Dylan Jones - Böcker

Rebellion always starts somewhere, and in the music world of the transgressive teen whether it be the 1960s of the 2020s, The Velvet Underground represent ground zero. Crystallizing the idea of the bohemian, urban, narcissistic art school gang, around a psychedelic rock and roll band - a stylistic idea that evolved in the rarefied environs of Andy Warhol's Factory - The Velvets were the first major American rock group with a mixed gender line-up; they never smiled in photographs, wore sunglasses indoors, and in the process invented the archetype. They were avant-garde nihilists, writing about drug abuse, prostitution, paranoia, and sado-masochistic sex at a time when the rest of the world was singing about peace and love. Dylan Jones' definitive oral history of The Velvet Underground draws on contributions from remaining members, contemporaneous musicians, critics, film-makers, and the generation of artists who emerged in their wake, to celebrate not only their impact but their legacy, which burns brighter than ever into the 21st century.

*Includes an exclusive new chapter*'Excellent' Guardian'Hugely enjoyable' Irish Times'Dazzling' LRB 'Fascinating' New Statesman 'An absolute must-read' GQAn NME and BBC Culture Book of the Year 2020For a while, Sweet Dreams were made of this.From the testimony of the people who lived it, comes Dylan Jones' masterful history of the Blitz kids, synth-pop and the style press, from 1975 to 1985. 'Few music scenes have received more opprobrium than the New Romantics. A bunch of fame-grabbing clothes-horses? Certainly. But also, a progressive force that opened new routes for music while embracing most genders, ethnicities and sexual preferences.' MOJO 'Compelling reading for those who lived and breathed the indulgence of the era without realising its significance or contemplating its legacy.' Simon Armitage'Dylan Jones explains how a bunch of penniless nightclub show-offs morphed into pop royalty in the 1980s . . . An excitable patchwork of interviews, punctuated with gossip and pertinent theory.' UNCUT'It's all here: the swishing, the androgynous preening, the sweetly-dreamt synth-pop splendour of early '80s Britain. Something was happening, and Mr. Jones knew what it was.' Barney Hoskyns

** Shortlisted for the NME Best Music Book Award 2018 **THE SUNDAY TIMES BESTSELLERA TIMES BOOK OF THE YEARA GUARDIAN BOOK OF THE YEARA HERALD BOOK OF THE YEARAN IRISH INDEPENDENT BOOK OF THE YEAR'The definitive book on Bowie' The Times Drawn from a series of conversations between David Bowie and Dylan Jones across three decades, together with over 180 interviews with friends, rivals, lovers, and collaborators - some of whom have never before spoken about their relationship with Bowie - this oral history is an intimate portrait of a remarkable rise to stardom and one of the most fascinating lives of our time.Profoundly shaped by his relationship with his schizophrenic half-brother Terry, Bowie was a man of intense relationships that often came to abrupt ends. He was a social creature, equally comfortable partying with John Lennon and dining with Frank Sinatra, and in Dylan Jones's telling - by turns insightful and salacious - we see as intimate a portrait as could possibly be drawn.Including illuminating, never-before-seen material from Bowie himself, drawn from a series of Jones’s interviews with him across three decades, DAVID BOWIE is an epic, unforgettable cocktail-party conversation about a man whose enigmatic shapeshifting and irrepressible creativity produced one of the most sprawling, fascinating lives of our time.***NOW REVISED AND EXPANDED***

