The 25 Most Iconic Album Covers Of All Time

Truly iconic album covers don’t just define an album, they define an era, a generation and, in some cases, an entire musical genre.

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ByuDiscover Team

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Truly iconic album covers don’t just define an album, they define an era, a generation and, in some cases, an entire musical genre. Sometimes they do all three: what is The Beatles’ Sgt Pepper’s Lonely Hearts Club album cover, if not the ultimate manifestation of 60s psychedelia for the “peace and love” crowd?

Sometimes album covers are helped on their way to iconic status because of the musicians they features: photogenic stars, such as Elvis Presley, David Bowie, or Prince, whose godlike images are burned into our retinas. Other iconic album covers are envisioned by creative masterminds the likes of Hipgnosis or Andy Warhol, whose graphic designs bypass linear thinking and come up with an image that is a bona fide work of art in its own right.

While art might be a matter of taste, lasting legacy is something that’s more easily measured. Our list of the 25 most iconic album covers of all time may not be exhaustive, but it certainly reveals why album covers deserve to be held in as high a regard as more traditional modes of artwork.

While you’re reading, listen to our Greatest Album Covers playlist here.

Elvis Presley: Elvis Presley (1956)

Two simple words: “Elvis” and “Presley” (the latter barely hiding that controversial pelvis from view): that’s all it needed to say. Caught in full flow during a performance at the Fort Homer Hesterly Armory, Tampa, Florida, on 31 July 1955, you can still feel the primal rock’n’roll energy from a young man ready to take over the world. Two decades later, The Clash felt there was still none more rock’n’roll, and nicked the idea for their own epochal London Calling album cover.

The Beatles: Sgt Pepper’s Lonely Hearts Club Band (1967)

At the time the most expensive album cover ever made, the Sgt Pepper album cover remains a pop art masterpiece that has influenced everyone from Frank Zappa (We’re Only In It For The Money) to The Simpsons (The Yellow Album). Staged by British artist Peter Blake and his then-wife, Jann Haworth, the Sgt Pepper album cover depicted 58 different people, chosen by John Lennon, Paul McCartney, George Harrison, Peter Blake, Jann Haworth and London art dealer Robert Fraser, presenting a fascinating cross-section of cultures, importance and each Beatle’s individual interests.

Click here for an interactive Sgt Pepper cover to discover who’s who on one of the most important album covers of all time.

The Velvet Underground & Nico: The Velvet Underground & Nico (1967)

If Peter Blake’s Sgt Pepper album cover is the most famous example of British pop art, then Andy Warhol’s design for The Velvet Underground’s debut, released that same year, remains one of the most famous from the US. It’s “Peel Slowly And See” banana peel was actually a sticker that revealed the phallic fruit beneath – a typically wry move from Warhol, though the joke was on anyone who removed the sticker. Fully intact copies of the VU’s debut album are now hugely collectable rarities.

Frank Zappa/The Mothers Of Invention: Weasels Ripped My Flesh (1970)

As well as creating artwork for almost every Little Feat album, illustrator Neon Park’s distinctive style was put to unforgettable effect on a collection of Mothers material recorded from 1967-69. Having come across the September 1956 edition of Man’s Life, an adventure magazine whose cover pictured a man being attacked by weasels, Zappa took the “Weasels Ripped My Flesh” caption for a title and challenged Parks to make something “worse than this”. The result: a gruesome spoof advert for an electric razor.

Roxy Music: Roxy Music (1972)

While many of the most memorable album covers of the early 70s were high-concept artworks designed by the likes of Hipgnosis or Roger Dean, Roxy Music’s approach was startlingly simple: glamorous imagery, more like a 50s fashion shoot than an album cover. Often romantically linked with frontman Bryan Ferry, each model had their intriguing own back story. Having appeared as a Bond girl in On Her Majesty’s Secret Service, Kari-Ann Muller featured on the front of Roxy Music for the sum of just £20. Latterly a yoga teacher, she went on to marry Chris Jagger, whose brother has an interesting tale of his own…

