436 “the test of a first-rate intelligence”: Fitzgerald, “The Crack-Up” (1936).
437 “two albums he had been given”: Mojo, July 2002.
439 “linchpin”: Ibid.
BIBLIOGRAPHY
RECOMMENDATIONS FOR FURTHER READING
Kevin Cann’s illustrated chronology of Bowie’s career in London, Any Day Now, is a stunning visual and factual delight. Equally striking is Moonage Daydream, which mixes tantalizing commentary from Bowie with seminal photographs by Mick Rock.
Paul Trynka’s recent Bowie biography, Starman, is impeccably researched and told, relying on interviews with almost every surviving significant figure in his subject’s career. For critical insight allied to biography, read David Buckley’s highly rewarding Strange Fascination; Nicholas Pegg’s encyclopedia, The Complete David Bowie, not only lives up to its title but is immensely readable and thought-provoking throughout. The grandparents of Bowie biography, however, remain the Gillmans, for their madness-heavy account of Aladdin (In)Sane; George Tremlett, thanks to his access to the pre-Ziggy Bowie; and the ever-loyal Ken Pitt, Bowie’s closest adviser in the years leading up to his fame. By necessity, Tony Visconti’s autobiography deals with other subjects besides Bowie, but his account of their collaborations over the course of thirty years is fascinating. Finally, Mark Paytress’s study of the making of Ziggy Stardust is arguably the single most provocative text about Bowie’s self-creation as a superstar.
Several websites contain rich resources of Bowie material, notably Bowie Wonderland, 5 Years, Bowiezone, The Ziggy Stardust Companion, and Teenage Wildlife. Finally, anyone who has enjoyed reading this book should also look at Chris O’Leary’s blog, Pushing Ahead Of The Dame, an ongoing (at the time of writing) and intriguing critique of Bowie’s entire catalogue, which I have resisted the strong temptation to read for fear that it might unduly influence my own thinking. You, however, don’t have that problem!
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Among the periodicals consulted (with abbreviations used in the Notes) were: After Dark, Beat Instrumental, The Big Issue, Billboard, Boston Globe, Boston Herald, Cash Box, Cavalier, Chicago Tribune, Circus, Crawdaddy, Creem, Daily Express, Daily Mirror, Dirt, Disc and Music Echo, Evening News and Star, Evening Standard, The Face, Fan Magazine, Frendz, Friends, Gay News, The Guardian, Hello!, i-D, Ikon, Ink, International Musician, International Times (IT), Jackie, Jeremy, Let It Rock, Man, Myth and Magic, Melody Maker (MM), Miami Herald, Milwaukee Journal, Mirabelle, Mojo, Montreal Star, Music Business Review, Music Now!, Music Scene, Music Week, Musician, New Musical Express (NME), New Orleans Figaro, New York Rocker, New York Times, New Yorker, Newsweek, The Observer, Ottawa Citizen, Ottawa Journal, Oz, People, Philadelphia Bulletin, Phonograph Record, Playboy, Plays and Players, Q, Radio Times, RCD, Record Collector (RC), Record Mirror (RM), Record Retailer, Record World, Rock Magazine, Rock Scene, Rolling Stone (RS), Sounds, Suburban Press, Sunday Times, The Times, Toronto Globe Mail, Toronto Star, Uncut, Village Voice, Vogue, Washington Post, Windsor Star, The Word, ZigZag.
INDEX
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