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Chris Hadfield covers Space Oddity on the International Space Station

 

 

“Hallo Spaceboy...”

 

Commander Chris Hadfield, currently on board the International Space Station, has just tweeted his version of David Bowie’s Space Oddity.

Here’s what his Tweet said:

 

A revised version of David Bowie's Space Oddity, recorded by Commander Chris Hadfield on board the International Space Station.

With thanks to Emm Gryner, Joe Corcoran, Andrew Tidby and Evan Hadfield for all their hard work.

 

 

It’s possibly the most poignant version of the song ever created and you may recognise the name of one of those involved in its creation.

We’re talking about Chris's fellow Canadian, the lovely Emm Gryner, who was a part of the Bowie live band in 1999/2000. Here’s what she said on her blog regarding her involvement:

 

The task was in front of me. I came up with a piano part. i then enlisted my friend, producer and fellow Canadian Joe Corcoran to take my piano idea and Chris' vocal and blow it up into a fully produced song. Drums! mellotrons! fuzz bass! We also incorporated into the track ambient space station noises which Chris had put on his Soundcloud. I was mostly blown away by how pure and earnest Chris' singing is on this track. Like weightlessness and his voice agreed to agree.

And voila! And astronaut sings Space Oddity in space! I was so honoured to be asked to be a part of this. You wouldn't get too many chances to make a recording like this and not only that, to make music with someone who - through his vibrant communications with kids in schools to his breathtaking photos to his always patient and good-humoured demeanour - has done more for science and space than anyone else this generation. Planet earth IS blue, and there's nothing left for Chris Hadfield to do. Right. Safe travels home Commander! 

 

You can view the breathtaking video and hear Chris's beautiful rendition here on YouTube.

 

 

categories: News
Sunday 05.12.13
Posted by Mark Adams
 

Signed David Bowie Collector's Special Edition

 

 

“Well, how come you only want tomorrow”

 

Approximately 70 copies of the 500, signed, David Bowie Collector's Special Edition books will be available in the V&A Bookshop, South Kensington in London from 10AM tomorrow (Saturday May 11th) on a first come, first served basis.

It’s a beautiful thing as you can see from the pictures here (scroll for several more) and is obviously an instant collectors' item.

The book is £395 and 70 copies are bound to sell out very quickly. 

Check both the V&A's Facebook page (search V&A Shop) and Twitter @V_and_A_Shop for live updates on availability.

Here are the details from the V&A Bookshop:

 

The David Bowie is Collector’s Special Edition is a unique memento of the V&A’s retrospective of the extraordinary career of David Bowie, one of the most pioneering and influential performers of modern times. Produced with unprecedented access to the David Bowie Archive – of performance costume, ephemera and original artwork by the artist – this spectacular book presents a completely new perspective on Bowie’s creative work and collaborations.

There are only 500 copies of the Collector’s Special Edition. Each hand-finished book is numbered individually and is placed in a neon-orange acrylic slipcase with laser-cut detailing. A four-page insert with a previously unseen drawing for the 1980 Floor Show and a reproduction of the original draft lyrics to ‘Heroes’ is bound into each one. Another captioned page features David Bowie’s signature.

The cloth-bound book also has three ribbon bookmark, foiled page edges and is printed on a heavy weight Italian-made paper. Each book is stamped on the endpapers and hand-numbered to guarantee authenticity.

The Collector’s Special Edition of David Bowie is has been produced by V&A Publishing in collaboration with Barnbrook, one of Britain’s leading graphic design studios.

categories: News
Thursday 05.09.13
Posted by Mark Adams
 

The Next Day the day after

 

 

“They can't get enough of that doomsday song”

 

In an age where one-time anarchistic 37-year-old 'punk' is feted at the New York Metropolitan Museum, albeit as couture establishment now, 66-year-old David Bowie's new video, The Next Day, has created a bit of a rumpus on the anything goes internet, not to mention in the pages of the UK press. (See accompanying montage)

Here’s a bit from CBS news, typical of most of the stories being run over the last couple of days:

David Bowie's video for the third single from his album "The Next Day" -- for the song of the same name -- is stirring up controversy among everyone from YouTube to the Catholic Church.

On Wednesday, YouTube temporarily removed the video -- which was released on Tuesday night -- from its site, saying that it had violated the terms of its service. However, it quickly returned the video with a new warning suggesting that it was only suitable for views over the age of 18. 

 

It continues:

Bill Donohue, president of the Catholic League, issued a statement on the group's website just hours after the video debuted, saying that the "switch-hitting, bisexual, senior citizen from London has resurfaced.”

 

The item concludes thus:

It's nice to know that at 66, Bowie can still ruffle some feathers.”

 

Mr Donohue also points out a scene where a “customer is served eyeballs on a plate”. You would think a senior catholic expert would recognise that as a reference to the very well-known Saint Lucy.

 

Anyway, if you’ve yet to have your feathers ruffled, there are still several places you can view the video:

On vevo: http://smarturl.it/TNDvid and don’t forget vevo mobile for iPhone/iPad and and Android applications.

On YouTube: http://smarturl.it/TNDvidYT    

 

Finally, check out the VISION section of DavidBowie.com to view all three videos associated with The Next Day album along with many other official Bowie promos.

 

#NextDayVideo  #TheNextDay

categories: News
Thursday 05.09.13
Posted by Mark Adams
 

The Next Day video is here now

 

“Here I am, Not quite dying”

 

As promised here about an hour ago and without further ado, here it is: the brilliant new video for The Next Day.

 

#thenextday  #nextdayvideo

categories: News
Tuesday 05.07.13
Posted by Mark Adams
 

Exclusive still from The Next Day video shoot

 

“They can work with satan while they dress like the saints”

 

We're most proud to be able to confirm that the third video from David Bowie’s hugely successful The Next Day album is the title track itself.

There can’t be many of you reading this that haven't seen low quality, snatched images from the video shoot, but here’s the very first official still to be published anywhere on the planet.

Pictured left to right are David Bowie and co-stars, Academy Award winning French actress, Marion Cotillard, and Academy Award nominee and BAFTA Award winner, English actor, filmmaker and musician Gary Oldman.

Oldman and Bowie have worked together previously on the 1996 biopic Basquiat, wherein Bowie played Basquiat's friend and mentor, Andy Warhol, and Oldman took the role of fellow painter, Julian Schnabel.

