their overt queerness influenced generations of LGBTQIA+ music lovers and artists alike. Covering the full oeuvre of The Pet Shop boys; their albums, films, stage productions and collaborations, chapters in this collection show how their work is suffused with political commentary on the past and present covering themes as broad as queer identity, the HIV/AIDs epidemic, globalization and Brexit. It also places them within the context of their times and considers them as activists, authors, social commentators, political actors and personalities to better understand what influenced them. Bringing together a range of perspectives and disciplines, The Pet Shop Boys and the Political provides a unique and untapped insight into a formative pop band of the modern era that has mirrored and shaped society over the past forty years.

Everything I've ever doneEverything I ever doEvery place I've ever beenEverywhere I'm going toOver a career that spans four decades and thirteen studio albums with Pet Shop Boys, Neil Tennant has consistently proved himself to be one of the most elegant and stylish of contemporary lyricists. Arranged alphabetically, One Hundred Lyrics and a Poem presents an overview of Neil Tennant's considerable achievement as a chronicler of modern life: the romance, the break-ups, the aspirations, the changing attitudes, the history, the politics, the pain. The landscape of Tennant's lyrics is recognisably British in character - restrained and preoccupied with the mundane, occasionally satirical, yet also yearning for escape and theatrical release. Often surprisingly revealing, this volume is contextualised by a personal commentary on each lyric and a fascinating introduction by the author which gives an insight into the process and genesis of writing. Flamboyant, understated, celebratory and elegiac, Neil Tennant's lyrics are a document of our times.

"The analysis of popular music forces us to rethink the assumptions that underpin our approaches to the study of Western music. Not least, it brings to the fore an idea that many musicologists still find uncomfortable - that commercial production and consumption can be aligned with artistic authenticity. Reading pop texts takes place through dialogue on many levels, which, as Stan Hawkins argues, deals with how musical events are shaped by personal alliances between the artist and the recipient. The need for a critical approach to evaluating popular music lies at the heart of this book. Hawkins explores the relationships that exist between music, spectatorship and aesthetics through a series of case studies of pop artists from the 1980s and 1990s. Madonna, Morrissey, Annie Lennox, the Pet Shop Boys and Prince represent the diversity of cultures, identities and sexualities that characterised the start of the MTV boom. Through the interpretation of aspects of the compositional design and musical structures of songs by these pop artists, Hawkins suggests ways in which stylistic and technical elements of the music relate to identity formation and its political motivations. Settling the Pop Score examines the role of irony and empathy, the question of gender, race and sexuality, and the relevance of textual analysis to the study of popular music. Interpreting pop music within the framework of musicology, Hawkins helps us to understand the pleasure so many people derive from these songs."--Provided by publisher.

The story of one musician's journey to discover how music can be used as a political tool, for good and bad.

"Full length, drama / 9 m / interior"--P. [4] of cover.

All Too Human is a new-generation political memoir, written from the refreshing perspective of one who got his hands on the levers of awesome power at an early age. At thirty, the author was at Bill Clinton's side during the presidential campaign of 1992, & for the next five years he was rarely more than a step away from the president & his other advisers at every important moment of the first term. What Liar's Poker did to Wall Street, this book will do to politics. It is an irreverent & intimate portrait of how the nation's weighty business is conducted by people whose egos & idiosyncrasies are no sturdier than anyone else's. Including sharp portraits of the Clintons, Al Gore, Dick Morris, Colin Powell, & scores of others, as well as candid & revelatory accounts of the famous debacles & triumphs of an administration that constantly went over the top, All Too Human is, like its author, a brilliant combination of pragmatic insight & idealism. It is destined to be the most important & enduring book to come out of the Clinton administration.

"One of the best and most disturbing war novels in years." —The Wall Street Journal “War porn,” n. Videos, images, and narratives featuring graphic violence, often brought back from combat zones, viewed voyeuristically or for emotional gratification. Such media are often presented and circulated without context, though they may be used as evidence of war crimes. War porn is also, in Roy Scranton’s searing debut novel, a metaphor for the experience of war in the age of the War on Terror, the fracturing and fragmentation of perspective, time, and self that afflicts soldiers and civilians alike, the global networks and face-to-face moments that suture our fragmented lives together. In War Porn three lives fit inside one another like nesting dolls: a restless young woman at an end-of-summer barbecue in Utah; an American soldier in occupied Baghdad; and Qasim al-Zabadi, an Iraqi math professor, who faces the US invasion of his country with fear, denial, and perseverance. As War Porn cuts from America to Iraq and back again, as home and hell merge, we come to see America through the eyes of the occupied, even as we see Qasim become a prisoner of the occupation. Through the looking glass of War Porn, Scranton reveals the fragile humanity that connects Americans and Iraqis, torturers and the tortured, victors and their victims.

Lee Atwater revolutionized presidential campaigning. He helped to create a solid Republican south. And he became notorious for turning national politics back into a blood sport, not only using nasty attacks but reveling in his image as the bad boy of Washington. Then, at the age of 39, Atwater was struck by a brain tumor. In thirteen months, cancer ended the most controversial career in modern politics—the charismatic, colorful, and contradictory life of Lee Atwater.Even today Atwater is a fallen leader Republicans love and a rival Democrats love to hate. He was the first political handler as mediagenic as his candidates—certainly the first chairman of the Republican National Committee to record a blues album. His campaigns represent the high-water mark of the GOPs postwar dominance of the presidency, and his techniques set the tone for races across the country. Watching Washington since his death, politicians and pundits still wonder, What if Lee Atwater had lived? Bad Boy reveals how Lee Atwater began his career controlling crowds as jittery class clown, traumatized by the agonizing death of his little brother. In college he discovered the subtle intercourse of policy and public opinion and grew from party animal to party man. Bad Boy details Atwater's political strategies from the grass roots to the national level. Even more ruthless were the behind-the-scenes power games as he crossed paths, and occasionally crossed swords, with nearly every major Republican of the 1980s: Reagan, Bush, Baker, Ailes, Rollins, and many more.In Bad Boy, we also see the faces Atwater tried to spin away. He was a compulsive womanizer, climbing through windows to avoid reporters. He played radical politics but promoted ”big tent” Republicanism. Even his last public moment is controversial. Did Atwater's deathbed words really repudiate entire campaigns, or were they twisted by political enemies and second-hand reporting? Was his repentance sincere or simply one last gasp of press manipulation? Was he responsible for the infamous Willie Horton ads, or was he unfairly blamed by 1988s losers, trying for a moral victory? Is Lee Atwater, a master of spin, now being spun in his grave?In its sudden end, Atwater's remarkable life resembled the rise and fall of a fine political novel. With the probing insights of an expert interviewer and a rare stylistic verve, John Brady tells that whole frantic, fascinating story—the life of the baddest boy in D.C.

Winner of the 2006 National Council on Public History Book Award for the best work published about or growing out of public history, Road, River, and Ol' Boy Politics has quickly established its reputation as the definitive source on the subject of the growth of supersuburbs. In 1946 Williamson County was profoundly rural, centered on an agricultural economy, ethnically diverse, and Democratic. Half a century later, it was one of the five fastest-growing counties in the United States, staunchly Republican, and culturally homogeneous. Linda Scarbrough presents the story of how this came about through the machinations of a handful of local political and economic "bosses" who brought Williamson County two federal public works projects: Interstate Highway 35 and a dam on the San Gabriel River.