Just who does David Cameron think he is? In an engaging series of landmark interviews that will define the would-be prime minister ahead of the next election, Dylan Jones finds out.David Cameron is asking you for the keys to Number 10 – but is he a smartly dressed smoothie with all the right lines, or a gifted politician who instinctively understands the country’s priorities? A throwback to the age when privilege brought power, or a dynamic alternative to a Labour Party that has run out of ideas?Award-winning journalist Dylan Jones set out to answer these questions in a series of wide-ranging and candid interviews that will define David Cameron ahead of the next election – and for years to come. A book about a politician for people who don’t buy books about politicians, ‘Cameron on Cameron’ will, for many, settle the question of whether David Cameron has got what it takes to lead the country.What Cameron thinks may soon become what Britain does – and Jones teases out the details of Cameron’s positions on the big issues. From the Iraq war to our friendship with America, from education to immigration, ‘Cameron on Cameron’ will make for an unprecendented view into a politician’s world and a document of practical use in our democracy. From the Conservative Party's bouts of vicious internal backstabbing to Cameron’s marriage to Samantha and their family life – ‘Cameron on Cameron’ lays bare the forces which shape the man who may succeed Gordon Brown before the decade is out.

One Day: Saturday 13 July 1985, nearly two billion people woke up with one purpose. Nearly a third of humanity knew where they were going to be that day. Watching, listening to, attending: Live Aid. One Decade: Britain in the Eighties was different. The culture was different, the politics were different, and our engagement with the world was different. And it was just one day in 1985 that showed how different it was.In One Day, One Decade Dylan Jones tells the story of the Eighties through that day at Wembley, sweeping backwards to the end of the Seventies, and forward to the start of the Nineties. It draws on his personal reminiscences and perspective of music, media, fashion, politics and all forms of pop culture to frame the decade.This is a big book but not a exhaustive and dry social history. Live Aid was the decade’s pinch point, when a nation's attitudes and expectations were somehow captured and changed forever. The author suggests that before Live Aid, Britain was one place, and after Live Aid it was another.Britain in the Eighties was a juxtaposition of militancy and profligacy, a country where industry was being broken down, societies were being demolished, and unemployment became an inevitable lifestyle choice: yet the Eighties was also the apotheosis of pop culture, a decade where entertainment, opinion and subjectivity were more important than ever before.Dylan Jones was at the heart of the 1980s editing the seminal magazines i-D and The Face. He was one of the Blitz Kids and was both a commentator and one of the style-makers of the time. This is a controversial book, a story told from the inside by one who was at the centre of events.

In October 1976, the London restaurant world was turned upside down when Michael Caine, celebrated chef Richard Shepherd and Irish entrepreneur Peter Langan opened Langan's, a celebrity hangout that would revolutionise the capital's dining scene. This soon became the most celebrated restaurant in the city, and helped turn London into an internationally recognised culinary hot spot. Inheriting its status from Mr. Chow and St. Lorenzo, Langan's was soon joined by Joe Allen, Le Caprice and L'Escargot, making London the most vibrant restaurant capital of the age.London never looked back. In the five decades since, the city has become the global culinary petri dish, a multi-cultural hotbed of super chefs and gastronomic ingenuity, of monstrous egos and appalling kitchen behaviour, bad reviews and scabrous critics (AA Gill, Giles Coren and Michael Winner), dictatorial maitre ds, inter-restaurant feuding (Jeremy King v Richard Caring, Jamie Oliver v Marci Pierre White, Gordon Ramsey v Gino D'Acampo, Marcus Wareing and Mario Batali), ridiculous trends (everything from nouvelle cuisine and kimchi to tasting menus and wine pairings), scandals (Gordon Ramsey, Boris Becker, Jamie Oliver), difficult customers ("What do you mean I can't have Table 3?"), financial shenanigans, global media attention and more.