The pair also provided vocals on versions of two Bowie songs (You've Been Around and The King of Stamford Hill), on Reeves Gabrels' 1995 solo album, The Sacred Squall of Now.

Floria Sigismondi, the brilliant director of Little Wonder, Strangers When We Meet and the last Bowie video, The Stars (Are Out Tonight), was behind the camera again for The Next Day.

Written and conceived by David Bowie, the film was created as a companion piece to the song lyric.

Stay tuned for a link to the video in around an hour from now.

categories: News
Tuesday 05.07.13
Posted by Mark Adams
 

Queen and David Bowie top Absolute ICONS poll

 

“I, I will be king, And you, you will be queen”

 

Absolute Radio has published the results of their recent ICONS poll with the top spot being “pretty much a fight to the death”.

In the event, Queen just pipped David Bowie at the post giving him an impressive second placing in a public vote which took place last month.

Many thanks to those of you that voted for David, putting him ahead of The Beatles and The Rolling Stones, not to mention Pink Floyd and Elvis.

We’ll leave you with the Top 20 places and you can view the complete Top 100 here.

 

01 Queen
02 David Bowie
03 Beatles
04 Pink Floyd
05 Led Zeppelin
06 Oasis
07 Bruce Springsteen
08 Rolling Stones
09 Foo Fighters
10 Paul Weller
11 Bon Jovi
12 AC/DC
13 Elvis Presley
14 John Lennon
15 Smiths
16 Bob Dylan
17 Jimi Hendrix
18 Guns 'n' Roses
19 Michael Jackson
20 Depeche Mode
categories: News
Monday 05.06.13
Posted by Mark Adams
 

Joelene King on the impact of Let’s Dance video

 

“Put on your red shoes and dance the blues”

 

The Brisbane Times has posted a great interview with Joelene King (the female star of David Bowie’s Let's Dance promo), regarding the relevance of the video she starred in thirty years ago.

In the interview she told Ed Gibbs: “We didn't know how significant the song was because David Bowie had made so many videos that were ’out there’. So I didn't foresee it would be so influential to Aboriginal people, so inspiring for them to see one of their own up there on TV. ”

Bowie told Rolling Stone magazine at the time: “As much as I love this country it's probably one of the most racially intolerant in the world, well in line with South Africa.” You can read the full thing here.

categories: News
Monday 05.06.13
Posted by Mark Adams
 

Browse John Peel’s collection of Bowie 45s

 

“I am what I play”

 

You’ve no doubt already seen this one as we’ve received a couple of excited communications regarding the unearthing of David Bowie’s first ever press release.

We’re talking about the late BBC DJ John Peel’s mammoth record collection, which is currently being archived and digitised for wider enjoyment.

John amassed a huge collection of vinyl over the years, right up to his death at the age of 65 in October 2004.

Now johnpeelarchive.com has begun to share the first lot of archived 45s, which just so happens to be John’s impressive collection of Bowie singles.

While the Bowie box does include many early gems, sadly a Liza Jane promo 45 complete with the “first ever Bowie press release” isn't quite what it seems. It’s actually a 1978 reissue with a facsimile press release which was distributed with some copies. 

Nevertheless, it's a good collection worth a look, particularly for things like the RCA Starman release sheet pictured here, which erroneously refers to the upcoming single as Superman in the copy.

You can visit the archive as it stands now here, or go straight to the Bowie box here.

categories: News
Friday 05.03.13
Posted by Mark Adams
 

Bowie cover for Esquire magazine’s Heroes issue

 

 

“We can be Heroes, for ever and ever”

 

The June edition of Esquire magazine in the UK is boasting five exclusive covers for their Heroes issue, with the one pictured here being the one that will probably interest you most.

The cover image was taken at Cannes Film Festival in 1978 at the screening of Just A Gigolo with another full-page shot inside being taken during the filming of Bowie’s appearance on Soul Train in 1975.

Here’s the blurb from the Esquire site.

 

First Look | Heroes Issue 

Celebrate wit, wisdom and what it means to be a man with our Heroes issue, out now.

Esquire’s June issue is a celebration of modern-day heroes: the men (plus one woman) who have provoked, challenged, entertained, enlightened and inspired us.

Alongside five exclusive covers, we’ve raided the archives of Esquire US to bring you the greatest hits from their famous ‘What I’ve Learned’ series, in which the great and the good (and not so good) speak candidly about life and how they’ve lived it.

So we find out Jack Nicholson hates advice (unless he’s giving it), David Bowie thinks you can never know who you are (an old lady once mistook him for Elton John), and Richard Branson recommends not having a circumcision at 24 (and then watching Jane Fonda in Barbarella).

All this, plus Keith Richards, Michael Caine, Johnny Depp, Neil Young, Clint Eastwood and Pamela Anderson (“My breasts have a career. I’m just tagging along”).

The June issue of Esquire is on newsstands now. Also available as a digital edition this week.

categories: News
Friday 05.03.13
Posted by Mark Adams
 

TVC 15 45 is 37 today

 

“One of these nights I may just, Jump down that rainbow way”

 

Released on April 30th 1976 as the follow-up to worldwide smash, Golden Years, TVC 15 was the second single from Station To Station, albeit in a severely edited form at two minutes shorter than the album version.

Apparently inspired by a hallucinatory episode during which Iggy Pop believed the television set was swallowing his girlfriend, TVC 15 was one of the lighter songs on Station To Station, becoming a live favourite during the attendant tour.

Unusually for the UK there was no RCA press advert for the single, possibly contributing to its poor showing on the official singles chart at #33. Perhaps RCA thought the triumphant shows at Wembley Empire Pool the following week would be enough publicity for the track.

Backed by We Are The Dead from Diamond Dogs, the 45 was issued in unique picture sleeves around the globe and despite claims to the contrary on Wikipedia, the single was also released in the USA where RCA did run a music press advert for it. (See image)

Check out the full-length album version here.

categories: News
Tuesday 04.30.13
Posted by Mark Adams
 

More from Mr Morley

 

“Funny how secrets travel”

 

We posted the first of two (or three or more) extracts from Paul Morley’s David Bowie in a weekend book a couple of days ago.

Here follows a second lot of excerpts with lots of contributions from the cards that visitors filled in at the V&A during Paul’s residency.

