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J'ai entendu un truc sur David Bowie
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MessagePosté le: Jeu 8 Jan - 10:59 (2015)    Sujet du message: J'ai entendu un truc sur David Bowie Répondre en citant



Photo: Press/Jimmy King


Monday 5th January 2015 by Andy Morris

Alex Turner, David Bowie and Skepta make GQ's Best Dressed List

Musicians past and present dominate the top 50

...A style icon for the entirety of his career, it's unsurprising to see David Bowie make the list at No.15. "His unique style shows a fabulous love and understanding of clothes and what they can say with a complete disregard for fashion." says Adam Brown from Orlebar Brown. "Every look is his own - we should all aspire to learn from this master of style. He will be 'current' until the day he dies - and then some."

Gigwise





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MessagePosté le: Jeu 8 Jan - 16:47 (2015)    Sujet du message: 12 things a man David Bowie's age shouldn't be doing Répondre en citant


12 things a man David Bowie's age shouldn't be doing
Happy Birthday Bowie, how are you 68-years-old?

Thursday 8th January 2015 by Andrew Trendell | Photos by Press / WENN / Jimmy King

8 January 2015: Today is the day that one of the greatest artists of all time turns 68. Yes, 68. It's hard to believe a man can still be so awesome in his winter years, but Bowie is unstoppable.

Bowie, you are in as a good a form as you ever were, which is lucky. We hope you realise that you get away things that no other man on this Earth can. That's why we love you.

Whether he's writhing around on the floor with Tilda Swinton, swanning around Venice for Louis Vuitton, dressing as Jesus or showing the world his pants at the Victoria and Albert Museum, the legend, legacy and continued grace and class of David Bowie has seen him pull off some pretty incredible feats in the last year.

So, come with us and bask in the glorious glow of rock's elder statesman and visionary, and enjoy the antics of music's coolest pensioner.

Gigwise





Look this cool/young in a flat-cap: Seriously, how does he do it? No wonder he was crowned one of GQ's
best dressed men of 2014.



Be talking about drugs, sex and war all at once: Yep, it's enough to make most older men blush. But
Bowie's brilliantly vivid lyrics to The Next Day highlight 'I'd Rather Be High' show him as still one of the
best narrators of all time.



Sound good in clubs: Yeah, your old man would do well to stay away from 'discotheques' (I bet they still
call them that as well), but with James Murphy's epic Steve Reich remix of 'Love Is Lost', no 68-year-old
has ever sounded this brilliant or vital on the dancefloor.



Dance around with dolls of himself: Most men in their 60s would get sectioned locked up in a home for
this, but the music video for James Murphy's remix of 'Love Is Lost' was one of the coolest and most
compelling of the year (and it was made for just eight quid)



Inspire Lady Gaga: Last year, Gaga told Alan Carr: "Every morning I wake up and I think 'what would Bowie
do?'" Rather than turn on Radio 4, eat porridge and complain about the traffic, what that means from this
68-year-old is usually something baffling, unexpected and game-changing.



Look this good for Louis Vuitton: Mutton dressed as lamb? Never. Just a genius, dressed a king.



Make Arcade Fire even cooler: Say 'Arcade Fire' to most men of that age and they'll call the emergency
services and mourn the loss of another 2p machine, but say it to Bowie and he jumps on board to make
their already awesome comeback track 'Reflektor' all the better - drenching it with his inimitably mind-
melting croon.



Top the Official Record Store chart: When most men of that age enter an independent record store, it's
usually to ask for directions to the nearest BHS - but not Bowie. In 2013, The Next Day was deservedly
the most-bought album in independent UK record stores for the year.



Hold hands with Lorde: 'Man in late 60s finds 17-year-old girl at party to hold hands'. Pretty creepy
headline, eh? Well, normally yes - but this was just one legend passing on musical wisdom to a rising
star. Recalling when Bowie met Lorde at Tilda Swinton's birthday, Lorde said: "It was super cute - for
some reason we were holding hands and just staring into each other's eyes and talking, and I was like,
'This is David Bowie's hand, what am I doing?' It was insane. A beautiful moment."



Put clothes on show: Imagine if your dad or some random 68-year-old bloke put his wardrobe on display
to world. It would largely be cardigans and Matalan jeans. But no - the David Bowie Is exhibition was a
masterclass in the art of fashion.



Offend the Christian world by dressing as Christ: Yup, for most men, they leave their Jesus smocks and
their sacrilegious ways in their mid-to-late 20s, but Bowie's video for The Next Day's title track invited
The Catholic League to brand him a "switch-hitting, bisexual senior citizen from London".



