Books by Simon Doonan

In this funny and poignant memoir and cultural history, the television personality, columnist, and author of Drag pays homage to Lou Reed’s groundbreaking album Transformer on its fiftieth anniversary and recalls its influence on his coming of age and coming out through glam rock.In November 1972, Lou Reed released his album, Transformer because he thought it was “dreary for gay people to have to listen to straight people’s love songs.” That groundbreaking idea echoed with the times. That same year, Sweden was the first country to legalize gender-affirming surgery, and San Francisco struck down employment discrimination based on sexual orientation.Sometimes an artistic creation perfectly aligns with a broader social and political history, and Transformer—with the songs “Walk on the Wild Side,” “Perfect Day,” and “Vicious”—perfectly captured its time. “Walk on the Wild Side” was banned on radio across the country but became a massive hit when young people threatened to boycott stations that would not play it. The album''s cover featured a high-contrast image of Lou, flaunting a new mascara''d glamrock incarnation, shot by legend Mick Rock, thereby underscoring his intention to create "a gay album."In Transformer, Doonan tells the story of how Lou Reed came to make the album with the help of David Bowie, and places its creation within the course of Reed’s life. Doonan offers first-hand testimony of the album’s impact on the LGBTQ+ community, recalling how it transformed his own life as a 20-year-old working class kid from Reading, England, who had just discovered the joys of London Glam Rock and was sparked by the artistic freedom of Warhol’s The Factory. Transformer was a revelation—hearing Reed’s songs, Doonan understood how the world was changing for him and his friends.A poignant, personal addition to modern music and LGBTQ+ history, Transformer captures a pivotal moment when those long silenced were finally given a voice. As transgender icon Candy Darling, highlighted in his lyrics, told Reed, “It’s so nice to hear ourselves.”Transformer includes approximatively 16 pages of black-and-white and color photos.

Als Revolutionär und Rebell war Keith Haring ein Künstler für das Volk und schuf ein Repertoire an Symbolen mit Wiedererkennungswert, das zum Synonym für die unbeständige Kultur der 1980er Jahre wurde. Haring stürzte sich spielerisch auf alle Aspekte dieses Jahrzehnts - Hip-Hop, New Wave, Graffiti, Homosexuellenkultur - und kombinierte sie, während sein fanatischer Tatendrang ihn in die Umlaufbahn der interessantesten Menschen seiner Zeit katapultierte. Mit 25 Jahren berühmt, mit 31 an AIDS gestorben, ist Haring als eine Art 'Rattenfänger' in Erinnerung geblieben, ein unprätentiöser Kommunikator, der am glücklichsten schien, als er eine Bande von Kindern betreute, sie mit Pinseln bewaffnete und die nächste Mauer damit attackieren ließ.

"To me, bad taste is what entertainment is all about. If someone vomits watching one of my films, it's like getting a standing ovation." Thus begins John Waters's autobiography. And what a story it is. Opening with his upbringing in Baltimore ("Charm City" as dubbed by the tourist board; the "hairdo capital of the world" as dubbed by Waters), it covers his friendship with his muse and leading lady, Divine, detailed accounts of how Waters made his first movies, stories of the circle of friends/actors he used in these films, and finally the "sort-of fame" he achieves in America. Complementing the text are dozens of fabulous old photographs of Waters and crew. Here is a true love letter from a legendary filmmaker to his friends, family, and fans.