One of the contributions took the form of a USB drive which bore the simple legend: David Bowie is POSTCARD. It contained the following:

 

 

My favourite thing about David Bowie is: The fact that he actually KNEW his own destiny from such an early age (David Bowie Is, is proof of that)...and the permission he gave us all to be anything we wanted to be too...and the confidence he gave us not to care who didn't like what we were becoming.

I first knew about David Bowie in: 1969, and then I first knew about him again in 1972. And then I continued to first know about all of the subsequent David Bowies as each of them arrived.

I would describe myself as: Anonymous and irritatingly smug for taking the right roads from the age of eleven by following his signposts all the way from 1972 to 2022.

 

 

We reckon there are more than a few that could identify with those feelings.

There’s also an extra post card scan at the top of the montage here that isn’t mentioned in Paul’s text. We reckon it’s just a bit of, um…role-play.

And so, on with it:

 

11.36 a.m.

I have a suggestion box on my desk. It is there so that visitors to the museum, most likely those that have come because of David Bowie, can offer their own thoughts and memories. Perhaps their words will be of use to me during moments when I am having trouble working out what to write next. Writing a book in this way, sat at a desk surrounded by people who can observe, disturb and inspire me, means that I do not have to go out into the world to research, but the world can come to me, without me having to make it up too much. It will be the world of David Bowie filtered through fans that happen to be here this weekend.

               I have had printed onto these cards three questions, which I hope people will find interesting – essentially, I am asking what they found most interesting about Bowie, when they were first aware of him, and how they would describe themselves.

 

12.16 :  at first, I thought no one was going to fill in the cards. Maybe they find the questions a little uninspiring, but then suddenly, there is a rush of filled out cards placed into the box on my desk. I decide that every hour or so I will empty the box, find out what the answers are, and make them an instant part of the book. What starts to happen is that more and more people fill out the cards when they can see on the screen behind me revealing my work in progress that I am genuinely folding the answers into what I am writing, and that I am using their responses as part of this book.

               This is where the exercise, this experiment that may have ended going nowhere, begins to take on its own unique life, with an energy that could only exist during this particular weekend while I am taking on this particular role and sitting in the particular place I am sitting. The connection between me and the visitors to the V and A and the David Bowie is exhibition increasingly becomes a collaboration, and I note with relief and excitement that something that feels real, and which could lead to a real book reflecting a very singular experience, is taking over. I do not have to contrive an event, or fake the writing; a proper story is emerging, another way of writing the history of David Bowie.

 

13.00 p.m. 

My favourite thing about David Bowie is; him

I first knew about David Bowie in: 1974-75, I drove all the way to Memphis from New Orleans to see him in concert.

I would describe myself as: Geisha=arts person and future Diamond Dog

 

My favourite thing about David Bowie is: the oddness and slight absurdity

I first knew about David Bowie in: the song ‘Heroes’

I would describe myself as: a nerd

 

My favourite thing about David Bowie is: the looks/the texture of his voice

I first knew about David Bowie in; mid 70s, the plastic soul into Nic Roeg era

I would describe myself as: under his influence even now

 

My favourite thing about David Bowie is: Low

I first knew about David Bowie in: 1972

I would describe myself as: inquisitive

 

My favourite thing about David Bowie is: he is timeless

I first knew about David Bowie in: when I fell in love with his face on an album cover

I would describe myself as: a culture skimmer

 

My favourite thing about David Bowie is: how he did great things from terrible beginnings

I first knew about David Bowie in: 1998, a school chum played me Space Oddity

I would describe myself as: me

 

My favourite thing about David Bowie is: that he is a chameleon

I first knew about David Bowie in: the Seventies

I would describe myself as: middle age middle class liberal wishing I was younger

 

My favourite thing about David Bowie is: When I was 16 I thought I was an outcast and mentally ill. Then I discovered Bowie.

I first knew about Bowie in: -

I would describe myself as: I would not

 

13.46 p.m.

Someone around my age – that greying combination of greying hair, stooping shoulders and glasses necessary to give the world a vital level of focus greyly give the game away -  fills out a suggestion card, and so therefore I only know him as how he described himself, as a Redcar schoolkid – (‘always’). The fact on the card I did not ask people their name, but only how they describe themselves, is also becoming a factor. People are finding it a challenge they are intrigued by to not use their name, but something they think or believe or reluctantly accept that explains in quick detail who and what they are. They create their own mask to hide behind, or to reveal themselves.

               The Redcap schoolkid’s moment of first knowing Bowie is ‘72, and it also involves a school uniform, and an album sleeve magically materialising into what we now realise was still post-war Britain, with a multitude of social and environmental problems, a country crushed by its own history facing potential all-encompassing desolation. He talks to me of coming across Bowie on the Founders Day of his Grammar School in Redcar, North Yorkshire, so everyone is all done up in their school uniforms, stiffly blazered beyond belief, and ‘Flash’ Carr, and I think there was a ‘Flash’ Carr at my school as well, has a fresh from the shop copy of the Ziggy Stardust album. Naturally, and this is also a very common thing, he made damned sure he held the sleeve under his arm as he walked amongst his mates – album sleeves at the time seemed to be part of your clothing, a way of instantly breaking through the uniforms we were all given to keep us in our place, and you would hold them because they would be the one thing you owned that was something you had chosen, that represented who you really were. All these blazered boys followed Flash to his house, where they all listened to the Ziggy album, with what must have been almost erotic reverence. It was, writes the perpetual Redcar kid, the coolest thing, and wrapped inside his memory is the poignant element that nothing may ever be quite as cool again. But at least there was that moment of revelation, that has, forty years later, taken him to the V and A, and the David Bowie Is exhibition, and an astonishing demonstration of what can happen to memories and moments when they collide in such a way.

 

14.07 p.m.

My favourite thing about David Bowie is: The constant changes

I first knew about David Bowie in: Early 70s when my aunty used to sing and dance along and frustrate my gran.

I would describe myself as: trying to keep up  . . . (that short lass from Wigan that works at the college according to Stephen.)

 

My favourite thing about David Bowie: the way he inspired my girlfriend.

I first knew about David Bowie in: listening in my girlfriend’s car in 2011

I would describe myself as: a garage and grime DJ. “I put on a (very messy) free party (rave) in a forest in a Welsh valley last weekend. We’d been playing garage and techno and house all night but put on some Bowie at dawn and it took everyone to another place. I’ll remember that all my life.”

