At 22 David Bowie was still an unrecognized talent haunting London folk clubs. Life got interesting after he moved in with the author in 1969. Then Space Oddity hit the charts as the theme song for the first moon landing. He was set for superstardom. Here's the story of this pivotal year, written by his friend, lover and landlady.
Tomorrow Never Knows takes us back to the primal scene of the 1960s and asks: what happened when young people got high and listened to rock as if it really mattered—as if it offered meaning and sustenance, not just escape and entertainment? What did young people hear in the music of Dylan, Hendrix, or the Beatles? Bromell's pursuit of these questions radically revises our understanding of rock, psychedelics, and their relation to the politics of the 60s, exploring the period's controversial legacy, and the reasons why being "experienced" has been an essential part of American youth culture to the present day.
The children of U.S. small-town Alexandria are just trying to live like normal teens until their parents’ promised return from a mysterious, four-year religious pilgrimage, and Ben Schiller is no exception. She’s just trying to take care of her sister, keep faith that her parents will come back, and get through her teen years as painlessly as possible. But her relationship with her best friend is changing, her younger sister is hiding a dark secret, and a terrible tragedy is coming for them all.
Follow every step of David Bowie’s career; from Ziggy Stardust to Tin Machine, from “Space Oddity” to Let’s Dance to Blackstar, in Bowie: The Illustrated Story. David Bowie released an incredible 27 studio albums, beginning with his eponymous 1967 debut and ending with Blackstar, released just two days before his untimely death in January 2016. Widely regarded as one of the most influential musicians and performers of the previous five decades, Bowie demolished what were thought to be the limitations of stagecraft in rock music, as well as proving it possible for an artist to constantly--and successfully--redefine himself. As a result, Bowie has been credited with inspiring genres as disparate as glam and punk rock. This sharply written and gorgeously designed retrospective follows Bowie’s career from the folkie baroque rock of his debut, to his breakthrough single “Space Oddity,” and on to his flamboyant glam rock alter ego, Ziggy Stardust. Author Pat Gilbert continues through Bowie’s soul phase, his electronic Berlin trilogy, his massive pop success in the 1980s, and his turn to electronica in the 1990s, as well as subsequent tours, notable performances, collaborations, and accolades. Nearly every page is illustrated with stunning concert and candid offstage photography, including gig posters, 7-inch picture sleeves, concert ticket stubs, and more. The result is a fitting tribute to one of the most influential and admired stars in rock history.
"Most accounts of post-1950s political history tell the story of of the war on drugs as part of a racial system of social control of urban minority populations, an extension of the federal war on black street crime and the foundation for the "new Jim Crow" of mass incarceration as key characteristics of the U.S. in this period. But as the Nixon White House understood, and as the Carter and Reagan administrations also learned, there were not nearly enough urban heroin addicts in America to sustain a national war on drugs. This book argues that the long war on drugs has reflected both the bipartisan mandate for urban crime control and the balancing act required to resolve an impossible public policy: the criminalization of the social practices and consumer choices of tens of millions of white middle-class Americans constantly categorized as "otherwise law-abiding citizens."" That is, the white middle class was just as much a target as minority populations. The criminalization of marijuana - the white middleclass drug problem - moved to the epicenter of the national war on drugs during the Nixon era. White middle-class youth by the millions were both the primary victims of the organized drug trade and excessive drug war enforcement, but policymakers also remained committed to deterring their illegal drug use, controlling their subculture, and coercing them into rehabilitation through criminal law. Only with the emergence of crack cocaine epidemic of the mid-1980s did this use of state power move out of suburbs and remgaged more dramatically in urban and minority areas. This book tells a history of how state institutions, mass media, and grassroots political movements long constructed the wars on drugs, crime, and delinquency through the lens of suburban crisis while repeatedly launching bipartisan/nonpartisan crusades to protect white middle-class victims from perceived and actual threats, both internal and external. The book works on a national, regional, and local level, with deep case studies of major areas like San Francisco, LA, Washington, and New York. This history uses the lens of the suburban drug war to examine the consequences when affluent white suburban families serve as the nation's heroes and victims all at the same time, in politics, policy, and popular culture"--
We all know what suburbia is, indeed the majority of us live in it. Yet, despite this ubituity, with no formal definition of the contept, the suburbs have developed in our collective imagination through representations in popular culture, from Terry and June to Desparate Housewives. Rupa Huq examines how suburbia has been depicted in novels, cinema, popular music and on television, charting changing trends both in the suburbs and popular media consumption and production. She looks at the differences in defining suburbia in the US and UK and how characteristics associated with it have shifted in meaning and form.
In January 2016, the unexpected death of David Bowie rocked the globe. For millions of people, he was an icon celebrated for his music, his film and theatrical roles, and his trendsetting influence on fashion and gender norms. But no one from her inner circle has told the story of how David Jones—a young folksinger, dancer, and aspiring mime—became one of the most influential artists of our time. Drummer Woody Woodmansey is the last surviving member of Bowie’s band The Spiders from Mars which helped launch his Ziggy Stardust persona and made David Bowie a sensation. In this first memoir to follow Bowie’s passing, Spider from Mars reveals what it was like to be at the white-hot center of a star’s self-creation. With never-before-told stories and never-before-seen photographs, Woodmansey offers details of the album sessions for The Man Who Sold the World, Hunky Dory, The Rise and Fall of Ziggy Stardust and the Spiders from Mars, and Aladdin Sane: the four albums that made Bowie a cult figure. And, as fame beckoned by eventually consumed Bowie, Woodmansey recalls the wild tours, eccentric characters, and rock ‘n’ roll excess that eventually drove the band apart. A vivid and unique evocation of a transformative musical era and the enigmatic, visionary musician at the center of it, with a foreword by legendary music producer Tony Visconti and an afterword from Def Leppard's Joe Elliot, Spider from Mars is for everyone who values David Bowie, by one of the people who knew him best. " ... those interested in rock history won’t want to miss this slice of music history." - Publishers Weekly