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J'ai entendu un truc sur David Bowie
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MessagePosté le: Mer 12 Nov - 15:47 (2014)    Sujet du message: J'ai entendu un truc sur David Bowie Répondre en citant

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Dernière édition par avcsar le Lun 28 Déc - 13:35 (2015); édité 1 fois
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MessagePosté le: Mer 12 Nov - 15:47 (2014)    Sujet du message: Publicité

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lunamagic
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MessagePosté le: Mer 12 Nov - 19:57 (2014)    Sujet du message: J'ai entendu un truc sur David Bowie Répondre en citant





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MessagePosté le: Mer 12 Nov - 20:48 (2014)    Sujet du message: J'ai entendu un truc sur David Bowie Répondre en citant

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Dernière édition par avcsar le Lun 28 Déc - 13:38 (2015); édité 1 fois
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MessagePosté le: Ven 14 Nov - 12:20 (2014)    Sujet du message: J'ai entendu un truc sur David Bowie Répondre en citant





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MessagePosté le: Sam 15 Nov - 10:57 (2014)    Sujet du message: J'ai entendu un truc sur David Bowie Répondre en citant

LE FANTÔME DE ZIGGY par CHRISTINE AND THE QUEENS
Pour le personnage de Christine, Héloïse reconnaît s'être inspirée de Ziggy Stardust, double androgyne créé par David Bowie en 1972. "Christine est une personne plurielle qui me permet de me désinhiber sur scène. Ziggy Stardust me fascine car c'est un extraterrestre qui n'a pas de genre sexuel. Chez Bowie, il y a toujours eu la volonté de créer des personnages forts mais éphémères. Après deux ans, il a autodétruit Ziggy pour passer à autre chose. Moi, j'aimerais encore faire évoluer Christine. Pour mon prochain album, je la vois bien dans un trip plus funky new-yorkais comme le Gainsbarre de "Love On The Beat" mais en plus sombre."


http://http://www.moustique.be/culture/300523/christine-and-the-queens-le-double-mixte


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MessagePosté le: Sam 15 Nov - 23:57 (2014)    Sujet du message: J'ai entendu un truc sur David Bowie Répondre en citant







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MessagePosté le: Dim 16 Nov - 14:42 (2014)    Sujet du message: J'ai entendu un truc sur David Bowie Répondre en citant



David Bowie as "Ziggy Stardust"
Photo: Getty Images



How cocaine played a key role in Bowie’s early success

By Larry Getlen November 15, 2014 | 12:00pm

In his 1972 classic “Ziggy Stardust,” a song about his alter ego, David Bowie told us that “Ziggy played guitar.” He didn’t mention how much cocaine Ziggy snorted before he did.

Carlos Alomar, who played guitar on 12 of Bowie’s albums, says that the drug played a crucial role in Bowie’s early productivity.

“In order for him to stay up all night and finish the tasks at hand, it was a huge factor,” Alomar tells The Post. “Its function was to keep you alert, and that’s what he was doing. It did not stop his creativity at all.”

Bowie’s out-of-this-world imagination — not all of it drug-fueled — shines on “Nothing Has Changed,” a box set out Tuesday that features songs from throughout his 50-year career, including the new track “Sue (Or in a Season in Crime).”

The singer — who released his first single at 17 under the name “Davie Jones with the King Bees” (Jones is the London native’s real last name) in 1964 — has defined cool, be it glam, metrosexual or gentlemanly, for so long it’s easy to imagine him almost encased in ice, hovering above the everyday.

Some of the greats he’s worked with view him that way, too.

“He feels like living art to me,” says Nile Rodgers, who produced Bowie’s 1983 album “Let’s Dance” and 1993’s “Black Tie White Noise.” “I call him the Picasso of rock ’n’ roll.”

While Bowie has always conveyed this artistic sense, its nature has changed over time. Alomar first met the singer in the early ’70s. It was just after the Ziggy Stardust period, when Bowie still, says Alomar, had “orange hair, pasty skin, the whole nine yards.”

Alomar, now the director of the Stevens Institute of Technology’s Sound Synthesis Research Center, brought his new friend to Harlem, at a time when junkies could still be found nodding off in the streets in broad daylight, to meet Richard Pryor at the Apollo Theater.



Carmine Rojas, David Bowie and Carlos Alomar
Photo: Getty Images



“He steps right out of a limousine with his big fedora on, and walks straight through [the crowd]. Doesn’t even stand in line,” Alomar recalls. “And all these black people are looking at him going, ‘What was that?’ ”

As with all rock stars of the era, given Bowie’s popularity at the time, it was hard for him to hit the streets without a party.

“He didn’t have to buy anything, because everything was right there,” says Alomar. “We would be on the 18th floor of a hotel, and some fans would just rent the whole 17th floor, and they were all, ‘Please hang out.’ If you happened to have some money and could get a mountain of cocaine, you’d be like, ‘Look, I got cocaine. Come to my place.’ ”

While Bowie was too professional to miss gigs or appear wasted onstage, he did occasionally space out on lyrics during shows.



David Bowie performs at a concert circa 1973
Photo: Rex



“He’d forget the words to ‘Let’s Dance,’ or ‘China Girl’ or ‘Life on Mars?’ ” says Alomar. “I had to do background vocals. I would be singing the words, and he would be singing [other words]. He would look to me . . . and I would know — oh, he forgot the words. I would immediately [stop] singing the harmony, and I’d sing the melody in unison with him to get him back on track. We had that kind of situation all the time.”