 

My favourite thing about David Bowie is: The beguiling myth that penetrates through time. The layers and layers to uncover and discover. Fearlessness. He goes for it.

I first knew about David Bowie in: 1983. ‘Let’s Dance’ was massive. Then I heard ‘Life on Mars’ and had to buy ‘Hunky Dory.’ I cried. I bought everything else slowly over the years.

I would describe myself as: A cross between Thin White Duke and Queen Bitch, from the Channel Islands.

 

My favourite thing about David Bowie is: his ability to always look forward and never get stuck in one character or period

I first knew about David Bowie in: my college years, when I first heard ‘Life on Mars.’

I would describe myself as: a fan of the ever-evolving, ever-changing, always brilliant David Bowie

 

My favourite thing about David Bowie is: sexless. Male/female I mean

I first knew about David Bowie in: when he married an African-American model

I would describe myself as: ignorant of British stars – a black American on holiday

 

My favourite thing about David Bowie is; His music and his gay announcement in 1971

I first knew about David Bowie in: 1969 – ‘Space Oddity’

I would describe myself as: Holly Johnson x

 

 

14.00 p.m

Reading the cards, I notice various patterns starting to develop, depending on the age of the visitor, and where they come from. I notice that so far the only person who uses their name to describe themselves is in fact someone who has been a pop star, and thinks it is enough to use their actual name. The cards become a fragmented, surreal survey of constant emotional engagement and indentification with Bowie. There are many who began their relationship with Bowie at about the same time as me, seeing him for the first time whilst sat in an old hall in an exhausted English provincial city in the early 1970s that had suddenly been invaded by energised other beings with an amplified otherness that was destined to profoundly alter environment, psych up sensitive teenagers, and productively disorientate minds. Then there are those who found Bowie at other times, in other spaces, for other reasons, all the way up to now.

               These following cards did not all arrive one after the other, but not far off, and a new route to finding Bowie I had never considered before, mostly for fans born after the 1980s, is opened up.

 

My favourite thing about David Bowie is: not being afraid to be who he is

I first knew about David Bowie in; Labyrinth

I would describe myself as: someone who is afraid

 

My favourite thing about David Bowie is: that he is unpredictable

I first knew about David Bowie in: the film ‘Labyrinth’ – I found him scary

I would describe myself as: imaginative

 

My favourite thing about David Bowie is: his eclecticism

I first knew about David Bowie in: Labyrinth

I would describe myself as: possibly a tad too obsessed

 

My favourite thing about David Bowie is: The song ‘Kooks’ – I love to sing it to my own sons.

I first knew about David Bowie in: probably the film ‘Labyrinth’

I would describe myself as; a mother of two from Norfolk

 

My favourite thing about David Bowie is: he is who he wants to be. We can all learn from that

I first knew about David Bowie in: Labyrinth. I grew up on it. And musically through a friend’s brother

I would describe myself as: a kindred Bowie spirit. I was born on the same day as Mr.Bowie. I thank my mum for that every birthday

 

My favourite thing about David Bowie is: that he is the greatest pioneer of progressive pop, immediately post-Beatles

I first knew about David Bowie in: 1986 – ‘Labyrinth’

I would describe myself as: Ziggy Played Piano

 

My favourite thing about David Bowie is; his voice

I first knew about David Bowie in: Labyrinth

I would describe myself as: a guitar playing architect

 

My favourite thing about David Bowie is: his image, fashion, persona

I first knew about David Bowie in: Labyrinth

I would describe myself as: fashion-conscious, creative, educated, philosophical

 

My favourite thing about David Bowie is: his fashion style

I first knew about David Bowie in: 1980s – in the Labyrinth

I would describe myself as: cool

 

My favourite thing about David Bowie is: That stuff he did in Berlin and for taking the high minded and popularising it for everyone. He’s the BBC of rock.

I first knew about David Bowie in: 1987 – via a VHS of Labyrinth. But only properly in 1996 thanks to a camping trip, a tape recorder and Hunky Dory.

I would describe myself as: Someone attempting to make my way in the world, unsure if I’ve properly grown up yet and if I ever will. (I’m 32.)

 

My favourite thing about David Bowie is: His eyes. (I never knew the dilated pupil is due to a fight he had at school.)

I first knew about David Bowie in: The Labyrinth film. I went to watch it in the cinema as a six year old and was captivated by the story and music

I would describe myself as: one of the good guys

 

My favourite thing about David Bowie is: the adventure

I first knew about David Bowie in: Labyrinth. Sex years before I knew what sex was.

I would describe myself as: all in the mind

 

 

14.53 p.m.

A story about David Bowie from 2004; someone who wishes to remain anonymous tells me about seeing him during the recording of a television programme in Los Angeles, and how as he walked along a corridor towards the studio, the people all along his route separated to let him through, because they were in the presence of a real star, actually, something wilder than just a mere real star. They could tell he was a real star, or the next stage up and beyond, not least because also appearing on the show was Marilyn Manson, there with his then girlfriend, the burlesque dancer and actress Dita Von Teese. “He just looked pathetic next to Bowie,” my witness says, “like someone had covered him in cheap Kiss make up and then thrown a bunch of metal studs at him. “ Her abrasive comedienne friend, not known for being sentimental, was introduced to Bowie, and before she could think of anything cool to say, immediately burst into tears.

 

15.05 ; On my desk, I have a box of Brian Eno and Peter Schmidt’s Oblique Strategy cards, and piles of books, which I have brought along to give me inspiration, to help me think of things to do and say if I run out of impetus. Before I started, I imagined I might need help and advice from the cards, and that I would have to steal some lines and phrases from the books, to build up some words, and create content and maybe a direction for the ‘book’ I am writing. I had no plan for what the story might be, other than it could be a collection of my own reflections and recollections about Bowie and his music, perhaps a little memoir about my own connection to the appearance and identity of the exhibition, a few confessions, a list of all the Bowie Is slogans that never made it into the show.

