ThisisBigBrother.com - UK TV Forums - The Pete Burns Thread • Pete Working On New Album

Dead or Alive

http://www.nouse.co.uk/2009/03/10/dead-or-alive/

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The capricious perception of Pete Burns vaults with each image of him that sneaks into the tabloid press. Is Pete the caustic scouser we saw on Celebrity Big Brother, or someone seeking refuge from the market of public opinion? Certainly, Pete himself seems ambivalent towards the question as our interview begins frostily:

“I am what I am and I do what I do and that doesn’t directly effect any of the things that offshoot from it. I’ve rejected every kind of label. I lead a very different kind of life to what most people would think that I lead.” I ask him about his unique personal style, to which he replies “I’ll give you a one word answer”, but he heartily doubles the significance of his responses with a desultory “Yeah yeah”.

Luckily, however, Pete warms up. His iconic style and his affinity for Vivienne Westwood’s clothes becomes the subject of discussion: “They were the first clothes that changed my life. Way back in the seventies she was the only person doing anything different. It was one of the things that had a big impact on my life, but she’s mainstream now. Once she put the pin through the nose of the queen and now she’s a Dame.” His sense of style meant that he got noticed on the local Liverpool music scene. After two other musical projects (Mystery Girls and Nightmares in Wax) that never really took off, Pete formed Dead or Alive, a New Wave band that found considerable international success with the classic ‘You Spin Me Round (Like a Record)’. A short time after the band’s 1980 inception, Pete became embroiled in a feud with Boy George, whom he accused of stealing his look and sanitising it for the mass market.

“Successful artists these days are either tremendously disciplined or they’re a good actress. You have to deaden your brain to it”
He has mellowed, however: “At the time I was livid – we were like spitting queens spitting fire at the time, but you grow up with age and what does it matter. Everything is a generic version of something else. Everything is mass consumption. Life is just a big supermarket with things you can steal and appropriate for yourself. It all seems like very long ago but at the time it was like a bunch of angry hairdressers bitching about who had the longest dreadlocks. If I ever kept a press file I’m sure I’d cringe at anything I’ve ever said.”

Pete, who will turn 50 on Thursday, checks his nostalgia by saying “I certainly don’t think I’m in the bloom of youth anymore.” His high-maintenance appearance is deeply impressive, but he maintains “I’m not as concerned by how I look all the time as I used to be when I was younger. When you’re young it’s a sign of self-expression but as you’re older you find different ways to express yourself. I’m not interested in fashion in the mainstream in any way whatsoever. I couldn’t name you any of the new fashion designers, I don’t attend Fashion Week and I don’t look at fashion magazines because for me it’s just another means of conforming.”

Pete has avoided conformity throughout his life and career. Dead or Alive’s sound was considered a revelation amidst the synth-pop of the early 80’s. He claims that he “didn’t expect any kind of success”, but ‘Spin Me’ ensured ongoing publicity commitments and an exhausting schedule. Moreover, the success of that one song overshadowed all the work Dead or Alive had recorded before or since: “In retrospect I wish there had been more of a natural growth period but there just wasn’t they did what they did and it was as if everyt hing else was wiped out.”

During this successful time, however, Pete underwent profound personal trauma, having to reject a support slot on Madonna’s infamous ‘Like a Virgin’ tour due to his mother’s terminal lung cancer. He says that “if we had gone on tour the record company would have been willing to push all these buttons to make the next album go platinum,” but is adamant that this time enabled personal growth and reflection. At the height of the band’s popularity Pete worked with Stock Aitken Waterman (SAW) - Kylie and Bananarama hitmakers – in what has been portrayed by Pete Waterman since as a fraught relationship. Pete Burns is keen to provide a reality check: “It was just their name on it that meant it got taken more seriously and we had a number one.”