Writhe around on the floor with Tilda Swinton: Most 68-year-old men can't, but Bowie bloody can. Why?
Because they're one and the same: Andrognynous, sphinx-like, immortal, incredible.



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MessagePosté le: Dim 11 Jan - 12:01 (2015)    Sujet du message: Every David Bowie Album, Ranked Répondre en citant



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Every David Bowie Album, Ranked

Today is David Bowie's 68th birthday, and we hope he is somewhere in the world (possibly NYC!) right now enjoying a shepherd's pie with Iman. In honor of the occasion, we've put together a ranking of all 25 of his studio albums.

He was a weirdo art school hippie who never fit in with the '60s; the most important and mercurial artist of the '70s (h/t Brian Eno); the most popular rock 'n roll sellout of the '80s (not that there's anything wrong with that?); he was the guy who kept chasing after the wrong girl in the '90s (especially if that girl was named Drum 'N' Bass); a recluse in the '00s (despite some of his most popular tours ever); and a beloved survivor so far in the '10s.

Bowie has only made three out-and-out terrible albums; there are six that are imperfect but filled with colorful highlights; there are five flawed but lovely ones; there are six excellent records; and there are six perfect records. Check out the list below, with some light commentary, then debate in the comments.

The Bad:

25. David Bowie (1967): Not every first chapter need be defining.



24. Never Let Me Down (1987): The late '80s were really rough (see: Tin Machine). But the title track is a keeper (albeit the only keeper).



23. Tonight (1984): aka Let's Dance Some More, But Maybe We Can Just Dance Really Awkwardly This Time, And Can We Get A Corporate Sponsor As Well? However, it has two keepers ("Blue Jean," "Loving The Alien"), to balance out the garbage (like the worst cover of his career, "God Only Knows"). The less said about the title track (why did he waste Tina Turner?), the better.



The Flawed:

22. Space Oddity (1969): Maybe slightly underrated, but also slightly forgettable (title track aside). The jams weren't quite as fleshed out as they would be on his next album, unless you're the type of person who screams for "Memory Of A Free Festival."



21. Black Tie White Noise (1993): The '90s were weird. Bowie dabbled in a new, sorta-irritating genre with every album. He was rarely great, but he was rarely bad, just like this album (exception: the sublime "Jump They Say").



20. Earthling (1997): Take away the percussion/production, and you have Bowie's best album of the '90s. Unfortunately, it's VERY hard to ignore the constant dinka-dinka-dinka of the drum 'n' bass/jungle beats. There are great songs on here if you squint ("Little Wonder," "I'm Afraid Of Americans," "Dead Man Walking").



19. The Buddha of Suburbia (1993): A minor release (a soundtrack for a television series no one saw, no less), but one of the most consistent of the period. "Strangers When We Meet" goes into the Bowie hall of fame on first ballot.



18. 'Hours...' (1999): In which an alien hits middle-age hard. The rockers are pretty anemic, but some of the ballads ("Seven," "Survive") hit the spot. Trigger warning: this is the David Bowie album most likely to be confused with Phil Collins.



17. Outside (1995): Bowie re-teams with Brian Eno to make a Nine Inch Nails record. It doesn't always work, but it's ambitious and dark, and I'd always rather hear Bowie trying to be weird than trying to be old (see above).



The Good:

16. Pin Ups (1973): "God Only Knows" aside, Bowie is one of the best song interpreters of his era, whether he's tackling his influences ("Alabama Song," "I'm Waiting For My Man"), peers ("Waterloo Sunset," "I've Been Waiting For You"), or descendants ("Cactus," "Kingdom Come"). A Bowie album without a cover thrown in feels off. This stands as his only all-covers collection (made at the height of Ziggy), and it's an immaculate tracklist rendered hit-and-miss in execution. When it hits ("Anyway, Anyhow, Anywhere," "Sorrow," "Rosalyn") it's as good as any glam record from 1973.



15. Reality (2003): Upon reflection, this one seems rushed; it came out about a year after the superior Heathen and carried a melancholy mood, as if trying to recapture Aladdin Sane but just too tired to balance the hangover with an actual party. "New Killer Star," "Pablo Picasso," and "Fall Dog Bombs The Moon" are all keepers. Whether you think "Bring Me The Disco King" is the best or worst song on the album (and it is probably one of those), it would have made a very unsatisfying finale to his career. Thankfully he came back with The Next Day.