               It turns out very quickly that the people passing my desk and chatting with me, coming from the exhibition, or going to it, those who have no tickets, but have just come for the weekend of free talks and events, these are becoming as much the subject of the book as Bowie, as me writing about Bowie and wondering if it is possible to write a Bowie book in a weekend. The cards that people are filling in, more and more as though it is an important part of their day out at the museum, inside which the life of Bowie has fantastically landed, are becoming an equivalent of the Oblique Strategies; I consult these cards filled out by people to determine where the book is going, to find a way to touch and change my mind, to introduce surprise elements, and to research the collective conceptual force made up of those that love him, like him, take an interest in him, want to know more, a mysterious that has invented the idea of David Bowie as much as Bowie did himself. 

 

My favourite thing about David Bowie is: his fabulousness   . . .

I first knew about David Bowie in: 1985, when I was 3

I would describe myself as: Bowie’s number 1 fan from the land of ice and snow and probably the only person who cried when standing in front of the ‘Life on Mars’ suit

 

My favourite thing about David Bowie is; 1920’s Wiemar Cabaret Station to Station style

I first knew about David Bowie in: 1982, hearing ‘Young Americans’ on the radio when I was 8

I would describe myself as: wanting to be someone different to who I am

 

My favourite thing about David Bowie is: his use of glitter I have a pair of glittery boots that are like his and his understanding and use of theatricality

I first knew about David Bowie in: since I can remember car journeys with my mum and dad. They also played Leonard Cohen – then we take Berlin!

I would describe myself as: normal but I don’t think other people think that I am. I am friendly

 

My favourite thing about David Bowie is: his permanent changes – without caring what people think

I first knew about David Bowie in: Nirvana’s reprise of The Man Who Sold The World

I would describe myself as: shy

 

My favourite thing about David Bowie is: the emotions his music excites

I first knew about David Bowie in: age of sixteen – father introduced him to me

I would describe myself as: interested

 

My favourite thing about David Bowie is: his inconsistency

I first knew about David Bowie in: he probably infulbucated (sic) my subconscious at birth

I would describe myself as: pneumatic

 

My favourite thing about David Bowie is: The fact that he can’t remember making his best album

I first knew about David Bowie in: Arguments over how to pronounce his surname correctly

I would describe myself as: Time Magazine’s Person of the Year 2006

 

(I have checked, and the following will help me greatly with a possible index to this book, broadening out the scope considerably, because the Time Person of the Year 2006 could be Hugo Chavez, Sacha Baron Cohen (I am inclined to think this is a strong maybe, but maybe not), Raul Castro, Bush, Cheney or Rumsfield, Stephen Colbert, Katie Couric, the great grandson of Henry Ford, Al Gore, Michael J Fox, the cast of Heroes, the citizens of Iraq, Kim Jong II (unlikely), Angela Merkel, the planet Pluto, Pope Benedict XVI, Condoleeza Rice, Roger Federer and Tiger Woods, Robert Altman, Betty Friedan, Milton Friedman, John Kenneth Galbraith, Coretta Scott King or Slobodan Milosevic.)

 

My favourite thing about David Bowie is: he still sounds the same now, forty years on

I first knew about David Bowie in: 1973, when I became a teenager

I would describe myself as: 50 + + young when I listen to Bowie, I am transported back

 

My favourite thing about David Bowie is: his cheekbones

I first knew about David Bowie in 1976

I would describe myself as: inspired by the beauty of the cult of Bowie

 

My favourite thing about David Bowie is: His imagery – the sound and vision

I first knew about David Bowie in: I’ve always known about David Bowie

I would describe myself as: me

 

My favourite thing about David Bowie is: his flamboyance, his song writing ability and appearance

I first knew about David Bowie in: 1996 when I was four years old and my mum sang ‘Space Oddity’ to me

I would describe myself as: a steampunk mod girl

 

My favourite thing about David Bowie is: always looking for something new or making the obscure the normal

I first knew about David Bowie in: Top of the Pops. As a kid I remember seeing him and it looked so good and it has always stayed with me

I would describe myself as: I would like to think rebellious, and individual – but isn’t everyone !

 

My favourite thing about David Bowie is: his old cheekbones

I first knew about David Bowie in: The soundtrack of the tv series Life on Mars

I would describe myself as; an art student !

 

My favourite thing about David Bowie is: that no matter who you talk to they can relate to him

I first knew about David Bowie in: 2012 (I’m 16)

I would describe myself as: having no idea of who I am, but that’s ok

 

My favourite thing about David Bowie is: he looks like he smells nice

I first knew about David Bowie : on holiday

I would describe myself as: a six year old girl

 

My favourite thing about David Bowie is: Where are we now

I first knew about David Bowie in: 2009 (one year old)

I would describe myself as: kind and pritty

 

16.58 p.m.

By the end of the first day, I begin to understand that there is some wonderful generosity of spirit amongst those people coming up to me, urging me on and even giving me material as I write inside the V and A's Grand Entrance, an energy that with time I will be able to connect to what is happening inside the rooms where the Bowie Is exhibition is laid out - the visitors, most of them strangers to me, see what I am doing, and they want to help, they want me to complete the task I have been set, and tell me their own stories. David Bowie was going to be a big part of whatever I managed to write; and now his fans are, and therefore, much, much more of Bowie and what he means than there would have been if it had just come out of my own mind. 

categories: News
Tuesday 04.30.13
Posted by Mark Adams
 

Starman 45 released 41 years ago today

 

“So I picked on you-oo-oo”

 

Well, if life begins at forty, Starman is one year old today.

Released this day in 1972, it still sounds as good now as it did way back then.

The proof is here.

categories: News
Sunday 04.28.13
Posted by Mark Adams
 

Visconti, Scott and Rodgers for Red Bull Classic Album Sundays Bowie Special

 

“New York's a go-go and everything sounds right”

 

Next Sunday (May 5th), three very talented men with special ears (responsible for the production duties on almost two thirds of David Bowie’s studio albums), assemble in New York for the Red Bull Music Academy Classic Album Sundays Bowie Special.

Here’s a bit about it

 

RED BULL MUSIC ACADEMY MEETS CLASSIC ALBUM SUNDAYS: A DAVID BOWIE SPECIAL

Three classic Bowie records. Three iconic producers talking about their making.