Pete despairs of the ‘inhuman’ workload imposed on artists by record companies keen to milk hit records for all they’re worth: “You make a record maybe in July, it’s not released until the November, and even by the time you’re doing that you feel like you’re stuck in the past. Then you spend a year going around the world, promoting it in all the countries that it’s Number 1 in and you really need to do either something new or nothing at all. Successful artists these days are either tremendously disciplined or they’re a very good actress, able to talk about their product all the time. You have to deaden so much of your brain to keep up with the repetition.”

‘Spin Me’ became SAW’s first number one – a success they were more than keen to repeat. Many of their artists began to sport a similar sound. Pete claims that the flagrant copying was obvious: “Bananarama themselves had put it down in print that they went in and asked for a record that sounded like Spin Me. And that’s what they got. SAW were in the best place because they didn’t want to work with people of an artistic temperament, they wanted people who came in, did what they were told and repeated the formula over and over again until nobody wanted it anymore. It was a very acrimonious split between us. They were immensely talented songwriters, and immensely talented producers who only showed 10% of their talent on the records the public got to hear.”

‘Spin Me’ has been covered and sampled by a diverse range of artists, most recently by rapper Flo Rida, whose version of the song currently sits at Number 1 in the official UK singles chart. Having been forced to sell his back catalogue to pay for reconstructive surgery, Pete receives no royalties from his records, but he was regardless happily surprised when I informed him that ‘Right Round’ sat atop the midweek charts. “It’s very flattering that something that I did maybe thirty years ago now and has been dug out by somebody. I think it’s better than my version and I wish I’d done their version. I wish I had my time all over again, and I wish I could start without the boundaries that were in place when I started making music.”
Pete’s career, which he admits doesn’t operate on a ‘normal rota’, has for the past few years consisted of television work for Channel 4, Living TV, ITV and MTV. I ask whether he has to doctor what he says and thinks for these mainstream shows: “Oh absolutely. You’re given a script and you read the script off the idiot board and it’s very easy work and it’s very handsomely paid and it’s over in a day.”

Pete is happy to play the character the producers want – either the softer Pete of Wife Swap or acid-tongued character on Big Brother. For example, on a number of shows, both him and his civil partner, Michael Simpson, have talked of Pete’s one and a half hour daily make-up ritual. Pete explains that this is “complete balls. But you think there’s the cheque - it’s two days work, it’s pretty mind numbing. The most real reality show was Big Brother because halfway through I was unaware of the cameras. I just didn’t want to be in there. I needed the money desperately because I’d just come home from Italy and I didn’t want to stay in there I didn’t want to bond with anyone. But it backfired and I was kept in for the full run of the show. The general public seemed to fall in love with me. Even to this day people call after me ‘Big Brother Big Brother, we love you we love you’ - the black community in particular. And it did me a lot of good. TV people were very reticent to have me on their shows before Big Brother, but now they all want me. Some of the offers that I get are just ridiculous, like cookery shows. I don’t cook and I won’t cook. But sometimes the money is great and I think ‘Oh I’ll go on and cook something, shove something in the microwave’.”

Celebrity Big Brother brought Pete to the attention of a whole new generation. Pete’s verbal assaults on his assembled housemates are the stuff of legend - Jodie Marsh (“I wouldn’t piss on her if she burst into flames”), Traci Bingham (“You’re insincere to the point of nausea”) and Rula Lenska (“I don’t go in for all this spiritualist, zen ****. Every morning I chant ‘**** off **** off **** off’”) all suffered considerable battery. Pete believes that the fur coat controversy was “perpetrated by Big Brother. Bringing the whole fur issue in was very clever PR”, and is similarly dismissive of the rest of his experience in the house: “I hated every second. I’d just come back from two years of intensive surgery in Italy and it was the first time I’d been apart from my husband for any longer than two days - it was absolutely hell. I was withdrawn from all my medication. I couldn’t have my medication there because it couldn’t be approved by the official medical board since my doctor was based in Italy. I suffered anaesthetic withdrawal, painkiller withdrawal and steroid withdrawal. The house was like going cold turkey but it wasn’t the reason for any of my behaviour.”