'It's just another song to me. I've written 1,000 of them and it's really just another one.' Jimmy Webb 'When I heard it I cried. It made me cry because I was homesick. It's just a masterfully written song.' Glen CampbellThe sound of 'Wichita Lineman' was the sound of ecstatic solitude, but then its hero was the quintessential loner. What a great metaphor he was: a man who needed a woman more than he actually wanted her. Written in 1968 by Jimmy Webb, 'Wichita Lineman' is the first philosophical country song: a heartbreaking torch ballad still celebrated for its mercurial songwriting genius fifty years later. It was recorded by Glen Campbell in LA with a legendary group of musicians known as 'the Wrecking Crew', and something about the song's enigmatic mood seemed to capture the tensions in America at a moment of crisis. Fusing a dribble of bass, searing strings, tremolo guitar and Campbell's plaintive vocals, Webb's paean to the American West describes a telephone lineman's longing for an absent lover, who he hears 'singing in the wire' - and like all good love songs, it's an SOS from the heart. Mixing close-listening, interviews and travelogue, Dylan Jones explores the legacy of a record that has entertained and haunted millions for over half a century. What is it about this song that continues to seduce listeners, and how did the parallel stories of Campbell and Webb - songwriters and recording artists from different ends of the spectrum - unfold in the decades following? Part biography, part work of musicological archaeology, The Wichita Lineman opens a window on to America in the late-twentieth century through the prism of a song that has been covered by myriad artists in the intervening decades.'Americana in the truest sense: evocative and real.' Bob Stanley

The sound of 'Wichita Lineman' was the sound of ecstatic solitude, but then its hero was the quintessential loner. What a great metaphor he was: a man who needed a woman more than he actually wanted her. Written in 1968 by Jimmy Webb, 'Wichita Lineman' is the first philosophical country song: a heartbreaking torch ballad still celebrated for its mercurial songwriting genius fifty years later. It was recorded by Glen Campbell in LA with a legendary group of musicians known as 'the Wrecking Crew', and something about the song's enigmatic mood seemed to capture the tensions in America at a moment of crisis. Fusing a dribble of bass, searing strings, tremolo guitar and Campbell's plaintive vocals, Webb's paean to the American West describes a telephone lineman's longing for an absent lover, who he hears 'singing in the wire' - and like all good love songs, it's an SOS from the heart. Mixing close-listening, interviews and travelogue, Dylan Jones explores the legacy of a record that has entertained and haunted millions for over half a century. What is it about this song that continues to seduce listeners, and how did the parallel stories of Campbell and Webb - songwriters and recording artists from different ends of the spectrum - unfold in the decades following? Part biography, part work of musicological archaeology, The Wichita Lineman opens a window on to America in the late-twentieth century through the prism of a song that has been covered by myriad artists in the intervening decades.'Americana in the truest sense: evocative and real.' Bob Stanley 'It's just another song to me. I've written 1,000 of them and it's really just another one.' Jimmy Webb 'When I heard it I cried. It made me cry because I was homesick. It's just a masterfully written song.' Glen Campbell 'I love the song because its as though it's been in my life forever.' Amy Raphael'It's not just the perfect pop song, it's almost perfect as an idea, existing outside of the song itself.' Stuart Maconie 'I don't really think of 'Wichita Lineman' as easy listening, I just think it's a great song.' Paul Weller

The King departed this world during the month of punk Rock's apotheosis. Punk had set out to destroy Elvis, or at least everything he came to represent, but never got the chance. Elvis destroyed himself before anyone else could.Nearly forty years after his death, Rock's ultimate legend and prototype just won't go away and his influence and legacy are to be found not just in music today, but the world over. Elvis Presley has permeated the modern world in ways that are bizarre and inexplicable: a pop icon while he was alive, he has become almost a religious icon in death, a modern-day martyr crucified on the wheel of drugs, celebrity culture, junk food and sex.In Elvis Has Left the Building, Dylan Jones takes us back to those heady days around the time of his death and the rise of punk. He evokes the hysteria and devotion of The King's numerous disciples and imitators, offering a uniquely insightful commentary on Elvis's life, times and outrageous demise. This is a fresh account, written with the authors customary panache, recounting how Elvis single-handedly changed the course of popular music and culture, and what his death meant and still means to us today.

