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RIP David Bowie - Post your fav' songs, interviews, quotes, lyrics

Ioanna

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Thanks David for the best things that you have left us.

 
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Shelter

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My most beloved song:

I, I will be king
And you, you will be queen
Though nothing, will drive them away
We can beat them, just for one day
We can be heroes, just for one day

And you, you can be mean
And I, I'll drink all the time
'Cause we're lovers, and that is a fact
Yes we're lovedrs, and that is that

Though nothing, will keep us together
We could steal time, just for one day
We can bed heroes, forever and ever
What'd you say?

I, I wish you could swim
Like the dolphins, like dolphins can swim
Though nothing, nothing will keep us together
We can beat them, forever and ever
Oh we can be heroes, just for one day

I, I will be king
And you, you will be queen
Though nothing will drive them away
We can be heroes, just for one day

I, I can remember (I remember)
Standing, by the wall (by the wall)

And the guns, shot above our heads (over our heads)
And we kissed, as though nothing could fall (nothing could fall)
And the shame, was on the othedr side
Oh we can beat them, forever and ever
Then we could be heroes, just for one day

We can be heroes
We can be heroes
We can be heroes
Just for one day
We can be heroes

We're nothing, and nothing will help us
Maybe we're lying, then you better not stay
But we could be safer, just for one day

Oh-oh-oh-ohh, oh-oh-oh-ohh, just for one day

It was his Berlin song - and I like this song over all!
R. I. P. DAVID BOWIE
 

gorgik9

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To me it's necessary to use concepts from Richard Wagner's vocabulary to give any kind of adequate description of David Bowie and his work:

He was one of the most talented Gesamtkünstler (something like "total artist"...) we had in the second half of the 20th century, leaving behind the probably most fascinating of all Gesamtkunstwerke in our time.

I was a teenage kiddo in the 1970s. David Bowie and his art showed us different ways of being boys and girls, and I was hit by the slow and profound bowiequake...





I think the most adequate reaction I could give to the painfull news of David Bowie's death is with the help of a figure in Todd Haynes' 1998 movie "Velvet Goldmine"; the figure is called Curt Wild and is a wonderful mixture of Lou Reed, Iggy Pop and Oscar Fingal O'Flaherty Wills Wilde, and played by that great and extremely sexy Scottish actor Ewan McGregor.

In the movie this is the ROAAARRRRR to prick up Brian Slade's / David Bowie's ears....

 

gorgik9

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A little about Bowie as an actor:

 

loretta

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Even Bowie was human (at least at the beginning of his career)
I miss him - Space Oddity is my all time favourite song since I have heard it for the first time 40 years ago
 

brmstn69

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Of all the things Bowie had done in his career, the one thing that stood out most to me was that no matter how big a star he was, he was never too big to play second fiddle (or in this case, sax) to a friend...



*** Interesting side notes...

Bowie actually gave this song to Mott the Hoople at a time when the band was struggling to find success and on the verge of breaking up...

David Bowie played at least 14 instruments including Sax, piano, keyboards, guitar, cello, viola, and drums...
 
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W!nston

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Even Bowie was human (at least at the beginning of his career)
I miss him - Space Oddity is my all time favourite song since I have heard it for the first time 40 years ago

Wow! Loretta. What a treasure you have there. What a memento. I see you were using your stage name back then ... Sandra ;)

Thank you for sharing that letter to an American fan from a British nobody who would become an icon ... The Man Who Fell To Earth, Bowie.

:)
 

defiance0

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Oh, I'll be free
Just like that bluebird
Oh, I'll be free
Ain't that just like me?

It's a very special knowledge that you've got, my friend
You can travel anywhere with anyone you care
It's a very special knowledge that you've got, my friend
You can walk around in New York while you sleep in bed
I will travel round the world one night
On the magic wings of astral flight
From 'Did You Ever Have A Dream?', single in July 1967.

 

Smokey

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Saw Mr. Bowie live in concert Sound/Vision Tour

Tears oh so many tears when the news broke the story, numb. I do remember what a showman he was with such class on the concert stage, though. Pity if you never saw him live, there will never be another genius such as he.
 

W!nston

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We saw Bowie on tour twice. The first time was the 1976 Station to Station tour in Jacksonville, FL. The second time was the 1987 Glass Spider tour in Denver, CO.

He was a consummate showman and musician. His music spanned the spectrum. Something for every taste. An unbelievably talented genius. Truly one of a kind.
 

socrates

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Here in Italy some clever politician said that Bowie's death is not that bad, since he introduced gender confusion in everyone's minds...
It's astounding how emancipation from stereotypical gender roles and prerogatives can be scary to some people who decide not to consider the pain for a man's departure. And not any man, but one who gave us all decades of groundbreaking music and visual arts...
As a reply, I think I'll watch A reality tour Live DVD once again :p

 

defiance0

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tumblr_osjhx3eXLs1s8gtxto1_500.jpg
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defiance0

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From the Dick Cavett Show, December 4, 1974:
Cavett: "Do you want to be understood? You know what I mean... like Ziggy Stardust was...
Bowie: "There’s absolutely nothing to understand. I mean..."
 

dargelos

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This article about David appears in the recently published book 'Ministry Of Truth' by Dorian Lynsley. The book contains examples of the influences of George Orwells' alway relevant distopia '1984' has had, such as on the music of Bowie;

"On a bright, cold day in April 1973, David Bowie and his percussionist, Geoff MacCormack, boarded the Trans-Siberian railway in Khabarovsk. The aviophobic singer was taking the long way home to London from his Japanese tour. The week-long journey to Moscow was a lark to begin with, but the closer they got to the capital, the thicker the atmosphere of tension and suspicion became. In Moscow, Bowie watched a day-long military parade from the window of his hotel on Red Square. “On my trips through Russia I thought, well, this is what fascism must have felt like,” he later said. “They marched like them. They saluted like them.” As the train to Paris passed through the no man’s land between East and West Berlin, the two men were stunned into silence by the still bombed-out ruins.