“Anybody who has had extensive cosmetic surgery will have problems. The problem migrated - I was on morphine drips”

Despite numerous appearances on TV talking about his personal life, Pete is adamant that the world of showbiz and unmitigated torpor of trivial celebrity news does not interest him: “You see soul-selling every day. There’s a TV channel called the E channel - it’s full of people selling their soul, talking complete innocuous rubbish There are probably 150 magazines out every week, like Heat magazine, Hello magazine, Goodbye magazine, I cannot identify with anybody who’s interested in that sort of thing.”

We move on to talk about his experiences with both cosmetic and reconstructive surgery. Pete had his first nose job in 1984, but wasn’t happy with the results, using an eye patch to distract attention from the centre of his face. “Anybody who has had extensive cosmetic surgery will have problems. It’s not a guaranteed thing and the nose job was not what I wanted. I had to work through the success of ‘Spin Me’ without showing it because I hated what it looked like.”

Pete’s experiences with reconstructive surgery are well documented. Pete has filed a lawsuit, the value of which could top £1million, against his Herley Street cosmetic surgeon Dr Viel. He explains “It’s still problematic. It’s something that will be with me for the rest of my life and the subject of a major lawsuit. It’s very serious - I nearly lost my life.” The problems began around 2003. “I met the Scissor Sisters and they asked me to do a song with them. They wanted to remix my back catalogue - Sophisticated Boom Boom or something like that - and record new stuff. But previous to working with them I’d had problems working with my lips. I didn’t talk about it in 2003 because I thought people might find it funny but it wasn’t. It ended up migrating into my kidneys, I had kidney failure, I was on morphine drips… I couldn’t take on any major body of work as I didn’t know what was going to happen. I needed a surgeon to sort it out. After a long time of doing nothing I consented to do one song with the Scissor Sisters and the next day I was so swollen it was unbelievable and I knew something serious had happened. Its probably the most extreme case of anything like this that’s on record.”

Pete still suffers the effects of the botched lip injections to this day: “I’m going for diagnostic tests for swellings in the face and swellings inside the kidneys, I’ve been in ill health for four or five months with various maladies. Unfortunately at the moment I’m not wealthy enough to go into the private medical sector to get it sorted. I have to go through the NHS which is very very complicated. I went in a few weeks ago for something quite serious, an inflammation somewhere in my body, and the specialist wrote to my actual general practioner. Before he went on about my medical complaint - which I’m not willing to talk about - he talked about the amount of tattoos all over my body. I go to a doctor but they’re not hearing my words. I’m at that age now where I go and see a doctor and the doctor danced to my record when he was seventeen. And he’s wondering what it was like in the 80s and I’m in considerable pain.”

Contrary to what one might expect, Pete lives a largely solitary life of reading, watching DVDs and generally spending time with his partner. He still, however, has hopes for the future and goals he wants to achieve: “I don’t think I’ve achieved my best work yet. I’ll hold out forever for the Pet Shop Boys. I saw the Brit Awards a few weeks ago and I was absolutely stunned by the power of their catalogue. It was such an honour to work with them when I did ‘Jack and Jill Party’ [a song Pete recorded with PSB in 2003]. It was a tragedy that the lip situation flared up to an uncontrollable degree and I couldn’t continue working with them. I want the Pet Shop Boys to take me and make me sound exactly like them. I just love their sound. When I hear a record I want it to make me happy or lift my spirits in some way. I hope I managed to achieve that in some way with my music.

That Pete still has musical ambitions is a comfort to his fans and a source of intrigue for the general public. At present, he appears focused on living day to day: doing television work that allows him to keep ticking over. His self-perception shifts every day, and he forcefully upholds his right to change his mind about himself whenever he wishes. For Pete, his past opinions are an irrelevance, but they form a rich archive, populated by scathing witticism and stylistic flair.