Pink Floyd: The Dark Side Of The Moon (1973)

One of the most iconic album covers of all time, created by one of the most iconic design teams of all time. Hipgnosis’ main men, Storm Thorgerson and Aubrey Powell, came up with the concept for The Dark Side Of The Moon, while their colleague George Hardie executed it: a prism refracting light into six of the seven the colours of the spectrum (indigo is missing). The triumvirate of light beam, prism and spectrum apparently stood for three aspects of the band and their music: ambitious stage lighting, Dark Side’s lyrics and keyboardist Richard Wright’s request that Hipgnosis create something bold yet simple. Job done, then.

David Bowie: Aladdin Sane (1973)

David Bowie Aladdin-Sane
Brian Duffy’s portrait remains the image most associated with David Bowie: his Aladdin Sane persona an extension of Ziggy Stardust; the lightning bolt a representation of the “cracked actor” that Bowie felt he had become during his sudden rise to superstardom. Yet while Bowie exuded otherworldly powers at this point in his career, the cover photo was taken in the very earthly confines of Brian Duffy’s studio in Primrose Hill, London. The teardrop on Bowie’s clavicle was an addition of Duffy’s after the shoot: a perfect touch that makes Bowie seem both mysterious and tender at the same time.

Led Zeppelin: Houses Of The Holy (1973)

Another one of Hipgnosis’ arresting album covers, the artwork for Houses Of The Holy was inspired by the ending of Childhood’s End, a 30s sci-fi novel by author Arthur C Clarke. A collage pieced together from several photos of two children scaling Giant’s Causeway in Northern Ireland, taken over a ten-day period, the artwork’s eerie colouring was an accidental effect that gave the image a suitably otherworldly feel. Another unintended after-effect: some stores found the naked children too controversial and refused to stock the record.

Fleetwood Mac: Rumours (1977)

At a glance, the artwork for Fleetwood Mac’s best-selling album is simple: drummer Mick Fleetwood working up some theatrics with the none-more-melodramatic Stevie Nicks channelling the Rhiannon muse that consumed her for a period in the mid-70s. Oh, and then you see the nod to his manhood dangling proudly between his legs. Not just a schoolboy prank in the spur of the moment, the balls were actually toilet chains that Mick pulled from a cistern and placed between his legs before performing one of the band’s earliest gigs – and there they would remain for future live performances, presumably dangling dangerously close to the drummer’s tom-toms.

Prince: Purple Rain (1984)

An unavoidable image (and album) from the mid-80s through the rest of the decade, Purple Rain introduced the world to Prince as an enigmatic presence ready to disappear at will into the night, all Little Richard pompadour and wry smile, as if in on a joke that no one else could ever hope to understand. Photographer Ed Thrasher had previously snapped the similarly flamboyant Jimi Hendrix on a motorbike (a shot that graced the posthumous compilation album South Saturn Delta), while, if you look closely at the bike, you’ll see the androgyny symbol that would later find echoes in the “Love Symbol” that Prince changed his name to.

Bruce Springsteen: Born In The USA (1984)

Inspired by Born In The USA’s title track, Rolling Stone photographer Annie Leibovitz shot Springsteen in red, white and blue, before a backdrop of The Stars And Stripes, creating the ultimate American everyman photo for the ultimate American everyman album. However, like the album’s title track – which has been open to political misinterpretation over the years – the artwork drew some negative connotations. Some thought The Boss was relieving himself on the flag – an unintentional result of Springsteen choosing, from a number of photos, “the picture of my ass” because it “looked better than the picture of my face”.

Grace Jones: Island Life (1985)

As a model, actress and songwriter, Grace Jones’ career is littered with iconic photo shoots, from downtown disco snaps to uptown magazine spreads and, of course, album covers. While almost all of her record sleeves qualify for “iconic” status, the 1985 collection Island Life remains arguably her most famous. Originally printed in a 1978 edition of New York Magazine, the image was created by Jones’ then partner, designer and photographer Jean-Paul Goode, who fashioned Jones’ implausible posture from a composite of several photographs.