The easy availability of drugs helps account for why there are certain portions of Bowie’s career he doesn’t remember, including, according to Rodgers, recording his 1973 album “Pin Ups.”

“That was specifically about drinking and drugging,” says Rodgers. “He told me there are years of his life that he doesn’t remember. He said, ‘I know that’s me singing, I know that’s my record and my picture, but I don’t remember writing the songs, I don’t remember going into the studio.’ ”

By the late ’70s, Bowie had straightened out (he has the Serenity Prayer tattooed on his leg) and, Rodgers says, become more relatable.

“He was [always] quite serious, though fun to be around, don’t get me wrong,” says Rodgers. “But after ‘Let’s Dance,’ he became more animated — more of a fun-loving, normal kinda guy.”

But no matter how close to normal he may have come in recent years — Bowie has kept a relatively low profile and released only one album, 2013’s “The Next Day,” since suffering a heart attack in 2004 — there will always be something larger than life about the man who publicly contemplated life on Mars.

“Name three of the most interesting people you wanna speak to,” says Alomar. “Einstein, blah blah blah . . . and David Bowie. The revelations inside that mind will amaze you.”

New York Post


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MessagePosté le: Dim 16 Nov - 15:04 (2014)    Sujet du message: J'ai entendu un truc sur David Bowie Répondre en citant



LE PARISIEN
Dimanche 16 novembre 2014






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MessagePosté le: Mer 19 Nov - 12:53 (2014)    Sujet du message: J'ai entendu un truc sur David Bowie Répondre en citant



LA RAZÓN
Domingo. 16 de noviembre de 2014






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MessagePosté le: Mer 19 Nov - 13:39 (2014)    Sujet du message: J'ai entendu un truc sur David Bowie Répondre en citant







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MessagePosté le: Sam 22 Nov - 11:49 (2014)    Sujet du message: J'ai entendu un truc sur David Bowie Répondre en citant







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MessagePosté le: Sam 22 Nov - 15:54 (2014)    Sujet du message: J'ai entendu un truc sur David Bowie Répondre en citant

Un nouveau Blow Up :
http://cinema.arte.tv/fr/article/top-5-david-bowie


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MessagePosté le: Sam 22 Nov - 21:17 (2014)    Sujet du message: J'ai entendu un truc sur David Bowie Répondre en citant

Merci Raymonde 
_________________
Always failing to remember why we came,
I wonder why we came.


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MessagePosté le: Lun 24 Nov - 20:04 (2014)    Sujet du message: Listen to Jérôme for chance to win book and Sue 10" Répondre en citant





24 NOVEMBER 2014

Listen to Jérôme for chance to win book and Sue 10"

“I’m reaching the very edge, you know”

Speaking of Paris (see previous story), one of our very favourite Parisians, Jérôme Soligny, will be on Ouï FM on the L’EXCESsive Vinyl Session this evening between 19:00 and 20:00, Parisian time.
Jérôme will be promoting his new book, Writing On The Edge, and Nothing Has Changed - The Very Best of David Bowie.
Both the book and 10" vinyl copies of Sue (Or In A Season Of Crime) will be given away during the show.
Writing On The Edge is a collection of Jérôme’s work over the last 25 years, including lots of Bowie articles.
We will post a more in-depth piece on the book shortly.
If you’re reading this after the broadcast, there’s a listen again feature on the same link.

FOOTNOTE: Jérôme is pictured with David Bowie after the 1999 Elysée Montmartre show.

davidbowie.com


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MessagePosté le: Lun 24 Nov - 23:24 (2014)    Sujet du message: J'ai entendu un truc sur David Bowie Répondre en citant





Watch an Exclusive Behind-the-Scenes Clip of Bowie's 'Little Drummer Boy'

Writers for the TV special 'Bing Crosby's Merrie Olde Christmas' discuss how the art-rock icon and smooth crooner joined forces

By Rolling Stone | November 24, 2014

The collaboration defied musical logic. But in 1977, art-rock icon David Bowie and smooth crooner Bing Crosby came together for a now-infamous duet of the holiday staple "Little Drummer Boy" for Crosby's TV special Bing Crosby's A Merrie Olde Christmas. It's a fascinating moment in pop history – one examined in detail on PBS' upcoming documentary, American Masters: Bing Crosby Rediscovered, which premieres Tuesday, December 2nd at 8 p.m. Check out Rolling Stone's exclusive behind-the-scenes clip, which features commentary from Merrie Olde Christmas writers Larry Grossman and Buz Kohan.

"We had decided that we wanted them to do a duet of 'Little Drummer Boy,' and when we told Bowie about the number, he said, 'I won't sing that song,'" Grossman says. "And we said, 'Why?' And he said, 'I hate that song. If I have to sing that song, I can't do the show."

Despite his initial reluctance, Bowie was eventually swayed by the writers after they wrote a counter-melody and a new bridge for the song. (It didn't hurt their chances that Bowie's mother was a Crosby fan.) "It all happened rather rapidly," says Kohan. "I would say within an hour, we had it written and were able to present it to him again."

Kohan adds that "Bing loved the challenge" of the song, emphasizing that the singer "was able to transform himself without losing any of the Crosby-isms."

The Bowie-Crosby duet has been a YouTube staple for years, but the performance became further ingrained in the pop consciousness in 2010, when Will Ferrell and John C. Reilly filmed a hilarious shot-for-shot remake, even sticking to the original dialogue.

Rolling Stone


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