14. Diamond Dogs (1974): Most overrated album in the Bowie canon. Nobody acknowledges that it's a transitional record: halfway done disavowing Ziggy ("Rebel, Rebel"), halfway to Philly soul. Much of the album started as an adaptation of George Orwell, so hope you like lots of swirly disco-lite songs about "Big Brother." But hey, it's still pretty good nevertheless.



13. The Man Who Sold the World (1970): The first album on which Bowie felt like Bowie. His first collaboration with longtime producer Tony Visconti; his first brush with sexually ambiguous infamy (thanks to the cover); the first album with the musicians who would become The Spiders From Mars; and his first truly transcendent song (the title track, duh). Even more remarkably, it's proto-metal without any heaviness. Start here.



12. Young Americans (1975): The greatest 'plastic soul' album ever? Is there even much competition? People hate this record and I don't understand why. Sure, there are quotation marks around a lot of the tunes, but holy moly do they sound good! The talent packed into this thing (John Lennon, Luther Vandross, David Sanborn, Mike Garson, both Earl Slick AND the incomparable Carlos Alomar) is overwhelming. Sure, there's one really bad cover ("Across The Universe"), but that's offset by the fact that "Win" singlehandedly spawned Beck's Midnight Vultures. Give it a chance.



The Exceptional:

11. Let's Dance (1983): Ok, this one is seemingly hard to defend, but bear with me: as an album, it probably should come somewhere between 15 and 17. But this is the thing: there are eight songs on here, and four are among the most joyous ones Bowie ever made. Listening to the first side of this album (plus "Cat People") is like watching the greatest TV commercials ever made all in a row. You can't help but respect just how great Bowie was at 'selling out,' at least initially (and yes, they make you want to dance).



10. Aladdin Sane (1973): This was my favorite Bowie album in high school, but the glam magic of songs like "Watch That Man" and "The Prettiest Star" have worn off a bit over the years. On the other hand, Mike Garson's piano playing, particularly on the title track and "Lady Grinning Soul," are ageless. "The Jean Genie" is clever and catchy and "Panic In Detroit" is a classic deep cut. It all feels a little less than the whole, but who cares when "Drive-In Saturday" can still give you goosebumps.



9. The Next Day (2013): If it is his last album, it is not a bad way to go out. There's a little of every Bowie period sprinkled throughout this one (even some dreaded jungle textures on the pretty neat "If You Can See Me"). The supremely poppy tracks ("I'd Rather Be High," "Dancing Out In Space," "Valentine's Day") are his most straight forward songs since the early '70s; but for the record, the best ones ("Heat," "The Next Day," "Love Is Lost") are a genre that can only be described as Bowiesque.



8. Heathen (2002) The single most underrated Bowie album in his cannon, a sonic (if not lyrical) reflection on the anxious period around 9/11 (although Bowie claims he wrote most of the album before the attack, it's hard not to read into tracks like "Sunday"). It's Scott Walker if he really loved the Pixies. It's David Bowie re-engaging with his muse and declaring "nothing has changed/everything has changed." This is the great late period Bowie album everyone should own.



7. Lodger (1979): Oy, scratch what I said before. This is the most underrated Bowie album. The third part of his collaborations with Brian Eno was more of a travelogue, with stops in Memphis ("Move On"), Turkey ("Yassasin"), Germany ("Red Sails"), London ("DJ") and more. It had no true hits ("Boys Keep Swinging" was no "Heroes," though it did spawn an awesome SNL moment), but instead, is an album filled with deep cuts.



The Best:

6. Scary Monsters (and Super Creeps) (1980): The platonic ideal of Bowie albums. A dusting of self-referential singles ("Ashes To Ashes"), disco funk totalitarianism ("Fashion"), pure acoustic pop ("Up The Hill Backwards"), guitar-shredding nonsense ("It's No Game"), '80s goth (title track), a dash of Pete Townsend ("Because You're Young"), and to top it off, the addictive, epic, calling-out-the-imitators battle cry of "Teenage Wildlife." Every Bowie album since will be compared to this one for a damn good reason.



5. Hunky Dory (1971): An alien arrives on Earth, listens to a lot of Kinks records, really gets into Nietzsche, and learns to play piano. The rest is all history and blue eyeliner.



