Chart Throb Talking Book

Chart Throb.The ultimate pop quest. Ninety five thousand hopefuls. Three judges. Just one winner. And that's Calvin Simms, the genius behind the show. Calvin always wins because Calvin writes the rules. But this year, as he sits smugly in judgement upon the mingers, clingers and blingers whom he has pre-selected in his carefully scripted 'search' for a star, he has no idea that the rules are changing. The 'real' is about to be put back into 'reality' television and Calvin and his fellow judges (the nation's favourite mum and the other bloke) are about to become ex-factors themselves. Ben Elton, author of Popcorn and Dead Famous returns to blistering comic satire with a savagely hilarious deconstruction of the world of modern television talent shows. Chart Throb. One winner. A whole bunch of losers.

Imagine a world where everyone knows everything about everybody. Where 'sharing' is valued above all, and privacy is considered a dangerous perversion. Trafford wouldn't call himself a rebel, but he's daring to be different, to stand out from the crowd. In his own small ways, he wants to push against the system. But in this world, uniformity is everything. And even tiny defiances won't go unnoticed. Ben Elton's dark, savagely comic novel imagines a post-apocalyptic society where religious intolerance combines with a sex-obsessed, utterly egocentric culture. In this world, nakedness is modesty, independent thought subversive, and ignorance is wisdom. A chilling vision of what's to come? Or something rather closer to home?

'The best I've read of Elton's many bestsellers' The Times Imagine a world where no one you have ever known or loved has been born yet. Perhaps they never will be. 1st June 1914: this is Hugh Stanton's reality. Ex-soldier and celebrated adventurer, he is is quite literally the loneliest man on earth. Stanton knows that a great and terrible war is coming. A collective suicidal madness that will destroy European civilization and bring misery to millions in the century to come. He knows this because, for him, that century is already history. Somehow he must change that history. He must prevent the war. A war that will begin with a single bullet. But can a single bullet truly corrupt an entire century? And, if so, could another single bullet save it?

Gridlock Too many cars and not enough space equals gridlock. Gridlock is when a city dies. Killed in the name of freedom. Killed in the name of oil and steel. Choked on carbon monoxide and strangled with a pair of fluffy dice. How did it come to this? How did the ultimate freedom machine end up paralysing us all? How did we end up driving to our own funeral, in somebody else's gravy train? Deborah and Geoffrey know, but they have transport problems of their own, and anyway, whoever it was that murdered the city can just as easily murder them. Chart Throb Chart Throb The ultimate pop quest. Ninety five thousand hopefuls. Three judges. Just one winner. And that's Calvin Simms, the genius behind the show. Calvin always wins because Calvin writes the rules. But this year, as he sits smugly in judgement upon the mingers, clingers and blingers whom he has pre-selected in his carefully scripted 'search' for a star, he has no idea that the rules are changing. The 'real' is about to be put back into 'reality' television and Calvin and his fellow judges (the nation's favourite mum and the other bloke) are about to become ex - factors themselves. Chart Throb. One winner. A whole bunch of losers Blind Faith Imagine a world where everyone knows everything about everybody. Where 'sharing' is valued above all, and privacy is considered a dangerous perversion. Trafford wouldn't call himself a rebel, but he's daring to be different, to stand out from the crowd. In his own small ways, he wants to push against the system. But in this world, uniformity is everything. And even tiny defiances won't go unnoticed. Ben Elton's dark, savagely comic novel imagines a post-apocalyptic society where religious intolerance combines with a sex-obsessed, utterly egocentric culture. In this world, nakedness is modesty, independent thought subversive, and ignorance is wisdom. A chilling vision of what's to come?Or something rather closer to home?