The Smiths: Meat Is Murder (1985)

The Smiths were always handy with an eye-catching image – taken together, their album covers amount to a gallery of black-and-white images with histories as compelling as Morrissey’s lyrics. For Meat Is Murder, the devoutly vegan Morrissey sought to draw a parallel between meat-eating and warfare, picking a controversial image of a Vietnam War soldier whose helmet had been emblazoned with the album’s title. Not that the original photo bore the “meat is murder” slogan. The 20-year-old Marine Corporal Michael Wynn, pictured on the album cover, had been photographed on 21 September 1967 in Da Nang, South Vietnam, during Operation Ballistic Charge – and the slogan he’d actually written on his own helmet turned a countercultural catchphrase on its head with the hippie-baiting “make war not love”.

NWA: Straight Outta Compton (1988)

From sound to lyrical content and imagery, Straight Outta Compton defined the emerging gangsta rap genre, and its artwork has gone down in history. Speaking to CNN years after, photographer Eric Poppleton, then just out of university, put the image’s impact down to the fact that, “You’re taking the perspective of someone who is about to be killed… We don’t even print that stuff in newspapers.” Poppleton still doesn’t know if Eazy-E’s gun was loaded – though it was certainly real (“There wasn’t anything fake back then,” he told NME), brandished by Eazy while Poppleton and the group – with one-time sixth member, producer Arabian Prince, in tow – ducked down an alleyway to capture the shot on the fly.

Nirvana: Nevermind (1991)

Is there anything more punk rock then putting male genitalia on the cover of your album? The controversial cover of Nevermind was interpreted by many as an innocent band reaching for the almighty dollar when in reality (according to Geffen Records art director Robert Fisher) it was the result of Cobain’s fascination with a documentary on underwater birth. Clearly his interest in maternal themes would crop up again for the band’s follow-up, In Utereo. While the label pushed for a cover sans baby anatomy, Cobain’s proposed compromise was a sticker covering that would read, “If you’re offended by this, you must be a closet paedophile.” Every five years or so, the original model (four-month-old Spencer Elden) recreates the cover for posterity, and the cover design has inspired endless satires.

A Tribe Called Quest: The Low End Theory (1991)

While rock music is littered with logos, the Queens rap collective A Tribe Called Quest inadvertently created one of the most recognisable symbols in hip-hop with the cover of their jazz-rap fusion masterpiece, The Low End Theory. Inspired by the provocative covers of old Ohio Players albums, it featured a nude model bedecked in DayGlo body paint that is at once alluring and Afrocentric at the same time. The bold colours and funky imagery lent itself to Tribe’s creative vision on what would become their breakout album. The painted lady would later appear on subsequent Tribe releases and surely inspired the equally provocative Stankonia album art.

Green Day: Dookie (1994)

Illustrated album covers had been around for decades by 1994, but when it came to conjuring up cover art for Green Day’s major label debut, artist Richie Bucher created a comic book style world that reflected the Bay Area punk scene the band was birthed from. Part Mad Magazine-style fold-in and Where’s Waldo? for the 90s alternative scene, you don’t need a magic decoder ring to spot the various Easter Eggs hidden under the spray of dookie: from AC/DC’s Angus Young to Big Star‘s Alex Chilton, Patti Smith, the University Of California Marching Band and elements of Ramones’ Rocket To Russia cover art, it’s a real Who’s Who of Oakland’s Telegraph Avenue.

Weezer: Weezer (aka “Blue Album”) (1994)

Either Weezer has a slavish devotion to monochromatic colour schemes or Rivers Cuomo has synaesthesia; either way, since releasing their iconic “Blue Album” in 1994, their discography represents a rainbow of releases that includes their “Green” (2001), “Red” (2008), and “White” albums (2016). While many early 90s releases experimented with artistic imagery, Weezer’s aesthetic was decidedly more “60s Sears family photo”, according to former Geffen A&R man Todd Sullivan. After the album’s release, many pointed out its similarity to The Feelies’ cover for Crazy Rhythms, when in reality, Cuomo was aiming for the clear-cut boy band image of The Beach Boys. As a result, Weezer not only had an iconic cover on their hands, but predicted the normcore movement.