4. The Rise and Fall of Ziggy Stardust and the Spiders from Mars (1972): The concept album was probably the most ridiculously overblown and unimportant development in rock music in the late '60s/early '70s. Rock operas destroyed Ray Davies and are responsible for the Sgt. Peppers Lonely Hearts Club Band movie. They're anathema to some of the core concepts of rock and roll (as one elder statesmen once put it, "we learned more from a three minute record than we ever learned in school"). Ziggy Stardust is not about the concept: it's just the 10 best pop songs Bowie ever wrote (plus one perfectly fine cover) on one disc. It is probably how most people think of Bowie (assuming they aren't thinking about the "Dancing In The Streets" video) for a good reason.



3. Station to Station (1976): The greatest six song album in popular music history (or something). This is evidence A, B, C, D, E, and F that sometimes ingesting massive quantities of cocaine can produce great results (even if you don't really remember making it).



2. Heroes (1977): The title track, on its own, is Bowie's single greatest song; it is a man howling into a blizzard in the middle of a battle that has dragged on much too long. Every other song on the record is a diary entry from this war. It is abrasive ("Blackout") and creepy ("Sense Of Doubt") at times; it is hopeful ("V-2 Schneider") and swaggering ("Beauty And The Beast"). It's someone at the top of their game. And fun fact: virtuoso lead guitarist Robert Fripp recorded all his parts in one day.



1. Low (1977) Synesthesia is a condition by which the senses are all jumbled together to produce magical mixtures; often, people with it can visualize sounds into colors, tastes and feelings. Low, made up of oblique song fragments and half instrumental mood pieces, is synesthesia in the form of a plastic record. It is the Bowie album whose sound remains vibrant and elastic nearly 40 years later. It is an orange popsicle. "Don't you wonder sometimes? Bout sound and vision?"



Gothamist


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MessagePosté le: Dim 11 Jan - 12:14 (2015)    Sujet du message: J'ai entendu un truc sur David Bowie Répondre en citant


David Bowie Fast Facts

Posted on Tuesday, December 30, 2014 by CNN in A & E, International News

Here's a look at the life of British singer, songwriter, and actor David Bowie.

Personal:
Birth date: January 8, 1947

Birth place: London, England

Birth name: David Robert Hayward Jones

Father: Hayward Jones, a publicist

Mother: Margaret Mary (Burns) Jones

Marriages: Iman (1992-present); Angela Barnett (March 20, 1970-1980)

Children: with Iman: Alexandria, August 15, 2000; with Angela Barnett: Duncan, 1971

Other Facts:
His stage personas include Ziggy Stardust, Aladdin Sane, and The Thin White Duke.

His left eye is permanently dilated after he injured it in a fight in his teenage years.

Has two different color eyes.

Studied mime and theatre in his youth.

Overcame drug addiction in the 1970s and no longer drinks alcohol.

Nominated for 14 Grammy Awards, won once.

Nominated and won one Daytime Emmy Award.

Timeline:
1964 – Forms his first band, David Jones and the King Bees. Other early bands include The Manish Boys, The Lower Third and The Buzz.

1965 – Changes his name to David Bowie to prevent being confused with Davy Jones, who was the lead singer of The Monkees.

1967 – Releases a solo album with Deram Records.

1969 – "Space Oddity" becomes a Top 10 hit in Britain.

1970 – Releases first solo album "Man of Words, Man of Music". It was re-released in 1972 in the U.S. as "Space Oddity".

1971 – The album "The Man Who Sold the World" is released. Bowie appears on the cover wearing make-up and a dress.

1971 – Bowie is signed by RCA. Releases "Hunky Dory", which includes the single "Changes."

1972 – Releases "The Rise and Fall of Ziggy Stardust and the Spiders from Mars".

1970s – Releases "Aladdin Sane", "Diamond Dogs", "Young Americans", "Station to Station", "Low", "Heroes", and "Lodger".

1976 – Stars in the film "The Man Who Fell to Earth".

November 1977 – "Bing Crosby's Merrie Olde Christmas" special airs. Bowie and Crosby sing "The Little Drummer Boy/Peace on Earth" together.

1980 – Plays on Broadway in "The Elephant Man". Also stars in the vampire film "The Hunger".

1983 – Leaves RCA for EMI and releases "Let's Dance", which featured the hits "Let's Dance," "Modern Love," and "China Girl."

1984 – Wins a Grammy for Best Short Form Video for "David Bowie".

1980s – Releases "Scary Monster", "Tonight", and "Never Let Me Down".

1988 – Appears in "The Last Temptation of Christ".

1989 – Forms the group, Tin Machine, and they release two albums.