Combining the unique heritage of gentlemen s tailoring with a progressive approach to street style, London is fast becoming the world s capital of men s fashion. For this book, Dylan Jones presents a discerning sartorialist s guide to the capital, from London s coolest neighbourhoods to the studios of its most influential designers and beyond. Beginning with an exploration of London s chicest urban villages, the book reflects the extraordinary eclecticism of the city s street style from envelope-pushing streetwear in Shoreditch to classic tailoring in Mayfair. Forays into the coolest and hardest-to-find menswear shops in the city at once reveal the sources of the fashions on display and capture the atmosphere of the capital. At the heart of the book are profiles of London s top designers from world renowned brands to up-and-coming names, these are the designers whose work is shaping the future of menswear. Legends such as Paul Smith and Vivienne Westwood, whose flair for subversion colors their refinement, sit alongside younger designers such as Christopher Shannon and Agi and Sam, pioneers of bringing graphics and pattern to luxury streetwear.Icons of classic elegance such as Tom Ford and Burberry contrast with a new generation of designers, from Nigel Cabourn to Mr. Hare, whose redefined silhouettes and innovative materials take the traditions of Savile Row into the new millennium.

Many contemporary problems within the Earth sciences are complex, and require an interdisciplinary approach. This book provides a comprehensive reference on data assimilation and inverse problems, as well as their applications across a broad range of geophysical disciplines. With contributions from world leading researchers, it covers basic knowledge about geophysical inversions and data assimilation and discusses a range of important research issues and applications in atmospheric and cryospheric sciences, hydrology, geochronology, geodesy, geodynamics, geomagnetism, gravity, near-Earth electron radiation, seismology, and volcanology. Highlighting the importance of research in data assimilation for understanding dynamical processes of the Earth and its space environment and for predictability, it summarizes relevant new advances in data assimilation and inverse problems related to different geophysical fields. Covering both theory and practical applications, it is an ideal reference for researchers and graduate students within the geosciences who are interested in inverse problems, data assimilation, predictability, and numerical methods.

Few people can say they have shaped the cultural landscape of the last four decades while crossing paths with some of the most extraordinary personalities on the planet. But then, of course, Dylan Jones isn't just anyone.These Foolish Things captivatingly charts Dylan's life: from his peripatetic childhood and late adolescence in 1970s London - a city then alive with possibility - to his award-winning tenure at what would become one of the most dynamic magazines of its era, GQ. It details how he came to be in that hot seat: a journey through the Swinging London slipstreams of punk and new romanticism, and through i-D, The Face and Arena, which created the platform on which GQ was based, with Dylan as a common denominator.Littered with a gold-star cast of characters - including a who's who of celebrity from David Bowie and Bryan Ferry to Alastair Campbell and Prince Charles, via Samuel L. Jackson, Piers Morgan and Rihanna - this memoir reflects on how GQ became an established style and how Dylan sought to stir up music, politics and fashion.Witty, perceptive and deliciously entertaining, but by turns bravely vulnerable, These Foolish Things is a memoir like no other: a dazzling retelling of the start of the twenty-first century from one of the world's most fascinating media giants.

Few people can say they have shaped the cultural landscape of the last four decades while crossing paths with some of the most extraordinary personalities on the planet. But then, of course, Dylan Jones isn't just anyone.These Foolish Things captivatingly charts Dylan's life: from his peripatetic childhood and late adolescence in 1970s London - a city then alive with possibility - to his award-winning tenure at what would become one of the most dynamic magazines of its era, GQ. It details how he came to be in that hot seat: a journey through the Swinging London slipstreams of punk and new romanticism, and through i-D, The Face and Arena, which created the platform on which GQ was based, with Dylan as a common denominator.Littered with a gold-star cast of characters - including a who's who of celebrity from David Bowie and Bryan Ferry to Alastair Campbell and Prince Charles, via Samuel L. Jackson, Piers Morgan and Rihanna - this memoir reflects on how GQ became an established style and how Dylan sought to stir up music, politics and fashion.Witty, perceptive and deliciously entertaining, but by turns bravely vulnerable, These Foolish Things is a memoir like no other: a dazzling retelling of the start of the twenty-first century from one of the world's most fascinating media giants.

