Background: The Rise and Fall of Ziggy Stardust and the Spiders from Mars (often shortened to Ziggy Stardust) is the fifth studio album by English musician David Bowie, released on 16 June 1972 in the United Kingdom. It was produced by Bowie and Ken Scott and features contributions from the Spiders from Mars, Bowie's backing band - Mick Ronson, Trevor Bolder and Mick Woodmansey. The album was recorded in Trident Studios, London, like his previous album, Hunky Dory. Most of the album was recorded in November 1971 with further sessions in January and early February 1972.
Context: The Rise and Fall of Ziggy Stardust and The Spiders from Mars is about a bisexual alien rock superstar, called Ziggy Stardust. Ziggy Stardust was not conceived as a concept album and much of the story was written after the album was recorded. The characters were androgynous. Mick "Woody" Woodmansey, drummer for the Spiders from Mars, said the clothes they had worn had "femininity and sheer outrageousness", and that the characters' looks "definitely appealed to our rebellious artistic instincts". Nenad Georgievski of All About Jazz said the record was presented with "high-heeled boots, multicolored dresses, extravagant makeup and outrageous sexuality". Bowie had already developed an androgynous appearance, which was approved by critics, but received mixed reactions from audiences. His love of acting led his total immersion in the characters he created for his music. After acting the same role over an extended period, it became impossible for him to separate Ziggy Stardust (and subsequently The Thin White Duke) from his own offstage character. Bowie said that Ziggy "wouldn't leave me alone for years. That was when it all started to go sour ... My whole personality was affected. It became very dangerous. I really did have doubts about my sanity."  The character was inspired by British rock 'n' roll singer Vince Taylor, whom David Bowie met after Taylor had had a breakdown and believed himself to be a cross between a god and an alien. However, Taylor was only part of the blueprint for the character. Other influences included the cult musician Legendary Stardust Cowboy and Kansai Yamamoto, who designed the costumes Bowie wore during the tour. An alternative theory is that, during a tour, Bowie developed the concept of Ziggy as a melding of the persona of Iggy Pop with the music of Lou Reed, producing "the ultimate pop idol". A girlfriend recalled his "scrawling notes on a cocktail napkin about a crazy rock star named Iggy or Ziggy", and on his return to England he declared his intention to create a character "who looks like he's landed from Mars".  The Ziggy Stardust name came partly from the Legendary Stardust Cowboy, and partly because Ziggy was "one of the few Christian names I could find beginning with the letter 'Z'". In 1990, Bowie explained that the "Ziggy" part came from a tailor's shop called Ziggy's that he passed on a train. He liked it because it had "that Iggy [Pop] connotation but it was a tailor's shop, and I thought, Well, this whole thing is gonna be about clothes, so it was my own little joke calling him Ziggy. So Ziggy Stardust was a real compilation of things."  In the album's plotline, humanity will end within five years, because of lack of natural resources. Ziggy Stardust starts to believe in the existence of "infinites", extraterrestrial beings who are black hole jumpers, and in a spaceman who will be coming down to save the Earth. According to Bowie, he "takes himself up to the incredible spiritual heights and is kept alive by his disciples". During the song "Rock 'n' Roll Suicide", the infinites arrive, and tear Ziggy Stardust to pieces on stage, taking his elements to become visible.
Question: Did any concepts or themes win awards?
Answer: Ziggy Stardust was not conceived as a concept album and much of the story was written after the album was recorded.

Problem: Background: Rosa Luxemburg  (also Rozalia Luxenburg; Polish: Roza Luksemburg; 5 March 1871 - 15 January 1919) was a Polish Marxist theorist, philosopher, economist, anti-war activist, and revolutionary socialist who became a naturalized German citizen at the age of 28. She was, successively, a member of the Social Democracy of the Kingdom of Poland and Lithuania (SDKPiL), the Social Democratic Party of Germany (SPD), the Independent Social Democratic Party (USPD), and the Communist Party of Germany (KPD). In 1915, after the SPD supported German involvement in World War I, she and Karl Liebknecht co-founded the anti-war Spartacus League (Spartakusbund), which eventually became the KPD. During the November Revolution she co-founded the newspaper Die Rote Fahne ("The Red Flag"), the central organ of the Spartacist movement.
Context: Luxemburg wanted to move to Germany to be at the centre of the party struggle, but she had no way of obtaining permission to remain there indefinitely. In April 1897 she married the son of an old friend, Gustav Lubeck, in order to gain a German citizenship. They never lived together and they formally divorced five years later. She returned briefly to Paris, then moved permanently to Berlin to begin her fight for Eduard Bernstein's constitutional reform movement. Luxemburg hated the stifling conservatism of Berlin. She despised Prussian men and resented what she saw as the grip of urban capitalism on social democracy. In the Social Democratic Party of Germany's women's section she met Clara Zetkin, of whom she made a lifelong friend. Between 1907 and his conscription in 1915 she was involved in a love affair with Clara's younger son, Kostja Zetkin, to which approximately 600 surviving letters (now mostly published) bear testimony. Luxemburg was a member of the uncompromising left-wing of the SPD. Their clear position was that the objectives of liberation for the industrial working class and all minorities could be achieved by revolution only.  The recently published Letters of Rosa Luxemburg shed important light on her life in Germany. As Irene Gammel writes in a review of the English translation of the book in The Globe and Mail: "The three decades covered by the 230 letters in this collection provide the context for her major contributions as a political activist, socialist theorist and writer." Her reputation was tarnished by Joseph Stalin's cynicism in Questions Concerning the History of Bolshevism. In his rewriting of Russian events he placed the blame for the theory of permanent revolution on Luxemburg's shoulders, with faint praise for her attacks on Karl Kautsky, which she commenced in 1910.  According to Gammel, "In her controversial tome of 1913, The Accumulation of Capital, as well as through her work as a co-founder of the radical Spartacus League, Luxemburg helped to shape Germany's young democracy by advancing an international, rather than a nationalist, outlook. This farsightedness partly explains her remarkable popularity as a socialist icon and its continued resonance in movies, novels and memorials dedicated to her life and oeuvre." Gammel also notes that for Luxemburg, "the revolution was a way of life," and yet that the letters also challenge the stereotype of "Red Rosa" as a ruthless fighter. But The Accumulation of Capital sparked angry accusations from the Communist Party of Germany; in 1923 Ruth Fischer and Arkadi Maslow denounced the work as "errors", a derivative work of economic miscalculation known as "spontaneity".
Question: did she do anything in politics in Germany?
Answer:
in The Globe and Mail: "The three decades covered by the 230 letters in this collection provide the context for her major contributions as a political activist,