1992 – Tin Machine breaks up.

January 17, 1996 – Is inducted into the Rock and Roll Hall of Fame.

1997 – Releases the song "Telling Lies" over the Internet.

June 25, 2004 – While on tour, visits a hospital in Hamburg, Germany for treatment of pain in his arm. Doctors later discover a blocked artery and perform an angioplasty.

2006 – Receives the Grammy Lifetime Achievement Award.

2013 – Releases a new album entitled "The Next Day."

Gant Daily



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MessagePosté le: Dim 11 Jan - 12:30 (2015)    Sujet du message: 1971, when David Bowie's Hunky Dory album foretold the music to come Répondre en citant





1971, when David Bowie's Hunky Dory album foretold the music to come

Charlie Carter
PUBLISHED : Saturday, 03 January, 2015, 9:04pm



Hunky Dory
David Bowie
RCA

The watchword for David Bowie has always been "change": from Ziggy Stardust to the Thin White Duke, from soul crooner to stadium rocker, his very career has been an evolving performance copied by many, matched by none. Changing characters, changing music and changing appearance - stylistically Bowie has never stood still.

The signs of his future trajectory were made apparent early in his career on Hunky Dory and as if to presage the future, Changes - the opening track and one of the album's many standouts - was a prescient nod to what lay in store not only for Bowie but for the next 40-odd years of rock music.

Though Hunky Dory was Bowie's fourth album under his own name, it was his first fully realised collection, with a clutch of sure-fire singles that laid the foundation for his genre-setting next album, The Rise and Fall of Ziggy Stardust and the Spiders From Mars.

By Hunky Dory's release in 1971, Bowie had experimented with hard rock in The Man Who Sold the World, touched on 1960s psychedelia in Space Oddity and rummaged around the music hall cupboard on his eponymous debut in his search for a pop identity.

But until then he'd been a follower. By Hunky Dory, with his killer band led by guitarist and eventual lead Spider Mick Ronson in place, Bowie was able to manifest the stunning talent that would shape rock music forever after.

Changes, with its rumination on the future and a rueful look over the past, is in hindsight not only a prophetic opener, ushering in a set of songs that would establish Bowie as an original and eclectic songwriter, but also a declaration of intent. It's Bowie letting us know that the musician we thought we knew from the past decade was no more - a new Bowie was emerging with changes "taking the pace I'm going through".

Oh! You Pretty Things is the perfect follow-up, speaking of a new generation baffling its elders. The stirring if pessimistic Life on Mars? foreshadows the messianic Ziggy and its lyrical imagery of a world in decline finds a bedfellow in the following album's opener Five Years.

Hunky Dory was not merely a sketchpad for Ziggy. Queen Bitch's lascivious lyrics and swaggering boogie are a nod to Bowie's fascination with Lou Reed, a subject that also finds expression in the song Andy Warhol.

Hunky Dory has stood the test of time, and arguably has matured over the past 43 years. It has recently begun creeping into the top-10 lists of rock's most important and influential albums and until he stopped touring nine years ago, Bowie had begun resurrecting some of its album tracks at his shows. When he played Hong Kong in 2004, he altered the set list and played Quicksand, to rapturous applause.

South China Morning Post


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MessagePosté le: Dim 11 Jan - 12:52 (2015)    Sujet du message: J'ai entendu un truc sur David Bowie Répondre en citant





Former David Bowie Backup Singer Ava Cherry Chats With XRT, Shares New Music
January 9, 2015 3:35 PM

Marty Rosenbaum
XRT Staff Writer

Ava Cherry’s got plenty of stories to tell from her time as a backup singer for David Bowie. She came by the studio recently to chat with Marty Lennartz about her experiences as well as give a sneak peek into her new song “That’s How Love Goes”. You can hear both below.



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MessagePosté le: Mar 13 Jan - 14:42 (2015)    Sujet du message: J'ai entendu un truc sur David Bowie Répondre en citant



David Bowie en concert 1973 © corbis - 2015 / Steve Wood


Et David Bowie devint Ziggy Stardust

Début des années 70, David Bowie commence sa mue et se transforme en Ziggy. Avec cette chanson, celui dont on ne sait pas si il est fille, garçon ou extra-terrestre se pose comme l'icône du glam rock.

D'où viens-tu Ziggy ?

Ziggy Stardust a brillé comme une étoile filante de 1972 à 1973 avec l'album "The Rise and Fall of Ziggy Stardust and the Spiders from Mars". L'Angleterre va découvrir grâce à l'émission Top of The Pops cette étrange créature montée sur platform boots et cheveux rouges sur la mélodie de "Starman".