 

12pm - 2.30pm: The Rise and Fall of Ziggy Stardust & the Spiders from Mars – w/ Ken Scott

3pm - 5.30pm: Heroes – w/ Tony Visconti

6pm - 8.30pm: Let’s Dance – w/ Nile Rodgers

 

Classic Album Sundays is about challenging the way we listen to music in the 21st century and bringing cultural milestones to life on some of the world’s best high-end audio systems. For this special Red Bull Music Academy edition we invite the men who recorded and produced these albums to tell the behind-the-scenes stories along with the acoustic treat: Chic mastermind Nile Rodgers, Tony Visconti (one of the driving forces behind Bowie’s “Berlin Trilogy”) and Ken Scott who’s also known as one of the main engineers for The Beatles. This is a rare chance to get inside three pivotal albums from the career of one of music’s most singular artists.

 

Check out the Red Bull Bowie Special page here. 

categories: News
Sunday 04.28.13
Posted by Mark Adams
 

Exclusive extracts from Morley's weekend Bowie book

 

“The solid book we wrote cannot be found just yet”

 

One of the more intriguing exhibits during the Bowie Weekender at the V&A over the last couple of days, was the installation of Paul Morley at a desk with a laptop, a pile of reference books, Brian Eno and Peter Schmidt’s Oblique Strategies and a screen behind him with a live display of the mammoth task he has undertaken.

All is explained on a label on an adjacent pillar:

 

Paul Morley is writing about David Bowie

10:00 - 17:30

Join legendary rock journalist Paul Morley as he writes a book about David Bowie in a weekend!

 

On the same desk is a box to collect contributions from visitors in postcard form. (See inset. Thanks to Merlin Adams for main picture)

Paul has risen to the challenge and has dutifully remained at his post observing the comings and goings and comings back again.

Nobody is sure what form the final document will take, but, rest assured, with Morley’s involvement it will be something special.

However, if you’re not particularly familiar with Paul's brilliant work across the years, don’t take our word for just how good he is. Here’s a quotation from aforementioned super-brain, Brian Eno:

 

“Paul Morley is the greatest thinker/writer/social critic/TV presenter since Plato/Keynes/Duchamp/Betjeman.”

 

We’ve had the very good fortune to receive the first fruits of Morley’s labour sent directly after close of play yesterday.

We’ll leave you with these excerpts and we will hopefully return with more of the same tomorrow, with Mr Morley’s blessing.

 

 

09.55 a.m.

Notes for a book about David Bowie to be written by me in a weekend in the Grand Entrance of the Victoria and Albert Museum as a kind of temporary writer in residence at the David Bowie Is exhibition   – perhaps, more exactly, notes for a ‘book’ to be written about ‘David Bowie’ in a weekend at the V and A. Perhaps the weekend should itself be ‘the weekend.’ I do feel as though I am also inside inverted commas, although not sure how to write that down. Maybe later, a photograph of me working at this desk, with some inverted commas elegantly draped around me.

               First of all, I must explain more fully where I am and what I can see around me, to fully capture the moment, the reality of how for whatever reason I have ended up in the position of being expected as one version of an expert on the ways of Bowie to complete a book in a weekend.  This situation is perhaps the equivalent of me going to work, from 10 to 6, and this is my wonderfully ridiculous office, filled with glossy marble, monumental columns and the larger than life light of the Gods. I am sat to the side of the Grand Entrance, and opposite me, hanging down many metres from the vaulted cathedral-like ceiling is Dale Chihuly’s alien-dramatic Rotunda Chandelier. Made in Seattle in 2001 from tangled, convoluted blown glass and steel, it could easily be a representation of something David Bowie would have worn at some point in 1972 to represent his subversive show off mind. On the other side of the ticket and information desk is the ghostly Medieval and Renaissance Galleries, 1350 to 1600, known to V and A staff as the Med and Ren. I had been warned not to enter these galleries before I began work, as I would be arrested. I took this warning seriously.

               To my left, hanging below a majestic golden gothic altar, three large, tinted photographs of David Bowie overlook the ticket and information area. He seems to be licking his fingers with something that is not quite relish, not quite pure, deviant flirtation, looking both out of place and very much at home in the spectacular entrance, mocking the very idea he should be hanging in such a place, making it very clear this is exactly where he belongs.

       

11.14 a.m.

Adrian Deakes, a Performance Education Manager from the learning department of the Victoria and Albert Museum, passes my desk and tells me that he has been doing a study project with pupils from the secondary school in Bromley where David Bowie went as a youngster in the early 1960s. It was Bromley Technical High School when Bowie attended as David Robert Jones; it is now Ravens Wood School, although Adrian says Bowie would still recognise it as the school he went to, the same halls and corridors, and, no doubt, similar smells and sounds. “The same view over the playing fields to the large white houses beyond, the house opposite the school entrance, proudly stating ‘built in 1875.’ The 2012/13 teenagers were very taken when they visited the exhibition and heard the young Bowie, someone previously not that familiar to them, a distant rumour at best, how when he talked he sounded just like they did. He has travelled so far away from that time and place, through so many other times and places, sometimes to the other side of space, experiencing the illuminating, and deforming, white heat of fame, but he was still there, with them, for them, close by, as relevant as anything in their lives, ultimately, more so. They have made a film about their experience getting to know about someone they were delighted to discover actually went to their school. They have called the film ‘David Bowie is one of us.’

               “David Bowie is a person who did exactly what HE wanted to do,” said one of the students, Jack Gordon, “Now look where he is . . . “

              

11.23 a.m.

There are those who are treating me sat at my desk as a kind of installation, as some sort of museum guide, asking where the lifts are, where the ladies is, where, indeed, ‘Is’ is, and once or twice they decide I might even be a psychiatrist or, perhaps, on the other side, a patient in need of treatment. Someone who wishes to be known only as Helen and is very alarmed when I asked her real name lives around the corner in South Kensington, and seems to use the V and A as her local, a convenient place to visit when she is bored at home or the builders are in. Maybe she comes here to forget all the things going on around her. In just a few minutes she fills me in on her life, her husband in Geneva, her kids. She asks me directly what is it about David Bowie, then. Why are you so interested ? She had an accent that turns out to be part Polish which makes her question sound a little sinister, like the pair of us have just entered a demented detective mystery directed by Roman Polanski. I mean, she says, he was beautiful as a young boy, but what was that film ‘Labyrinth’ all about ? As far as she was concerned, nothing he had done that was great could ever make him recover from this most peculiar affair. It turns out she is critical of the exhibition itself. ‘Pretentious, no?” she decides, in a way that intends to make it difficult for me to disagree. I make a defence of the very idea of pretentiousness, that without it there is no possibility of creative ambition, of the kind of risk taking that can lead to genius. She abruptly dismisses this line of thought, and says she has to nip back home to take delivery of some new radiators for her kitchen.

