Glenn Hendler is the author of a 33 1/3 book on David Bowie’s Diamond Dogs album. This interview follows on from my initial Bowie book research; where I was able to ask Glenn about his listening experiences of Scary Monsters and his thoughts on crime, terror and thwarted love across Bowie’s discography.
Masayoshi Sukita is a Japanese photographer, renowned for his rock and roll photography and his long and enduring friendship with David Bowie. As part of the research for my new book Silhouettes And Shadows, a deep dive into Bowie’s Scary Monsters (And Super Creeps), I spoke to Sukita about the story behind his photographs that feature in the book.
I first discovered Leah Kardos music and writing during my research for Silhouettes And Shadows – particularly her book Blackstar Theory: The Last Works of David Bowie (2022) and her blog post on Scary Monsters. This interview is a record of our discussion, from Leah’s first encounter with Bowie’s music, working through his back catalogue and how she experiences his albums now.
The title track of Scary Monsters (And Super Creeps) lifts the lid on a restless and troubled mind. A place of monsters, weirdos, freaks that cast long shadows; the song becomes a horror movie populated by people pushed to extremes, wounded, broken and flawed, just like us.
If heaven was ever a place on earth by 1980 David Bowie had yet to find it. Adopting “Kingdom Come” a song written by Tom Verlaine, as his chosen cover for Scary Monsters, Bowie elevates the lyrical struggle with God and the search for an afterlife into a new realm of spiritual angst.