Ce personnage s'est créée autour de plusieurs influences. Il doit son nom à un chanteur de country nommé Legendary Stardust Cowboy, et s'inspire du chanteur Vince Taylor. Quant aux paroles et aux tenues, on retrouve l'esprit de Jimi Hendrix. Son groupe, The Spiders From Mars est bien sûr dans le ton visuel de Ziggy.

Au -delà du look, David Bowie a créé une mission à son personnage venu d'ailleurs, faire passer au monde qui compte ses dernières heures un message d'amour, un message de paix.

Bowie, Roi de la com

Ce message d'amour, David Bowie l'accompagne de l'annonce de bi-sexualité dans le magazine musical "Melody maker", qui lui ouvre plus grandes encore les portes des médias. Cet album va marquer l'histoire du rock et son succès phénoménal sort définitivement Bowie de l'ombre. Ziggy est la pierre angulaire d'une stratégie de communication qui va accompagner et affirmer par la suite toute sa créativité. Il compose dans la foulée "Alladin Sane" dont la lecture à double sens peut se traduire par "Un type fou". A l'occasion de l'exposition "David Bowie is" qui se tiendra à la Philarmonie de Paris, du 3 mars au 31 mai, nous vous proposons de découvrir la version manuscrite de la chanson "Ziggy Stardust".



Manuscrit de Ziggy Stardust © Exposition David Bowie is - 2015


Ziggy Stardust meurt sur la scène de l'Hammersmith odéon au son de Rock 'n' Roll Suicide pour laisser la place en 1974 à Halloween Jack, mais ceci est une autre histoire.



France Inter


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MessagePosté le: Mer 14 Jan - 07:17 (2015)    Sujet du message: J'ai entendu un truc sur David Bowie Répondre en citant

http://http://www.fumettologica.it/2015/01/cambiamenti-david-bowie-gif/




L'art de la métamorphose


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MessagePosté le: Sam 17 Jan - 15:31 (2015)    Sujet du message: A prayer with a 'Word on a Wing': church explores the spiritual depths of David Bowie Répondre en citant



Bernard Weil / Toronto Star Order this photo
Mike Daley, assistant music director at Church of the Redeemer, has been staging "Rock
Eucharist" church services monthly. This Sunday will feature the works of David Bowie.



17 JANUARY 2015

A prayer with a 'Word on a Wing': church explores the spiritual depths of David Bowie

Bowie's "not quite an atheist" lyrics lace the latest instalment of Church of the Redeemer's Rock Eucharist, a blend of Anglican worship and contemporary music.

By: Jacques Gallant Staff Reporter, Published on Fri Jan 16 2015

Mike Daley has a delicate task — selecting the most appropriate David Bowie songs to play during an Anglican church service this Sunday.

Daley, assistant music director at Toronto’s Church of the Redeemer, is the creator and driving force behind the church’s “Rock Eucharist” service, which takes place monthly on a Sunday evening. He’s chosen pieces from a diverse range of secular music in the past — Bob Dylan, The Beatles, Neil Young, and Aretha Franklin, among others — that are then played by a live band.

He has to strike the right balance between songs that people will know and that represent the artist, and pieces of music that are appropriate in a church setting and speak to the Bible readings that day.

“What you often find when you look at the lyrics is that these writers are working through their own relationship with spirituality, and it’s often quite revealing,” he said.

“Even if their public statements go one way, there’s still something of value to be gleaned for people in the context of a church service. It’s a juxtaposition thing: By putting the songs in the church service, it changes the way you think about the meaning of the song.”

Bowie, who once said in an interview he’s “not quite an atheist” and whose music has faced criticism in the past from some Christian groups, has been Daley’s toughest challenge yet.

The first song to be performed on Sunday will be “Loving the Alien,” from Bowie’s 1984 album Tonight: “But if you pray all your sins are hooked upon the sky/Pray and the heathen lie will disappear/Prayers they hide the saddest view/(Believing the strangest things, loving the alien).”

“The lyrics talk about prayer, and that seems to be a recurring theme in Bowie’s lyrics,” said Daley. “It seems to be something meaningful to him, the idea of prayer, along with his own sort of conflicted relationship with religion, and so we leave that in, we leave in the struggle.”


Other songs will include “Word on a Wing,” “Soul Love,” “Starman” and “Fill Your Heart.”