This heavy trip intensified Bowie’s growing sense of paranoia and panic. On the last leg of the journey home, he spoke to Roy Hollingworth from Melody Maker about how it had changed him. “You see, Roy,” he said, chain-smoking manically, “after what I’ve seen of the state of this world, I’ve never been so damned scared in my life.”


You always felt you were in 1984. That’s the kind of gloom and immovable society that a lot of us felt we grew up in

One did not need to have travelled through Brezhnev’s Russia to feel fearful in stagflation-hit 1970s Britain, which, as well as the three-day week, saw the return of blackouts, petrol rationing and an IRA bombing campaign. Millions of Britons still listened to Slade and the Osmonds, went to see Live and Let Die and The Way We Were, relaxed in front of Are You Being Served? and Porridge, enjoyed their extra days off and generally went about their business. But Bowie’s antennae were attuned to shriller frequencies. His song Life on Mars? had looked for a way forward among the debris of the 1960s; Five Years was a histrionic countdown to Armageddon; the ominous parenthetical in Aladdin Sane (1913-1938-197?) pencilled in a third world war. “I’m an awful pessimist,” Bowie confessed to NME. It was not at all surprising that his mind was turning to writing a rock musical based on Nineteen Eighty-Four.

By 1973, sales of Nineteen Eighty-Four had passed 1m in the UK and at least 10m in the US. Rock bands had assimilated the novel into rallying cries for the counterculture. “Oh, where will you be when your freedom is dead 14 years from tonight?” asked Spirit on their single 1984, released during the dying weeks of the 60s. “We don’t want no Big Brother scene,” cried John Lennon on Only People. In Stevie Wonder’s cool, contemptuous Big Brother, BB represented the Nixon administration. Orwell’s dictator was now another name for The Man.

Bowie had been obsessed with Orwell’s novel since growing up in postwar Bromley, in a house less than a mile away from the birthplace of HG Wells. “You always felt you were in 1984,” he said. “That’s the kind of gloom and immovable society that a lot of us felt we grew up in… It was a terribly inhibiting place.”

In November 1973, Bowie told William Burroughs that he was adapting the novel for television and gave his NBC TV special the mischievous title The 1980 Floor Show. During the show, he debuted a new song called 1984/Dodo, one of 20 he claimed to have written for the adaptation, although attempts to write an actual script with the American playwright Tony Ingrassia had come to nothing.

He was therefore furious when Sonia Orwell refused permission for his rock musical. “For a person who married a socialist with communist leanings, she was the biggest upper-class snob I’ve ever met in my life,” he told Circus writer Ben Edmonds. “‘Good heavens, put it to music?’ It really was like that.” Doubtless, Sonia did hate the idea, but then she had approved almost no adaptations in any medium since the fiasco of the 1956 movie and she certainly didn’t meet Bowie, so that anecdote can be taken with a pinch of salt. It’s debatable whether a hypermodern, hedonistic, bisexual rock star would have had better luck with a 70-year-old Orwell.

Bowie’s eighth studio album, initially titled We Are the Dead, was, therefore, a salvage operation. “To be quite honest with you… the whole thing was originally 19-bloody-84,” he told Edmonds. “She put the clappers on [the musical] by saying no. So I, at the last minute, quickly changed it into a new concept album called Diamond Dogs. I didn’t ever want to do Diamond Dogs as a stage musical; what I wanted was 1984.”

Which explains a bit about why that album, which I never tire of playing, is so different, so unusual.
 

dargelos

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Imagine a time when people went to a concert and watched the band instead of looking at their phones all through the show. How lucky are we who knew such a time?
 

haiducii

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Imagine a time when people went to a concert and watched the band instead of looking at their phones all through the show. How lucky are we who knew such a time?

Oh yeah :dreaming:

Nowdays (streaming / downloading music era) the musicians make more than 50 times more by being on the road than selling records...which means: (very) expensive concert tickets! And these kids (better to say their parents!) pay 100€ or much more for a ticket only to be there to take a photo for instagram...

But you can still go to the concert, where you don't see mobile phones. Such example was my last concert in November last year, when Lisa Stansfield came to Lienz, Austria. I saw only 3, 4 or maybe 5 people holding phones in their hands. And yes, Lisa still know how to sing, she has a great voice like in the 80's...
 

dargelos

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Compare ticket prices back in the day with now;



Imagine seeing Bowie for £5, wouldn't even pay for the car park at a concert today.​
 

garth33

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Compare ticket prices back in the day with now;



Imagine seeing Bowie for £5, wouldn't even pay for the car park at a concert today.​

How OLD are you? Who was the warm up act? Abraham Lincoln?:eek::eek:;)

(just kidding buddy:big hug:)

That is actually amazing - back in the day when it was all about the music and not the artist making multi-millions at every stop.

peace,
g
 
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