The Smashing Pumpkins: Mellon Collie And The Infinite Sadness (1995)

Immediately recognizable, the dreamy, Victorian-esque cover of The Smashing Pumpkins’ landmark 1995 album captures a woman in perpetual eye-roll, or a look of ecstasy that she’s held onto for over 20 years. It perfectly summarises the aimlessness youth to which Corgan was preaching, and the fanciful imagery matches the grand ambitions of the sprawling, 28-track album. From just a series of crude, faxed sketches, illustrator John Craig (former designer for Mercury Records and the man behind some of Rod Stewart’s most iconic sleeves) created a composite image using a celestial background from an old children’s encyclopaedia, along with the body from a Raphael painting of Saint Catherine Of Alexandria, and the woman’s face from an 18th-century painting by Jean-Baptiste Greuze entitled The Souvenir (Fidelity). Though you don’t need an Art History degree to appreciate this enduring image.

Beck: Odelay (1996)

Some album covers are meant to convey deeper musical themes and their imagery is meticulously conceived, while others are just happy accidents. In Beck’s case, the somewhat inscrutable cover image of Odelay came about after he was shown an image of a rare, Hungarian breed of herding dog called a Komondor. After he couldn’t stop laughing at the image that he described as a “bundle of flying Udon noodles attempting to leap over a hurdle”, and with the deadline for the album just a day away, he decided it would make the perfect cover and left it open for interpretation. Is it a bale of hay or a flying mop? The artwork has become the ultimate Rorschach test.

The Roots: Things Fall Apart (1999)

At the dawn of the Willennium, the majority of hip-hop album covers were not the optimal vehicle for social commentary. At the time, The Roots were still something of an underground act, but that was all about to change with their seminal album and provocative cover – or covers –for their breakthrough album. The Philly outfit released five limited edition album artworks featuring famous photos that depicted “visual failure in society”, from a murdered mafia boss to a burning church, a baby crying amid the rubble in Shanghai after WWII to the 90s famine in Somalia, and, most famously, two women being chased by police during the 60s riots in the Bed-Stuy neighbourhood in Brooklyn. While most of The Roots’ previous covers just depicted the band, Things Fall Apart was a step towards social activism both in their music and imagery.

Blink-182: Enema Of The State (1999)

As the face of the pop-punk explosion, Blink-182 knew their audience well and catered to it accordingly with their explicit cover to their 1999 hit album Enema Of The State – much to the delight of their prepubescent male fans. Adult actress and exotic dancer Janine Lindemulder posed as a nurse for the cover, much to the chagrin of the American Red Cross, who demanded the band remove their logo from the artwork, as it was a “violation of the Geneva Convention”. Lindemulder would reprise her nurse role in the band’s video for ‘What’s My Age Again’, thanks to music turned porn publicist Brian Gross. The cover and accompanying video made Blink-182 famous and brought the adult industry to middle America.

The Strokes: Is This It (2001)

The Strokes Is This It
Hailed as the leaders of the “great-rock-revival”, The Strokes’ subscribed to the age-old model of “sex sells” for their S&M-inspired cover. A mix of Helmut Newton fashion photography and Spinal Tap’s Smell The Glove, the evocative cover was shot by photographer Colin Lane, who used his girlfriend as the model and a leftover prop to create the stark image. When it came to selling the album in the States, however, stores weren’t having it, and the cover was changed to a close-up image of subatomic particle tracks in a bubble chamber. Chalk this one up as another win for puritanical America.

Amy Winehouse: Back To Black (2006)

Amy Winehouse Back to Black
As an artist whose personal image is inseparable from her music, it was only fitting that the promising young singer should grace her own album cover. Back To Black would be her introduction to America and the rest of the world, and much had changed since her UK debut, Frank. With her cascading hair, sleeve tattoos and rockabilly makeup, even simply sitting in a chair appeared as an act of defiance, albeit with a hint of vulnerability, with her hands tucked between her legs. This indelible image would come to define Amy Winehouse’s legacy and inspired countless young girls to adopt her girl-group-member-gone-bad style.