There is a myth that the long, dark days before punk were full of legions of British prog rock groups; that the likes of Yes, Genesis, King Crimson, Emerson Lake & Palmer and Jethro Tull roamed the land, soiling the culture like university-educated Orcs.Wrong.The mid-seventies were dense with extraordinarily sophisticated, mature rock music made by singers, songwriters and musicians who had no problem calling themselves artists. And the records they made aspired to artistic status: everyone was trying to make their own masterpiece, and the sense of competitiveness was like something not seen since the mid-sixties. Three-minute pop singles had given way to concept albums and pop-package tours had been supplanted by rock festivals, and rock in general had a renewed sense of ambition.1975 was the apotheosis of the adult pop, the most important year in the narrative arc of post-war music, and a year that was rich with masterpieces: Blood on the Tracks by Bob Dylan, The Who by Numbers by the Who, Young Americans by David Bowie, Another Green World by Brian Eno, The Hissing of Summer Lawns by Joni Mitchell and A Night at the Opera by Queen, amongst countless other legendary albums.These records were magisterial; records that couldn't be bettered. Who could realistically make a more sophisticated album than The Hissing of Summer Lawns? Or a more complex hard-rock album than Physical Graffiti? Or indeed a record as unimpeachable and as prescient as Horses?1975, as Dylan Jones expertly illustrates, was the greatest year of them all.

There is a myth that the long, dark days before punk were full of legions of British prog rock groups; that the likes of Yes, Genesis, King Crimson, Emerson Lake & Palmer and Jethro Tull roamed the land, soiling the culture like university-educated Orcs.Wrong.The mid-seventies were dense with extraordinarily sophisticated, mature rock music made by singers, songwriters and musicians who had no problem calling themselves artists. None at all. And the records they made aspired to artistic status: everyone was trying to make their own masterpiece, and the sense of competitiveness was like something not seen since the mid-sixties. Three-minute pop singles had given way to concept albums and pop-package tours had been supplanted by rock festivals, and rock in general had a renewed sense of ambition.1975 was the apotheosis of the adult pop, the most important year in the narrative arc of post-war music, and a year that was rich with masterpieces: Blood on the Tracks by Bob Dylan, The Who by Numbers by the Who, Young Americans by David Bowie, The Koln Concert by Keith Jarrett, Siren by Roxy Music, Another Green World by Brian Eno, The Hissing of Summer Lawns by Joni Mitchell, Marcus Garvey by Burning Spear, Katy Lied by Steely Dan, Chocolate City by Parliament, A Night at the Opera by Queen &c.These records were magisterial; records that couldn't be bettered. Who could realistically make a more sophisticated album than The Hissing of Summer Lawns? Or a more complex hard-rock album than Physical Graffiti? Or indeed a record as unimpeachable and as prescient as Horses?1975 was the greatest year of them all.

______________‘A perceptive and thorough examination of both the man and the music’ ? NME‘A highly engaging and refreshingly irreverent portrait of the Doors' frontman’? i-D______________A revealing biography of Jim Morrison, lead singer of The Doors and a musical iconIn Paris’s Père-Lachaise cemetery, Jim Morrison’s graffiti-scrawled tombstone is a place of pilgrimage for local devotees, adolescent hedonists and wayward backpackers alike. Found dead in his bathtub aged only 27 having achieved worldwide stardom as lead singer of The Doors, Morrison was quickly immortalised amongst the rock and roll deity such as Hendrix and Joplin. In death, however, this debauched ‘rock poet’ remained more stubbornly enigmatic than ever. Who was the real Jim Morrison? Nihilist, egoist, shaman: he was a master of self-creation. A mosaic mythology of new-age hippy rhetoric, French poetry and Nietszchean symbolism obscured a man trapped by the mythology that he had so carefully constructed around himself. In this colourful and intimate biography, Dylan Jones strips bare the skin-tight leather suit of Jim Morrison’s Lizard King persona, and offers a frank and honest appraisal of a much beloved and often-romanticised counter-cultural icon. Mr Mojo is littered with little-known anecdotes from fellow stars, spurned lovers and industry moguls. It is a refreshingly honest portrait of a self-indulgent artist with a penchant for pageantry and public self-destruction.