               Later, fortysomething Wendy from Sussex gives me more of a fans view, and tells me about an amateur performance she had seen in her local hall just a few days ago that almost seems like she made it up. It was a musical about someone called David Jones, who is not David Bowie, but who identifies very closely with Bowie, was born on the same day, and dreams of being as successful. The more successful Bowie becomes, the more of a failure David Jones becomes, losing sight of himself as he obsesses over Bowie, and he turns to drugs and crime, falling so far into grubby lonely obscurity it seems all that is left is death. I cannot quite work out what happens next, except that he is saved by hearing ‘Rock and Roll Suicide’, and there is a relative form of a happy ending, and a band comes on and play some of Bowie’s greatest hits.

               For Wendy, more than Helen, who I realise is probably more of a Med and Ren person, David Bowie has changed her life, and she tells me of the experience she had at school as she was growing up that I recognise – how you could tell looking around at what some fellow pupils had done to their uniforms, or their hair, or make up, just the way they walked, who were the Bowie fans, outsiders on the inside of something they felt was special, and who were not. You could see minds opening in the way a skirt or blazer had been given a little personal, home-made touch of colour, in how their hair had been treated, twisted, touched up. More and more visitors of all shapes, sizes and ages pour through the Grand Entrance on their way to experience the dispersed, concentrated traces of David Bowie haunting various sectors of the museum,  and many of them like Wendy look like they are making a pilgrimage, into their very own past, shared with their very own Bowie, when everything was possible, or a future they still believe in, that can still, surely, be about change, for the better.

 

12.23 p.m.

               And then someone comes up to my desk to ask me to fix their phone. And then someone comes up to my desk to ask me to turn the music down – there is a DJ in the Entrance, playing music by and inspired by Bowie, which just happens to be my favourite, from Magazine and Joy Division to Philip Glass turning ‘Heroes’ into a symphony made of blown glass and steel. It all sounds perfect to me.  She is livid; her world is falling apart, busted by the decadence of these rude intruders into her calm, collected and soothing sanctuary.

               I do not want to be too rude and suggest that of those in the museum she is on the older side, but she is not shall we say the type who will talk of the moment she first discovered David Bowie. She has yet to discover Bowie. She is right now not in the mood to ever discover Bowie. “We don’t expect this racket in here !” she explodes during the particularly sensational and for some legendary Mike Garson piano solo on ‘Aladdin Sane.’ I toy for a moment with trying to explain why the music should not be turned down or off but UP, especially during this particular beautifully beserk solo, which is joyously harmonising with the light pouring from the skies into the vast entrance, but decide she looks in the mood to have me deported if I oppose her in any way. Bitterly disappointed that I am in fact of no use to her, she charges off to search out those in control who might get rid of this horrific noise, so that she can enter the Med and Ren, and appreciate all those quiet, settled centuries without Garson’s startling piano. A few minutes later a young lady in a scarlet Bowie wig wearing cut off denim shorts draws the attention of everyone in the Grand Entrance by dancing the slowest, look-at-me-but-don’t-look Moonage Daydream daydreamy movement to ‘Moonage Daydream,’ as though this is actually a happening, a wonderful breaking through decades of tightening formality, and I think that by now the older lady not wearing the scarlet wig and threatened by Garson’s piano is planning her own counter-revolution, or feeling that she is sitting in a tin can far above the earth.

               The changes began forty odd years ago in small halls in small towns around the country by Bowie and his company of mavericks and showman militants have eventually reverberated all the way through to the moored, supervising spaces of the Victoria and Albert museum. I watch a little girl walk past my desk with a red and blue Aladdin Sane flash painted across her eye, which looks exactly right, and it seems like the Ziggy zonked outsiders led by their glorious, pacesetting and inspirational ringleader still believe they can make a world of difference.

categories: News
Saturday 04.27.13
Posted by Mark Adams
 

Reminder: Bowie Weekender at the V&A starts Friday

 

“Who knows how it could be, be tomorrow”

 

A couple of days ago we told you about the Bowie Weekender which kicks off with a Bowie Flash Mob on the steps of the V&A tomorrow.

After the Flash Mob fun, the evening commences with the V&A’s regular Friday Late event, with an insanely busy schedule which sadly means it will be physically impossible to get to all of the events.

Go here to try and decide on your very own plan of action.

 

#DavidBowieis

categories: News
Thursday 04.25.13
Posted by Mark Adams
 

Moody persuades Bowie to provide a few words on The Next Day

 

“And I'm busting up my brains for the words”

 

American novelist and short story writer, Rick Moody, (possibly best known for his 1994 novel, The Ice Storm, which featured a specially re-recorded version of I Can’t Read on the film’s soundtrack) has successfully persuaded David Bowie to contribute 42 words for a “sort of a work flow diagram for The Next Day”.

Moody has used the words in an incredible 14,000-word critique, “produced in two short weeks”, of The Next Day for The Rumpus. If you have a fair few minutes to spare, you can read the whole thing over on therumpus.net.  

Meanwhile, we’ll leave you with Mr Moody’s astonished realisation that he alone managed to get David Bowie to contribute something, anything, on the subject of The Next Day, followed by the 42 words Bowie supplied. 

 

 

 

Now, Bowie, the artist who no longer has anything to prove, has indicated that he is unavailable for comment about The Next Day, because there is only the work, and anything beyond the work is sort of what this album is about, “The Stars (Are Out Tonight),” viz., in which a preoccupation with celebrity is some kind of devastated pathology, one with which Bowie feels oddly sympathetic in the song (and the video, which you have to see, because it’s like a little movie it’s so good), despite having formerly been a “star” himself. Onto the “stars” we project our confusions and desperations, onto the “stars” we project the lives we do not lead. Ergo, there is only the work now, and the silence is part of the work, the work is otherwise complete, the way it is complete with Thomas Pynchon, and the way it was with J. D. Salinger, but, that said, and I can hardly believe it is the case myself, I have somehow persuaded David Bowie to part with a few words on the subject of this album.

