Dylan Jones

Dylan Jones's engrossing, magisterial biography of David Bowie is unlike any Bowie story ever written. Drawn from over 180 interviews with friends, rivals, lovers, and collaborators, some of whom have never before spoken about their relationship with Bowie, this oral history weaves a hypnotic spell as it unfolds the story of a remarkable rise to stardom and an unparalleled artistic path. Tracing Bowie's life from the English suburbs to London to New York to Los Angeles, Berlin, and beyond, its collective voices describe a man profoundly shaped by his relationship with his schizophrenic half-brother Terry; an intuitive artist who could absorb influences through intense relationships and yet drop people cold when they were no longer of use; and a social creature equally comfortable partying with John Lennon and dining with Frank Sinatra. By turns insightful and deliciously gossipy, DAVID BOWIE is as intimate a portrait as may ever be drawn. It sparks with admiration and grievances, lust and envy, as the speakers bring you into studios and bedrooms they shared with Bowie, and onto stages and film sets, opening corners of his mind and experience that transform our understanding of both artist and art. Including illuminating, never-before-seen material from Bowie himself, drawn from a series of Jones's interviews with him across two 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.

A Life

David Bowie

Sweet Dreams charts the rise of the New Romantics, a scene that grew out of the remnants of post-punk and developed quickly alongside club culture, ska, electronica, and goth. One of the most creative entrepreneurial periods since the Sixties, the era had a huge influence on the growth of print and broadcast media, and was arguably one of the most bohemian environments of the late twentieth century. Not only did it visually define the decade, it was the catalyst for the Second British Invasion, when the US charts would be colonised by British pop music - Depeche Mode, Culture Club, Wham!, Soft Cell, Ultravox, Duran Duran, Sade, Spandau Ballet, the Eurythmics and many more - making it one of the most powerful cultural exports since the Beatles. For a while, Sweet Dreams were made of this.

Sweet Dreams

The Life  of the Velvet Underground

Loaded

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. Not only was the mid-Nineties perhaps the last time that rock stars, music journalists and pop consumers held onto a belief in rock's mystical power, it was a period of huge cultural upheaval - in art, literature, publishing and drugs. And it was a period of almost unparalleled hedonism, a time when many people thought they deserved to live the rock and roll lifestyle, when a generation of narcotic omnivores thought they could all be rock stars just by buying a magazine and a copy of (What's the Story) Morning Glory? 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 - The Bends by Radiohead, Grand Prix by Teenage Fanclub, Maxinquaye by Tricky, Different Class by Pulp, The Great Escape by Blur, It's Great When You're Straight... Yeah! by Black Grape, Exit Planet Dust by the Chemical Brothers, I Should Coco by Supergrass, Elastica by Elastica, Pure Phase by Spiritualized, ...I Care Because You Do by Aphex Twin and of course (What's the Story) Morning Glory by Oasis, the most iconic album of the decade.

1995 and All That

Faster Than A Cannonball

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.

A Memoir

These Foolish Things

The Eighties 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. Using a big narrative approach, Dylan Jones' history of the decade in pop frames the decade 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. In the '80s each year brought a new twist as technology shifted and genres snowballed, MTV reigned supreme and the story of pop became globalised. It was a decade of excess in all areas, especially ambition, but it was in the transcendent moments of pop perfection that the '80s found its true art-form. 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.

Ten Moments of Pop Genius that Defined the '80s

Shiny and New

Wichita Lineman

Dylan Jones’s engrossing, magisterial biography of David Bowie is unlike any Bowie story ever written. Drawn from over 180 interviews with friends, rivals, lovers, and collaborators, some of whom have never before spoken about their relationship with Bowie, this oral history weaves a hypnotic spell as it unfolds the story of a remarkable rise to stardom and an unparalleled artistic path. Tracing Bowie’s life from the English suburbs to London to New York to Los Angeles, Berlin, and beyond, its collective voices describe a man profoundly shaped by his relationship with his schizophrenic half-brother Terry; an intuitive artist who could absorb influences through intense relationships and yet drop people cold when they were no longer of use; and a social creature equally comfortable partying with John Lennon and dining with Frank Sinatra. By turns insightful and deliciously gossipy, David Bowie is as intimate a portrait as may ever be drawn. It sparks with admiration and grievances, lust and envy, as the speakers bring you into studios and bedrooms they shared with Bowie, and onto stages and film sets, opening corners of his mind and experience that transform our understanding of both artist and art. Including illuminating, never-before-seen material from Bowie himself, drawn from a series of Jones’s interviews with him across two 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.

The Oral History

Dylan Jones's engrossing, magisterial biography of David Bowie is unlike any Bowie story ever written. Drawn from over 180 interviews with friends, rivals, lovers and collaborators, some of whom have never before spoken about their relationship with Bowie, this oral history weaves a hypnotic spell as it unfolds the story of a remarkable rise to stardom and an unparalleled artistic path. Tracing Bowie's life from the English suburbs to London to New York to Los Angeles, Berlin and beyond, its collective voices describe a man profoundly shaped by his relationship with his schizophrenic half-brother Terry; an intuitive artist who could absorb influences through intense relationships and yet drop people cold when they were no longer of use; and a social creature equally comfortable partying with John Lennon and dining with Frank Sinatra. By turns insightful and deliciously gossipy, David Bowie is as intimate a portrait as may ever be drawn. It sparks with admiration and grievances, lust and envy, as the speakers bring you into studios and bedrooms they shared with Bowie, and onto stages and film sets, opening corners of his mind and experience that transform our understanding of both artist and art. Including illuminating, never-before-seen material from Bowie himself, drawn from a series of Jones's interviews with him across two 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.