Rock music aside, the church service itself remains the same, with Bible readings and Communion with bread and wine, said Daley. He said ideas are thrown around at staff meetings, and then he goes about selecting the music and booking the live performers. Daley is himself a musician, and was part of the Ontario Indie band Nine Big Dogs, famous for their local hit “Dougie’s Lament.”

He said Rock Eucharist often draws people who would not have otherwise attended church, with the number of attendees increasing each Sunday as word gets around.

“Part of it is a little bit of outreach, but then we get a lot of people who are regular members who just come to experience the music in this context and see what’s going to happen,” he said.

“I think people understand we’re not trying to replace the body of church music. It’s a kind of playful service … If you love the music of Bowie, you’re so invested in it, it rings in your ears, it’s part of the fabric of your life — (we) find something that takes that and puts it in a little bit of a different context. It’s at least interesting for people. And people keep coming. So I guess it has a resonance for enough folks.”

Daley said the reaction from parishioners to Rock Eucharist services has been overwhelmingly positive. He said he could recall only one instance when an attendee expressed disapproval: the service was featuring the music of John Lennon and the person took exception to Lennon’s famous pronouncement that the Beatles had become more popular than Jesus Christ.

Toronto Star


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MessagePosté le: Sam 17 Jan - 19:09 (2015)    Sujet du message: Bowie fans study star this summer Répondre en citant



Ziggy Birthday . . . University of Otago music lecturer Dr Ian Chapman
(centre) and his Summer School students sing a Bowie-style rendition
of Happy Birthday in honour of David Bowie's 68th birthday, which was
on January 8. PHOTO: BRENDA HARWOOD



Bowie fans study star this summer

By Brenda Harwood on Sun, 18 Jan 2015


As a figure of academic interest, David Bowie's star has been rising internationally in recent years.

We can have so many different approaches to him, from his music to film, gender, theatre and fashionDr Ian Chapman University of Otago Summer School students taking a ''whirlwind tour'' through the music of David Bowie, paused last week to celebrate the singer's birthday.

With Bowie turning 68 on January 8, senior executant lecturer in contemporary music Dr Ian Chapman and his class of 27 keen Bowie fans marked the occasion by singing their own Bowie-style version of Happy Birthday. It was a fun pause in an intensive six-week summer course covering the whole of David Bowie's musical career, from the 1970s to the present day, as well as his wider impact on society. Dr Chapman said he was particularly excited by the interdisciplinary nature of David Bowie as an academic subject.

''As a figure of academic interest, David Bowie's star has been rising internationally in recent years,'' Dr Chapman''We can have so many different approaches to him, from his music to film, gender, theatre, and fashion.''

To this end, the course would include modules on fashion, taught by the Otago Polytechnic's Dr Margo Barton, and film, media and gender taught by University of Otago staff member Alison Cumming.

''This inaugural Summer School David Bowie paper has drawn students from across the university - not only music students - and a lot are Bowie fans,'' Dr Chapman said.

The paper was Dr Chapman's first foray into teaching at Summer School and he was enjoying having the opportunity to work intensively with one body of students on one topic, he said.

''To have this concentrated time with one body of students is a luxury,'' he said.

''Over the course of this six weeks we will cover the whole of Bowie's career - it's a whistle-stop tour,'' he said.

A long-standing authority on David Bowie, Dr Chapman performed for a time as Bowie-esque character Dr Glam. He is completing a book, entitled Experiencing David Bowie - A Listener's Guide, for US publisher Scarecrow Press.

Dr Chapman is head of the music department's popular contemporary performance (rock music) programme, which has been running since 2000.

The Star

Otago Daily Times


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MessagePosté le: Sam 17 Jan - 19:29 (2015)    Sujet du message: E Street's Roy Bittan on Collaborating with Bowie, Bob Seger, Stevie Nicks Répondre en citant





E Street's Roy Bittan on Collaborating with Bowie, Bob Seger, Stevie Nicks

Bruce Springsteen's keyboardist shares behind-the-scenes stories from his sessions with some of rock's biggest names

BY ANDY GREENE | January 15, 2015

Unless Roy Bittan cures cancer or cracks cold fusion, his obituary is likely to focus on his work as the piano player in the E Street Band. He joined the group in 1974 after responding to a Village Voice ad seeking a pianist that knew "classical to Jerry Lee Lewis." It's hard to imagine what Born to Run would have sounded like without his playing, and he's so vital to Springsteen's sound that he was the only member to survive after Bruce fired the rest of the crew in 1989.