Practical Goal Programming is intended to allow academics and practitioners to be able to build effective goal programming models,  to detail the current state of the art, and to lay the foundation for its future development and continued application to new and varied fields.  Suitable as both a text and reference, its nine chapters first provide a brief history, fundamental definitions, and underlying philosophies, and then detail the goal programming variants and define them algebraically.  Chapter 3 details the step-by-step formulation of the basic goal programming model, and Chapter 4 explores more advanced modeling issues and highlights some recently proposed extensions.Chapter 5 then details the solution methodologies of goal programming, concentrating on computerized solution by the Excel Solver and LINGO packages for each of the three main variants, and  includes a discussion of the viability of the use of specialized goal programming packages.  Chapter 6 discusses the linkages between Pareto Efficiency and goal programming.  Chapters 3 to 6 are supported by a set of ten exercises, and an Excel spreadsheet giving the basic solution of each example is available at an accompanying website.Chapter 7 details the current state of the art in terms of the integration of goal programming with other techniques, and the text concludes with two case studies which were chosen to demonstrate the application of goal programming in practice and to illustrate the principles developed in Chapters 1 to 7.  Chapter 8 details an application in healthcare, and Chapter 9 describes applications in portfolio selection.

Practical Goal Programming is intended to allow academics and practitioners to be able to build effective goal programming models,  to detail the current state of the art, and to lay the foundation for its future development and continued application to new and varied fields.  Suitable as both a text and reference, its nine chapters first provide a brief history, fundamental definitions, and underlying philosophies, and then detail the goal programming variants and define them algebraically.  Chapter 3 details the step-by-step formulation of the basic goal programming model, and Chapter 4 explores more advanced modeling issues and highlights some recently proposed extensions.Chapter 5 then details the solution methodologies of goal programming, concentrating on computerized solution by the Excel Solver and LINGO packages for each of the three main variants, and  includes a discussion of the viability of the use of specialized goal programming packages.  Chapter 6 discusses the linkages between Pareto Efficiency and goal programming.  Chapters 3 to 6 are supported by a set of ten exercises, and an Excel spreadsheet giving the basic solution of each example is available at an accompanying website.Chapter 7 details the current state of the art in terms of the integration of goal programming with other techniques, and the text concludes with two case studies which were chosen to demonstrate the application of goal programming in practice and to illustrate the principles developed in Chapters 1 to 7.  Chapter 8 details an application in healthcare, and Chapter 9 describes applications in portfolio selection.

Future classic pop cultural history of the 80s, told through the ten defining singles - one from each year - of the decade

'A wholly successful endeavour carried along by waves of infectious enthusiasm' Mojo'Fascinating' New StatesmanThe '80s were about big ideas writ large - new money, new style, gender fluidity, gay pride, attritional politics, the 'special relationship', nuclear fear, AIDS, cocaine, ecstasy, tabloid royalty, the rise of urban pop, and ultimately geopolitical chaos. Dylan Jones' history of the decade in pop frames the '80s through some of its most important and popular hits, choosing records which either epitomised their time, or ushered in a new cultural shift. So we move seamlessly from 'Rapper's Delight' and the genre defining moment of hip hop into The Specials' spectral, 'Ghost Town'; from ABC and the apotheosis of New Pop ('The Look of Love') to Madonna's breakthrough moment with 'Like a Virgin', and so on.Subjective and idiosyncratic, Shiny and New takes us from downtown New York to post-industrial Manchester, in the first widescreen attempt to weave together the stories, the songs and events that re-shaped music and society.

