that foreshadowed Bowie's direction for his next solo record, his first since Never Let Me Down six years earlier. In October 1990, Bowie met Somalian model Iman in Los Angeles as he resumed recording with Tin Machine following the Sound+Vision Tour. They married on 24 April 1992 in a private ceremony in Lausanne, Switzerland. Five days later, the two returned to Los Angeles on the day the 1992 Los Angeles riots began, forcing the newly-weds to stay in a hotel and witness the violence from inside. Bowie later reflected: "It was an extraordinary feeling. I think the one thing that sprang into our minds was that it felt more like a prison riot than anything else. It felt as if innocent inmates of some vast prison were trying to break out, break free from their bonds." According to biographer Nicholas Pegg, both the wedding and racial divide influenced Bowie's next album. Production Recording history With Bowie and Rodgers co-producing, recording for Black Tie White Noise took place between April and November 1992, alternating between Mountain Studios in Montreux, Switzerland and the Hit Factory in New York City, with additional recording done at 38 Fresh studio in Los Angeles. According to biographer Chris O'Leary, Bowie composed beats and patterns at 38 Fresh, which he sent to Rodgers at the Hit Factory to transpose into songs. Rodgers described Bowie's attitude as calmer than Let's Dance, "a hell of a lot more philosophical and just in a state of mind where his music was really, really making him happy". Both Bowie and Rodgers gave positive statements regarding the sessions in contemporary interviews. Speaking with Rolling Stone, both said they were not looking to do Let's Dance II, Bowie remarking they "would have done [that] years ago". Nevertheless, Rodgers made several unfavourable comparisons between the two records, including statements about Bowie's involvement and how Black Tie was more difficult to produce and took longer to record than Let's Dance. In the ensuing years, Rodgers expressed disappointment in Black Tie, brushing it off as "an exercise in futility" that was not as good than Let's Dance. Tin Machine member Reeves Gabrels later said Bowie felt coerced into hiring Rodgers, who was intent on creating a Let's Dance follow-up, while Bowie wanted to pursue other musical directions. Decades later, Rodgers commented that he wanted a more commercial record, while Bowie was trying to "make this artistic