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In his memoir, 1982 , adolescent Jian Ghomeshi embarks on a Nick Hornbyesque journey to make music—as well as his dream girl, Wendy—the centre of his life. Back then, acceptance meant being cool, and being cool meant being Bowie. And being Bowie meant pointy black boots, eyeliner, and hair gel. Add to that the essential all-black wardrobe, and you have two very confused Iranian parents, themselves busy adapting to life in Canada against the backdrop of the revolution in Iran.
Alternately bittersweet and laugh-out-loud funny, 1982 recalls such moments as Ghomeshi’s awkward performance as Ivory in a school production of Paul McCartney and Stevie Wonder’s Ebony and Ivory , a stakeout of the studio where Rush was rehearsing for its world tour, and an eventful day at the Police Picnic of 1982. Music is the jumping-off point for Ghomeshi to explore young love, heartache, conformity, and the nature of cool.
In his memoir, 1982 , adolescent Jian Ghomeshi embarks on a Nick Hornbyesque journey to make music—as well as his dream girl, Wendy—the centre of his life. Back then, acceptance meant being cool, and being cool meant being Bowie. And being Bowie meant pointy black boots, eyeliner, and hair gel. Add to that the essential all-black wardrobe, and you have two very confused Iranian parents, themselves busy adapting to life in Canada against the backdrop of the revolution in Iran.
Alternately bittersweet and laugh-out-loud funny, 1982 recalls such moments as Ghomeshi’s awkward performance as Ivory in a school production of Paul McCartney and Stevie Wonder’s Ebony and Ivory , a stakeout of the studio where Rush was rehearsing for its world tour, and an eventful day at the Police Picnic of 1982. Music is the jumping-off point for Ghomeshi to explore young love, heartache, conformity, and the nature of cool.
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