In 1976 the British band Throbbing Gristle emerged from the radical arts collective COUM Transmissions through core members Genesis P-Orridge and Cosey Fanni Tutti, joined by Hipgnosis photographer Peter Christopherson and electronics specialist Chris Carter. Though having performed previously in more low-key arts environments, their major launch coincided with the COUM retrospective exhibition Prostitution at London’s ICA gallery, showcasing and contextualising an array of challenging objects from COUM’s various actions in performance art and pornography. In a deliberately curated strategy inviting press, civic and arts dignitaries, extravagant followers of the nascent punk scene and music journalists, the band created an instant controversy and media panic that tapped into the restrictive climate and encroaching conservatism of late 1970s Britain. Any opportunities that were being explored by a formative punk ethos and movement around sex, censorship and transgression were amplified and exposed by Throbbing Gristle and Prostitution. An outraged Member of Parliament Nicholas Fairbairn took the bait and called the ensemble the ‘wreckers of civilisation’, providing the suitable newspaper headline that would be followed a month later by ‘the filth and the fury’ as the Sex Pistols uttered strong profanities on live television. The switch from COUM to Throbbing Gristle encompassed a primary mode of expression in making music as opposed to art, to further coincide with the energy of the nascent punk scene. The band quickly developed a radically deviant and challenging reputation through pushing the punk format past its strictures in terms of lyrical themes, amateurism, and considerations of what constitutes music. Through a handful or record releases on their own label Industrial Records, and a sporadic string of live performances, the band nurtured a strong and devoted following including key journalists and fanzine editors of the punk and post-punk scenes such as Jon Savage and Sandy Robertson. The band’s style of exploring harsh pre-recorded sounds, samples of disconcerting narrative and conversation, and feeding all sounds through messy electronic processing devices gave rise to the title industrial music. This was further buttressed by performing a strictly timed set of one hour, and adopting a non-rockstar mode by appearing disinterested and preoccupied with electronic devices. Having given a name and impetus to the industrial music scene, many of their followers and fans formed bands in later years. Drawing on works such as Andy Bennett’s When the Lights Went Out, this book looks at late 1970s Britain, before, during and immediately after the Winter of Discontent, to situate the activism of Throbbing Gristle in this time. It explores how the band worked in and against the time, and how they worked in and against punk as punk worked in and against the time and place. Punk acts as a mediating factor and nuisance value, as Throbbing Gristle emerged with punk in late 1976, seemingly grappled with it through 1977, and then went on to create and eventually criticise a number of post-punk scenes that had flourished around 1979. Trowell narrates the story through a series of live performances, as this is a point where Throbbing Gristle interact with the various city-scenes around England during their original period of operation (1975-1981). The band reflected (and incorporated into their live music) key tropes form the time, both ‘mainstream’ and fringe (subcultural, avant-garde art, counter-culture, taboo subjects, extremes) such that Throbbing Gristle events had an impact and affect, and Trowell traces these as a series of impressions and reverberations amongst fans who went on to do their own music and projects.

'A work of formidable imaginative scope' Daily Telegraph The first casualty when war comes is truth . . . Flanders, June 1917: a British officer and celebrated poet, is shot dead. , He is killed not by German fire, but while recuperating from shell shock well behind the lines. A young English soldier is arrested and, although he protests his innocence, charged with his murder. Douglas Kingsley is a conscientious objector, previously a detective with the London police, now imprisoned for his beliefs. He is released and sent to France in order to secure a conviction. Forced to conduct his investigations amidst the hell of The Third Battle of Ypres, Kingsley soon discovers that both the evidence and the witnesses he needs are quite literally disappearing into the mud that surrounds him. Ben Elton's tenth novel is a gut-wrenching historical drama which explores some fundamental questions: What is murder? What is justice in the face of unimaginable daily slaughter? And where is the honour in saving a man from the gallows if he is only to be returned to die in a suicidal battle?

A Rolling Stone-Kirkus Best Music Book of 2020 The definitive account of pop music in the mid-eighties, from Prince and Madonna to the underground hip-hop, indie rock, and club scenes Everybody knows the hits of 1984 - pop music's greatest year. From "Thriller" to "Purple Rain," "Hello" to "Against All Odds," "What's Love Got to Do with It" to "Wake Me Up Before You Go-Go," these iconic songs continue to dominate advertising, karaoke nights, and the soundtracks for film classics (Boogie Nights) and TV hits (Stranger Things). But the story of that thrilling, turbulent time, an era when Top 40 radio was both the leading edge of popular culture and a moral battleground, has never been told with the full detail it deserves - until now. Can't Slow Down is the definitive portrait of the exploding world of mid-eighties pop and the time it defined, from Cold War anxiety to the home-computer revolution. Big acts like Michael Jackson (Thriller), Prince (Purple Rain), Madonna (Like a Virgin), Bruce Springsteen (Born in the U.S.A.), and George Michael (Wham!'s Make It Big) rubbed shoulders with the stars of the fermenting scenes of hip-hop, indie rock, and club music. Rigorously researched, mapping the entire terrain of American pop, with crucial side trips to the UK and Jamaica, from the biz to the stars to the upstarts and beyond, Can't Slow Down is a vivid journey to the very moment when pop was remaking itself, and the culture at large - one hit at a time.