Decades tend to crest halfway through, and 1995 was the year of the Nineties: peak Britpop (Oasis v Blur), peak YBA (Tracey Emin's tent), peak New Lad (when Nick Hornby published High Fidelity, when James Brown's Loaded detonated the publishing industry, and when pubs were finally allowed to stay open on a Sunday). It was the year of The Bends, the year Danny Boyle started filming Trainspotting, the year Richey Edwards went missing, the year Alex Garland wrote The Beach, the year Blair changed Clause IV after a controversial vote at the Labour Conference. It was a period of huge cultural upheaval - in art, literature, publishing and drugs, and a period of almost unparalleled hedonism.Faster Than a Cannonball is a cultural swipe of the decade from loungecore to the rise of New Labour, teasing all the relevant artistic strands through interviews with all the major protagonists and exhaustive re-evaluations of the important records of the year, by artists including Radiohead, Teenage Fanclub, Tricky, Pulp, Blur, the Chemical Brothers, Supergrass, Elastica, Spiritualized, Aphex Twin and, of course, Oasis.

There are a variety of considerations you'll need to take into account when migrating your solutions to BizTalk 2016. In this book, you'll find detailed information about how to migrate your components "as-is", as well as recompile them with the latest version of Visual Studio. You'll look at ways to improve your components pre-migration, as well as troubleshoot issues within these components. You'll learn how to make intelligent mapping updates, especially with XSLT, and how to simplify your overall architecture. Additionally, working with BizTalk 2016 in an Azure environment and building BizTalk Azure Services are covered. Readers will look at migrating maps, orchestrations, .NET assemblies, database components, EDI parties and configurations, and other artifacts found in BizTalk solutions. They will also be able to quickly come to an understanding of what will be involved in a migration and what will be required for resourcing and costs associated with a migration. Readers will find information that will cover virtually every aspect of their upgrade to BizTalk 2016, and should come away with a simpler solution once that migration is complete.

___________________6 JULY, 1972David Bowie appears on Top of the Pops for a third time.His quiff is big, bold, and the colour of fire. His make-up is lavish. His jumpsuit is a wild burst of colourful patterns, like a fluorescent fish skin. He carries a brand-new blue acoustic guitar. There's excitement, mixed with incredulity. And then he begins to play.It's a moment that will change the world of music forever.This is Ziggy Stardust, what would become Bowie's most famous persona. It's an instant seismic shift in the zeitgeist. This one performance embeds Ziggy Stardust into the nation's consciousness, and music will never be the same again.In When Ziggy Played Guitar, Dylan Jones looks back at one of the most influential moments in pop history,the birth of an icon, and the myriad unexpected ways that David Bowie reshaped pop culture.

U2 360° BY NUMBERS7,100,000 fans saw the show; 10 million people watched a live stream of U2 360° at the Rose Bowl on YouTube; 320,000 fans saw 360° in Mexico City; 9,760 guitar strings utilized; 7,100 miles – approximate distance travelled by space station while talking with U2; 5,200 years – collective touring experience of U2 tour personnel; 400 tons – weight of the fully loaded claw; 134 crew members; 126 truck drivers; 110 concerts; 53 gigs attended by a single fan; 7 astronauts attended.U2 360°, the most successful concert tour of all time, came to an end in Moncton, Atlantic Canada on July 30, 2011. The massive 26 month undertaking by Live Nation Global Touring saw U2 play 110 concerts in front of more than 7.1 million fans in 30 countries across five continents.From the Ground Up is the inside story of U2 360° with exclusive contributions from the band, manager Paul McGuinness, world-renowned set designer Willie Williams and exclusive photographs from photographer Ralph Larmann and written by Dylan Jones who was given complete access, including behind the scenes at Glastonbury 2011.