An Oral Biography

One Day, One Decade

Eighties

In Paris's P�re-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.

A Biography of Jim Morrison

Mr Mojo

Thinking Inside the White Box

IPod, Therefore I Am

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.

The Life (and Afterlife) of The Velvet Underground

Masculinity, it appears, is in crisis. Diminished by feminists, mocked by their peers and ridiculed by the media, it seems not a week goes by when men are not being accused of being too violent, too stupid or too sexual. The world in which men roamed the planet with an innate sense of entitlement, comfortable in their role in a society that deemed them the stronger, smarter, intrinsically superior sex, has been replaced with one filled with 'manxiety', where men feel slighted by the people they work for (or don't), by the friends they feel they can't possibly compete with and by the women they date. With typical wit and unrestrained perspicacity, Dylan Jones explores the myriad reasons that men appear to be in a perpetual state of stress, wondering where they fit into a world that seemingly no longer has any use for them. Could it be time for a men's movement, he asks, something that encourages men to 'fight back' and brings them back into the fold? Or are men simply over-reacting to a welcome redressing of the balance of the sexes? Should men just get over themselves, dust off that old bravado and, well, man up?

Manxiety

First came fire, the wheel, and penicillin...and then, according to Dylan Jones, a compulsive album collector, music journalist, and multi award-winning men's magazine editor, the next great invention to bless the human race was the iPod, Apple's groundbreaking mp3 player. Small, sleek, and sexy, but with the capacity to hold up to ten thousand songs, the iPod has stunned music lovers and gadget enthusiasts around the world. It has delighted indie-rock college kids and elderly jazz fans, classical musical buffs and teenage hip-hop hustlers, almost no technology has so seamlessly crossed the great divide. In iPod, Therefore I Am, Jones tells the story of his own entrée into this exponentially growing cult, taking the reader on a hilariously candid journey through his lifelong addiction to all genres of music, however unfashionable. Along the way, he gives a tantalizing behind-the-scenes look at the genesis of the iPod, from its original conception by Steve Jobs, the man who famously reinvented Apple Computer, to the landmark design of Jonathan Ive, the innovative designer who has become a legend in his own time. Behind it all, we get an insight into the way that the iPod has radically transformed the way we approach music, listen to music, and possess music-turning all of us into curators. Appendices containing Jones's top playlists and his expert tips on getting the most out of your iPod make this love song to the iPod as practical as it is entertaining.

IPOD, Therefore I Am

Illustrated biography of a doomed 1960s rock star.

Jim Morrison, Dark Star

Colourful book of hairstyles from the 1940's until today

Fifty Years of Styles and Cuts

Haircults

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.

The Eighties

Shortlisted for the NME Best Music Book Award 2018 THE SUNDAY TIMES BESTSELLER 'The definitive book on Bowie' The Times Dylan Jones's engrossing, magisterial biography of David Bowie is unlike any Bowie story ever written. Drawn from over 180 interviews with friends, rivals, lovers, and collaborators, some of whom have never before spoken about their relationship with Bowie, this oral history weaves a hypnotic spell as it unfolds a remarkable rise to stardom and an unparalleled artistic path. Tracing Bowie's life from the English suburbs to London to New York to Los Angeles, Berlin, and beyond, its collective voices describe a man profoundly shaped by his relationship with his schizophrenic half-brother Terry; an intuitive artist who could absorb influences through intense relationships and yet drop people cold when they were no longer of use; and a social creature equally comfortable partying with John Lennon and dining with Frank Sinatra. By turns insightful and deliciously gossipy, DAVID BOWIE is as intimate a portrait as may ever be drawn. It sparks with admiration and grievances, lust and envy, as the speakers bring you into studios and bedrooms they shared with Bowie, and onto stages and film sets, opening corners of his mind and experience that transform our understanding of both artist and art. Including illuminating, never-before-seen material from Bowie himself, drawn from a series of Jones's interviews with him across two 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.

Mehrdad Tamiz

Jana Ries

This volume shows the state-of-the-art in both theoretical development and application of multiple objective and goal programming. Applications from the fields of supply chain management, financial portfolio selection, financial risk management, insurance, medical imaging, sustainability, nurse scheduling, project management, water resource management, and the interface with data envelopment analysis give a good reflection of current usage. A pleasing variety of techniques are used including models with fuzzy, group-decision, stochastic, interactive, and binary aspects. Additionally, two papers from the upcoming area of multi-objective evolutionary algorithms are included. The book is based on the papers of the 8th International Conference on Multi-Objective and Goal Programming (MOPGP08) which was held in Portsmouth, UK, in September 2008.

Dylan Jones

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