Katy Perry: Teenage Dream (2010)

In popular music there’s no shortage of scantily-clad women on album covers, but it’s usually the domain of male musicians. Always one for pushing the envelope using her own image, Katy Perry teamed up with Los Angeles-based artist Will Cotton to create her own pin-up artwork for the cover of her hit album, Teenage Dream. The result was the cartoonish sensuality of Art Frahm meets Candyland camp, and it has shaped Perry’s Technicolor universe ever since. Cotton was also the creative director for Perry’s ‘California Gurls’ video, which established Perry’s signature trademark of tongue-in-cheek sex appeal.

Самые противоречивые обложки альбомов всех времен

От преднамеренной провокации до случайного оскорбления – самые противоречивые обложки альбомов всех времен представляют собой впечатляющую галерею, содержащуюю некоторые поразительные образы.

By Tim Peacock

Most Controversial album covers web optimised 1000

Ever since Elvis Presley first shook his hips, controversy has dogged rock’n’roll’s every move. However, while all manner of excess-fuelled misadventures feed the media machine in the short term, a provocatively-designed record sleeve can make the most lasting impact when it comes to riling the moral majority – and lasting notoriety is especially assured if the album cover gets banned. uDiscover Music investigates the most controversial album covers of all time.

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The Bad, The Bad And The Ugly: The Worst Album Covers Of All Time

For every classic album artwork there are thousands of eyesores that should be consigned to the bin. uDiscover salutes the worst album covers of all time.

By Tim Peacock

Worst Album Covers featured image web optimised 1000

As the artwork housing albums as diverse as The Beatles’ Sgt Pepper’s Lonely Hearts Club Band and Sex Pistols’ Never Mind The Bollocks… Here’s The Sex Pistols bears out, the quality of a record can often be matched by the timelessness of its sleeve, regardless of its genre. Unfortunately, though, for every award-winning graphic, there are thousands that should have been consigned to the design studio’s bin. Here, uDiscover salute 20 monumentally epic fails as we reveal the worst album covers of all time.

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Dead Or Alive frontman Pete Burns was an eighties icon, whose life was tragically cut short at just 57 years old.

The Liverpudlian had struggled with a troubled life before his untimely death from a cardiac arrest in October 2016.

Pete certainly didn’t have the easiest start in life and spent his formative years watching his mum battle alcohol and drug addiction.

The telly personality, who came fifth in Celebrity Big Brother in 2006, was born in Cheshire to his German mother – a Holocaust survivor – and a Liverpudlian father.

Pete once described his upbringing as unconventional and his childhood as solitary, but said he was brought up “with an incredible amount of freedom and creativity”. He grew up speaking only German and a little French until he was five.

His mum was traumatised after surviving the Holocaust and turned to substance abuse when her son was 14 years old.

Pete was born in Cheshire to his German mother – a Holocaust survivor – and a Liverpudlian father (Image: Publicity Picture)
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Opening up about his childhood, Pete previously told OK! magazine: “I couldn’t take it. I’d come home and find her with her wrists slashed and blood splattered all over the place.”

At the same age, Pete dropped out of school after his dyed red hair and oversized earring attracted outrage. He found work at a local record store.

Here he met musicians and eventually formed goth-influenced band Nightmares In Wax in 1979, which became Dead Or Alive the following year after Pete overhauled the line-up.

His rise to fame came in the New Pop era, epitomised by icons Boy George and Culture Club, Frankie Goes To Hollywood and Wham!.

His androgynous look, intriguing style and ambiguous sexuality found him fitting in at the right place at the right time for the first time in his life.

Pete Burns as a Shop Assistant
Pete Burns as at the record store (Image:

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Pete’s androgynous look, intriguing style and ambiguous sexuality meant he fit right in to the New Pop era (Image: Publicity Picture)

He married his stylist Lynne Corlett in 1978, seven years before Pete hit the big time.

