Search results for ""Author Dylan Jones""

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 m

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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.

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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.

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'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.

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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.

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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

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'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 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

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David Bowie. Culture Club. Wham!. Soft Cell. Duran Duran. Sade. Adam Ant. Spandau Ballet. The Eurythmics.'Excellent' Guardian 'Hugely enjoyable' Irish Times 'Dazzling' LRB 'Fascinating' New Statesman 'An absolute must-read' GQ One of the most creative entrepreneurial periods since the Sixties, the era of the New Romantics grew out of the remnants of post-punk and developed quickly alongside club culture, ska, electronica, and goth. The scene 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 - making it one of the most powerful cultural exports since the Beatles.In Sweet Dreams, Dylan

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___________________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.

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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.

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*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

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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-eva

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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

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** 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***

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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.

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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.

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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.

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"Terry was everywhere in the 60s - he knew everything and everyone that was happening" Keith Richards "Terry O'Neill rates rightly as one of the best photographers in the world. He captures something special" Sir Michael Caine "When it comes to photographic legends there can be few more prolific or revered than Terry O'Neill, the man who shot the greats." VOGUE "This sumptuous collection of portraits, taken over six decades, represents the best of his memorable career and should grace every coffee table in the land" The Daily Mail "I've been repeatedly asked to write my autobiography - I have seen an awful lot of famous people at their best and worst - but I'm not interested in making money trading their secrets or mine. I want my pictures to tell a story not sell a story." Terry O'Neill Terry O'Neill is one of the world's most celebrated and collected photographers. No one has captured the frontline of fame so broadly - and for so long. For more than 50 years, he has photographed rock stars and presidents, royals and movie stars, at work, at play, in private. He pioneered backstage reportage photography with the likes of Frank Sinatra, David Bowie, Sir Elton John and Chuck Berry and his work comprises a vital chronicle of rock and roll history. Now, for the first time, an exhaustive cataloguing of his archive conducted over the last three years has revisited more than 2 million negatives and has unearthed unseen images that escaped the eye over a career spanning 53 years. Similarly, his use of 35mm cameras on film sets and the early pop music shows of the 60s opened up a new visual art form using photojournalism, to revolutionise formal portraiture. His work captured the iconic, candid, and unguarded moments of the famous and the notorious - from Ava Gardner to Amy Winehouse, from Churchill to Nelson Mandela, from the earliest photographs of young emerging bands such as the Beatles and the Rolling Stones to her Majesty the Queen at Buckingham Palace. O' Neill spent more than 30 years photographing Frank Sinatra, amassing a unique archive of more than 3,000 Sinatra negatives. Add to that the magazine covers, album sleeves, film poster and fashion shoots of 1,000 stars, and Terry O'Neill - comprises the most compelling and epic catalogue of the age of celebrity. Terry O'Neill has worked for the most prestigious magazines in the world including Time, Newsweek, Stern, Bunte, Figaro, The Sunday Times, Vanity Fair, People, Parade, Vogue and many others. And his award launched to showcase the work of young emerging photographers is now one of the most highly prized global competitions in art. The Royal Society of Arts has honoured him with the rare Centenary Medal for his lifetime achievement. Only a dozen have ever been awarded in recognition of 'outstanding contributions to the art and science of photography.'

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Bespoke tailoring has been synonymous with Savile Row for more than 150 years. Its venerable institutions are responsible for producing the world’s most exquisite suits for elite clients who include celebrated entertainers, athletes, businessmen, politicians and royals. Now, as the Row moves firmly into the 21st century, its tailors are embracing unusual fabrics, new colours and modern tastes to update its long-held traditions and reach an ever-broader client base. Master cutter Richard Anderson has worked on Savile Row for over thirty-five years and co-founded his company, Richard Anderson Ltd, in 2001. Here he introduces the traditional craft of cutting a bespoke suit and garments, showcasing twenty-five classic menswear designs that have been creatively adapted in new and unusual ways for the modern gentleman. Anderson tells the story of each piece, from a rakish red seersucker coat to a show-stopping black sequined dinner jacket, and explores the fascinating history of the diverse fabrics and cuts. Original sketches, patterns and photographs reveal the time, dedication and precision that go into creating a truly custom-made piece. This lively bible of sartorial know-how will inspire anyone looking to commission a bespoke garment of his own.

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This state-of-the-art book provides a window on contemporary European entrepreneurship and small business research. The papers selected demonstrate the applied nature of entrepreneurship research as well as the various contributions that entrepreneurship can make to local, regional and national development. Written by international experts, the book reveals the heterogeneity of entrepreneurship in terms of substantive content and the methodologies employed. With both quantitative and qualitative approaches well represented, Entrepreneurship and Growth in Local, Regional and National Economies covers topics such as regional perspectives on entrepreneurship, new venture creation and growth, business exits, knowledge-based entrepreneurship and social inclusion.Furnishing the reader with rich and leading entrepreneurship research, this book will be invaluable for entrepreneurship and small business researchers as well as postgraduate and advanced undergraduate students of entrepreneurship. Policy makers will also find much of great interest to them.

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'I can be scratching around at home on an acoustic guitar, or singing a funny little idea into my phone, and all of a sudden, it becomes a beautiful fully fledged song. And I'm asking myself, how did we do that again? I still find that fascinating. It's magic.' - PAUL WELLER In Magic: A Journal of Song, Paul Weller talks about his life and music through a personally curated selection of over 100 songs spanning his entire musical career. As one of the most innovative and remarkable songwriters of the last 50 years, Paul Weller has proved to be the ultimate shapeshifter, moving from The Jam's punk sensibilities to the genre-defying Style Council, and later through a remarkable 30-year solo career. Alongside Lennon and McCartney, Weller is one of few artists that has attained a UK number one album over five consecutive decades, and has also received career defining awards from the BRITs (Lifetime Achievement Award), NME Awards (Godlike Genius Award) and a GQ Award for Songwriter of the Year. Magic: A Journal of Song is the definitive book of Weller's songwriting career from founding The Jam in his teenage years, to creating The Style Council, through to his years as a solo musician. Offering unprecedented insight into Weller's creative process, his lyrics are accompanied by more than 450 photographs and items of memorabilia, and an illuminating commentary of over 25,000 words. As told to journalist and author, Dylan Jones, Magic is Paul Weller's most candid and intimate account of his musical life to date. 'Paul Weller has proved that he is not only beyond reproach, in some senses he is quite possibly without equal.' - DYLAN JONES OBE 'The thing I have discovered is that music in its truest sense is beyond any trend or movement or category.' - PAUL WELLER

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