 

I mean, I persuaded Bowie, somehow, to give me a sort of a work flow diagram for The Next Day, because I wanted to think about it in light of what he was thinking about it, I wanted to understand the lexicon of The Next Day, and so I simply asked if he would provide this list of words about his album, assuming, like everyone else waving madly trying to get his attention, that there was not a chance in hell that I would get this list, because who the fuck am I, some novelist killing time writing occasionally about music, and yet astonishingly the list appeared, and it appeared without further comment, which is really excellent, and exactly in the spirit of this album, and the list is far better than I could ever have hoped, and it’s exactly like Bowie, at least in my understanding of him, impulsive, intuitive, haunted, astringent, and incredibly ambitious in the matter of the arts; Bowie is a conceptual artist, it seems to me, who just happens to work in the popular song, and he wants to make work that goes somewhere new, and this is amply demonstrated by the list.

 

What I propose here is that I use the list to make a few observations about the incredible excellence of The Next Day, as a way of explaining what I think he’s after, or as a way of collaborating with the ideas in play, and in this way will a really great album be illuminated, given the opportunity to blossom further, later into the season, etc.

 

So here’s what David sent me (and I should thank him for doing it, and so I fervently thank him here):

 

Effigies

Indulgences

Anarchist

Violence

Chthonic

Intimidation

Vampyric

Pantheon

Succubus

Hostage

Transference

Identity

Mauer

Interface

Flitting

Isolation

Revenge

Osmosis

Crusade

Tyrant

Domination

Indifference

Miasma

Pressgang

Displaced

Flight

Resettlement

Funereal

Glide

Trace

Balkan

Burial

Reverse

Manipulate

Origin

Text

Traitor

Urban

Comeuppance

Tragic

Nerve

Mystification

categories: News
Thursday 04.25.13
Posted by Mark Adams
 

V&A Flash Mob photo plus Bowie Weekender

 

“I’ve got Friday on my mind”

 

If you’re kicking around London’s South Kensington on Friday evening, all dressed up as David Bowie but with nowhere to go, you would be mad not to take advantage of some V&A fun with the chance to win something cool for your efforts.

To kick off the Bowie Weekender, the V&A is encouraging fans to dress as, or be inspired by, Bowie for a flash mob photo opportunity on the steps of the Cromwell Road entrance to the V&A.

They are keen to get as many would-be-Bowies as possible in the photos and will be gathering people from 18.00 on Friday (apparently it normally takes 30 minutes to get everyone together), and then the David Bowie is Exhibition co-curator, Vicky Broackes, will pick her favourite look and you could win a year’s V&A Membership for you and a friend, plus an exclusive David Bowie is a Face in the Crowd Exhibition goody bag! Two runners up will get a pair of exhibition tickets.

All this before the regular Friday Late activities kick off at the V&A. Go here for more.

 

+ - + - + - + - + - + - + - + - + - + - + - + - + - + - + - + - +

 

STUDY DAY: Join experts, fans and collaborators including, Kevin Cann, Paul Gorman, Dana Gillespie, Toby Manning and Holly Johnson to unpack Bowie's unique style, sound and staging.

STUDY DAY #DavidBowieis SPECIAL OFFER: If you’re still capable of free movement on Saturday morning, you might want to take advantage of the Study Day #DavidBowieis special offer as you can now get 2 full price tickets for the price of 1.

The study day event commences at 11:00am and continues through till 16:00. Book using promo code: DB241 here. 

Check out the full schedule for the BOWIE WEEKENDER on this page. 

@V_and_A   #DavidBowieis

categories: News
Tuesday 04.23.13
Posted by Mark Adams
 

Kansai Yamamoto feature in Vogue Japan

 

“And so the story goes, they wore the clothes”

 

The April 2013 issue of Vogue Japan has a Kansai Yamamoto retrospective feature and interview which focuses on some of his earlier creations for David Bowie right up to his latest collection.

The iPad version has a video of the interview which includes Kansai talking about working with David Bowie.

categories: News
Saturday 04.20.13
Posted by Mark Adams
 

Stars/WAWN UK 7" 45 creates fourth RSD collectable

 

“You got me spinning, baby, spinning in a trance”

 

The collectors among you who concern yourselves with such minutia as label variations will be either delighted (or distressed) to learn that the white vinyl, picture sleeve 45 of The Stars (Are Out Tonight)/Where Are We Now?, was issued for Record Store Day today as two different pressings with different catalogue numbers.

Though both were made in the EU, there is a major label difference between the UK and international variations of the pressing.

The UK version comes with an orange RCA label for Where Are We Now?, while the international version has a predominantly black label with white text.

Otherwise the label design for The Stars (Are Out Tonight) and the cover design for both pressings is identical in every respect, barring the catalogue number and barcode variations.

Catalogue numbers:

UK: 88883705557

International: 88883704917

It seems the international pressing was distributed with a shrink-wrapped cover as was the Bowie 1965! Four track EP.

Pictured here are the variations (UK on the left) and if you click through to the other images you can see both sides of all of today's Bowie 45s.

categories: News
Friday 04.19.13
Posted by Mark Adams
 

Bowie gets NME special collectors’ magazine

 

“Then the NME dropped a bomb”

 

On the shelves in the UK about now is a 100-page NME Bowie special, retailing for £5.99.

You can get the gist of this affectionate tribute from the blurb on the NME site, pasted below, and from the magazine contents listing by scrolling the accompanying image.

+ - + - + - + - + - + - + - + - + - + - + - + - + - + - + - + - +

NME - David Bowie Special Collectors’ Magazine

Bowie's back, and bigger than ever! 'The Next Day' is his first Number One album in 20 years, there's been a huge scramble for tickets to his V&A exhibition and his cultural currency has never been higher, so what better time to celebrate his legend and legacy with a one-off magazine revisiting all of the music, the myths, the movies and the mayhem of The Man Who Owned The World?

Raiding the NME archive for the most thrilling, colourful and revealing interviews from Ziggy to Berlin and beyond, we reassess every album, remember the most extravagant tours, delve into the most scandalous myths and rate his most memorable screen appearances. PLUS from Noel to Radiohead, rock's biggest stars discuss Bowie's influence, the V&A exhibition raided for its most stunning shots and we argue why Tin Machine were actually brilliant. Wham, bam, thank you glam!

categories: News
Friday 04.19.13
Posted by Mark Adams
 
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