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The name Peter Keogh may not be instantly recognisable to many people but he was married to one of the most popular British comedy actresses of the 1980s, Su Pollard. My Hi-De-High Life documents the story of how an unknown gay drifter from Australia came to live the celebrity life in London and mix with some of the most iconic stars of the time. This autobiography details the abuse in Peter's early life, his struggle to come to terms with his sexuality, different jobs, his travels, involvement with the theatre, tempestuous relationships and subsequent arrival in London, where he met and married Hi-de-Hi star Su Pollard. In this no holds barred account Peter spills the beans on his life with Su, his arrest and trial for theft, meeting Princess Diana and living the high life with well-known household names of the time. He goes on to document his subsequent divorce from Su, living in America and working with film legend Debbie Reynolds. This book is a fast-paced read about Peter's rollercoaster ride of a life that you won’t want to put down.
Filling in the Gaps follows on from Peter Keogh's acclaimed and popular autobiography My Hi-de-Highlife: Before, During and After Su Pollard. This exciting sequel explores aspects of Peter's life that were left out of his autobiography, including how a gay boy raised on a farm, and in spite of abuse both physical and emotional, was finally able to come out as a homosexual man. This book is at times comical, sexual and heartbreaking and provides further insight into Peter’s relationships with people like Debbie Reynolds, Australian producer John Frost and a distasteful encounter with a famous English MP. The book also reveals more of Peter’s life with the stars, his well-publicised trial in London and his relationship with his partner of 25 years, Sacha. Peter’s life has been a complex mix of highs and lows and his experiences have ranged from hilarious to terrifying. Filling in the Gap details how, against difficult odds, Peter has managed to survive to be the man he is today and will inspire people of all ages, gay or straight, to realise that there is light at the end of every dark tunnel.
In this inspirational and unflinchingly honest memoir, acclaimed author Reyna Grande describes her childhood torn between the United States and Mexico, and shines a light on the experiences, fears, and hopes of those who choose to make the harrowing journey across the border. Reyna Grande vividly brings to life her tumultuous early years in this “compelling...unvarnished, resonant” (BookPage) story of a childhood spent torn between two parents and two countries. As her parents make the dangerous trek across the Mexican border to “El Otro Lado” (The Other Side) in pursuit of the American dream, Reyna and her siblings are forced into the already overburdened household of their stern grandmother. When their mother at last returns, Reyna prepares for her own journey to “El Otro Lado” to live with the man who has haunted her imagination for years, her long-absent father. Funny, heartbreaking, and lyrical, The Distance Between Us poignantly captures the confusion and contradictions of childhood, reminding us that the joys and sorrows we experience are imprinted on the heart forever, calling out to us of those places we first called home. Also available in Spanish as La distancia entre nosotros.
The television star reveals his life, from his childhood as the son of legendary stage and screen star Mary Martin, to his troubles with drugs and alcohol.
Tin Pan Alley, once New York City’s songwriting and recording mecca, issued more than a thousand songs about the American South in the first half of the twentieth century. In Reinventing Dixie, John Bush Jones explores the broad impact of these songs in creating and disseminating the imaginary view of the South as a land of southern belles, gallant gentlemen, and racial harmony. In profiles of Tin Pan Alley’s lyricists and composers, Jones explains how a group of undereducated and untraveled writers—the vast majority of whom were urban northerners or European immigrants— constructed the specific and detailed images of the South used in their song lyrics. In the process of evaluating the origins of Tin Pan Alley’s songbook, Jones analyzes these songwriters’ attitudes about North-South reconciliation, ideals of honor and hospitality, and the recurring theme of the yearning for home. Though a few of the songs employed parody or satire to undercut the vision of a peaceful, romantic South, the majority ignored the realities of racism and poverty in the region. By the end of Tin Pan Alley’s era of cultural prominence in the mid-twentieth century, Jones contends that the work of its writers had cemented the “moonlight and magnolias” myth in the minds of millions of Americans. Reinventing Dixie sheds light on the role of songwriters in forming an idyllic vision of the South that continues to influence the American imagination.
‘As my future crumbled before my eyes, I grasped for the rope. My entire life’s struggle was ending here, in plain view of my enemies. How was it possible? How had I let things come to this?’ This is not the story of a celebrity sportsman. It’s not the story of a life covered in glory with its attendant cavalcade of famous friends, easy wins and glamorous encounters. Errol Christie may have been one of the most promising British boxers of his generation – a Fight Night poster boy, captain of the England boxing team, English and European champion, and a cocky, Ali-esque dancer with a reputation for devastating early knockouts – but this is not that story. This is a story about fighting. Coventry in the dying days of the Seventies was a tough place to grow up – especially if you were poor and black. At the same time as the young Errol Christie was raising the flag in the ring, his fists were seeing off skinhead tormentors and NF bootboys on the streets. Britain was sickening from a vicious racial divide, and even when the big time turned up Errol soon discovered that a black boxer who refused to play by the rules – white rules – would never be tolerated. In 1985, after a string of professional knockouts, Errol faced Mark Kaylor in a brutal bout that tore open the country’s simmering racial enmities. In the eighth round he went down – and stayed down, the roar of the hard right in his ears. But the years that followed would see Errol square up against a far tougher adversary – as he found himself out in the cold, struggling to get by, and alone with only his own shattered confidence and no place to hide.