In his heyday as a pop star, Pete achieved chart-topping success with You Spin Me Round (Like a Record) with his band Dead Or Alive.

It was during his most successful years that Pete decided he wanted surgery, a call that was fully supported by his wife at the time.

Sadly, the operation wasn’t a success and he was left with a nose so crooked that he couldn’t even wear sunglasses.

But the botched procedure didn’t put him off as Pete went on to have countless more operations in a desperate bid to change his look.

Eventually, he was unrecognisable from the handsome star he was at the start of his career and he became a poster boy for botched surgery.

During his most successful years Pete decided he wanted surgery (Image: Getty)

Before his death, the star appeared on Channel 5’s Celebrity Botched Up Bodies and confessed to going under the knife more than 300 times.

After their initial success, Dead Or Alive released several albums in the 90s, with limited triumph.

Heartbroken and feeling disfigured, Pete went on to develop depression and attempted to take his own life on more than one occasion.

He shared: “In 1997 a severe depression hit me, but I didn’t respond well to anti-depressants.

“It still occasionally hits me, but I’m in the hands of a fantastic psychiatrist and I’m on medication that works.”

But in 2002, Pete underwent a particularly devastating procedure in a desperate bid to get fuller lips, which would permanently change the course of his life and see his mental health spiral further.

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Pete with his band Dead Or Alive (Image: UNKNOWN)

Despite seeing a top doctor, the procedure went horrifically wrong and his lips swelled some 18 inches.

He recalled: “I started to develop holes in my skin and if I so much as touched my face there would be an audible hissing and out onto the mirror would vomit this yellow fluid.”

Pete went on to successfully sue the surgeon behind the botched op and received £450,000 in compensation.

But the humiliation triggered him to spiral into another deep depression – although it didn’t stop him from investing in more plastic surgery.

He likened plastic surgery to “buying a new sofa”. He boasted: “There’s not a part of me, apart from the soles of my feet, which has not had work done.

“For me plastic surgery is a matter of sanity, not vanity.”

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Pete Burns, of 80’s band ‘Dead or Alive’ performing on stage during the Mardi Gras 2003 – Pride in the Park (Image: PA)

Following Pete’s fall from fame and disasters on the operating table, he decided to embrace reality TV – after he had spent years protesting that he would never do it. “I still have a career, and I don’t really do reality,” he said in 2003.

His larger-than-life personality and cutting manner proved a huge hit in 2006 when Pete appeared on Celebrity Big Brother.

Pete’s surgery addiction and ever-changing appearance weren’t the only controversies that thrust him back into headlines while on the reality show.

He was slammed by animal rights activists for wearing a coat that he claimed was made from gorilla fur.

His bizarre wardrobe choice triggered a spectacular falling out with then housemate Jodie Marsh.

The pair argued repeatedly on the show and he shocked fans with the insults he hurled at her.

Pete on Celebrity Big Brother (Image: WENN)
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Pete came fifth on the popular show, but spiralled again the same year.

In 2006, Pete divorced his wife of 28 years and went on to enter into a civil partnership with Michael Simpson.

Although the couple divorced in 2006, both Pete and Lynne acknowledged that the singer was involved with Michael a year before they called time on their marriage.

While many women would have been outraged by this betrayal, Lynne appeared to accept the infidelity.

Speaking about their break-up in 2006, she told the Mirror: “It was time to move on and we’re still best friends. We hadn’t drifted apart – we’re still as close as we ever were.

“We just needed a change. It was a time when mutually we had to grow in different directions.

“Michael is a lovely man and we get on well. I have no problems with that.”

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Pete Burns and partner Michael Simpson (Image: Getty)

Pete and Michael split just 10 months after their partnership, but went on to reunite and were together when the singer died.

Pete revealed he was still extremely close with ex-wife Lynne and in 2008, he said: “We’re still really, really close. It’s not about sexuality, it’s about the person.”

The pair remained very much part of each other’s lives right up to Pete’s death.

When Pete’s team tweeted the news about Pete’s death, the message was signed off by his manager, his partner Michael Simpson and his ex-wife Lynne – proving how close the former couple still were.

Pete’s life went through some major changes in 2006, and the star hit headlines once again for the wrong reasons.

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Pete Burns and Michael Simpson (Image: Getty)

Pete was arrested for assault after a fight with but allegedly narrowly avoided prison thanks to his Celebrity Big Brother pal George Galloway.

The MP told The Big Issue: “I got him out of jail. I had to go to a police station and pay a sum of money, of surety, to get him out of the cells. A fracas? There’s been a lot of fracas!”

In the years that followed Pete struggled further.

Despite his impressive career, Pete filled for bankruptcy in 2014 after spending his fortune on plastic surgery.

In 2015, Burns was evicted from his London flat. He and his partner Michael were in such financial turmoil that they were evicted from the home. Pete had run up £34,000 in rent arrears.

The couple stayed together throughout the difficult time, right up until the star’s death.

Pete and Michael arrive at the Royal Society of Arts for their Civil Partnership Ceremony (Image: Getty)
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A month before he died, Burns appeared on Channel 5’s Celebrity Botched Up Bodies and talked frankly about his horrific experiences with cosmetic surgery, which had given him near-fatal blood clots and pulmonary embolisms as he underwent further procedures to try to correct mistakes.

Burns likened himself to “Frankenstein”, revealing the large amount of medication he was taking for surgery exerted a tremendous toll on his health.

“I developed blood clots and pulmonary embolisms in my legs, heart and lungs,” he told Channel 5.

“I was getting these black marks on my skin and I thought they were bruises. The next thing my driver came in and I was unconscious, not breathing.”

Pete Burns on Channel 5’s Celebrity Botched Up Bodies
Pete Burns on Channel 5’s Celebrity Botched Up Bodies (Image: Channel 5)

He said he spent 10 days fighting for his life in hospital but finally recovered.

Pete reflected on how he got into surgery on the show, commenting: “When you’re young and you’re very self-conscious and you’re standing in front of a camera and the photographers’ just whispering, ‘will you turn his head to the left because you’ve got a lump on his nose.’

“I hope when I’m 80 that I get to heaven God doesn’t recognise me,” he tragically added.

A month after the show aired, Peter died in October 2016 after suffering a massive heart attack.

‘That’s for President Trump’: YouTuber livestreams himself defecating on Nancy Pelosi’s driveway of her San Fran home

  • YouTuber by the name of Armando appeared to defecate at Nancy Pelosi’s home 
  • In footage, the man is seen standing in her driveway before saluting his viewers 
  • He then drops his pants and squats outside House Speaker’s San Francisco home
  • Moments later, he wipes his buttocks and says: ‘That was for President Trump’

By Valerie Edwards For

A Youtuber appeared to defecate in the driveway of House Speaker Nancy Pelosi’s home in a video livestreamed over the weekend. 

In the footage taken on Saturday, the man, who identifies himself as Armando, walked through the streets of San Francisco in search of the Democrat’s home. 


Once he found her home, he set up a camera across the road and walked over to her driveway.   

Armando then saluted his viewers, pulled down his pants and proceeded to squat. 

After a few seconds, Armando stands to his feet and wipes his buttocks before walking away and leaving behind what appeared to be feces. 

‘That was for President Trump,’ Armando is heard telling his viewers.  

In the footage that was recorded on Saturday, the man identifies himself as Armando  (pictured) as he walks through a few San Francisco streets in search of the Democrat's home

In the footage that was recorded on Saturday, the man identifies himself as Armando  (pictured) as he walks through a few San Francisco streets in search of the Democrat’s home

Once he finds her residence, he set up a camera across the street and walked over to her driveway. Armando then saluted his viewers, pulled down his pants and squatted in the driveway

Continue reading “‘That’s for President Trump’: YouTuber livestreams himself defecating on Nancy Pelosi’s driveway of her San Fran home”