Even today, playing with Springsteen takes up so much time that Bittan had been unable to complete Out of the Box, his solo debut, until late last year. "We just did a 99-city tour, and when those things end I don't always have the inclination to jump into the studio," he says. "So I'd been working on this piecemeal between tours for a long time. It really turned into an eclectic collection of songs. Some of it had been sitting around for 10 years."

Bittan has also kept busy by playing on albums from a stunning array of artists. To celebrate the release of Out of the Box, we spoke to the keyboardist, producer and occasional accordion-player about 10 great non-Springsteen albums he's worked on throughout his long career.

David Bowie, 'Station to Station' (1975)



"I was staying at the Sunset Marquis in Los Angeles when we were on the Born to Run tour in 1975. David's guitar player, Earl Slick, was a friend of mine. I bumped into him at the hotel and he said, 'I can't believe you're here. We were just talking about you.' David knew we were coming to town and he wanted a keyboard player.

"When I arrived the next day at the studio David said to me, 'Do you know who Professor Longhair is?' I said, 'Know him? I saw him play at a little roadhouse in Houston about three weeks ago!' I wound up doing an imitation of Professor Longhair interpreting a David Bowie song. We began with 'TVC 15' and I wound up playing on every song besides 'Wild Is the Wind.' It must have only been about three days. It's one of my favorite projects I've ever worked on."

Rolling Stone


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MessagePosté le: Lun 19 Jan - 20:47 (2015)    Sujet du message: J'ai entendu un truc sur David Bowie Répondre en citant





'The Side Effects of the Cocaine': Mini-comic about David Bowie's coked-up, paranoid years

01.19.2015
10:15 am


Nearly five years ago, in August 2010, Sean T. Collins (writer) and Isaac Moylan (artist) posted "The Side Effects of the Cocaine" on a Tumblr dedicated for the purpose. It had as a subtitle, "David Bowie 01 April 1975-02 February 1976," which puts us squarely in the Thin White Duke era, of course, covering Station to Station (the title of the comic comes the title track of that album), Nicolas Roeg's The Man Who Fell to Earth, Bowie's appearance on Soul Train, Bowie's Playboy interview, conducted by Cameron Crowe, who also wrote "Ground Control to Davy Jones," a profile on Bowie for Rolling Stone that appeared in February 1976. As Peter Bebergal wrote in his excellent book Season of the Witch: How the Occult Saved Rock and Roll, "When a nineteen-year-old Cameron Crowe visited David Bowie for a Rolling Stone magazine interview in 1975, he found a coked-out Bowie lighting black candles to protect himself from unseen supernatural forces outside his window" of his home in Hollywood.

In that Playboy interview Bowie made some comments about the appeal of fascism that would get him into trouble:

    Television is the most successful fascist, needless to say. Rock stars are fascists, too. Adolf Hitler was one of the first rock stars. ... Look at some of his films and see how he moved. I think he was quite as good as Jagger. It’s astounding. And, boy, when he hit that stage, he worked an audience. Good God! He was no politician. He was a media artist himself. He used politics and theatrics and created this thing that governed and controlled the show for those 12 years. The world will never see his like. He staged a country.

Bowie's diet during this period was famously red peppers, milk, and cocaine, with more than a soupçon of fame and paranoia.

It's one of Bowie's best and most interesting periods—Station to Station is my favorite Bowie album—and in "The Side Effects of the Cocaine" Collins and Moylan take a peek at the romantic/fucked-up mythos of that period. What is the significance of the dates April 1, 1975-February 2, 1976? Well, April 1, 1975 was the date that Bowie severed ties with MainMan, Tony Defries' management company, and it's that scene that kicks us off in the comic. On February 2, 1976 was the start of his Isolar tour, in Vancouver, British Columbia, which ends the comic. You can read an account of that show by Jeani Read under the title "Sinatra Having a Bad Dream," which presumably ran in the Vancouver Sun the next day (but I don't know this):

    Bowie performances are-have been-legendary for being massively orchestrated orgies of visual and musical sensationalism. Which makes the current offering the biggest no-show of his career. And possibly the best. The thing was absolutely brilliant, maybe for its sheer audacity than anything else, but brilliant nonetheless.

    Dressed in black 40's style vest and pants, white French-cuff shirt, edge of blue Gitanes cigarette pack sneaking out of his vest pocket. Posturing-a naked kind of elegance now, brittle and brave-in front of a bare essential band of guitars, keyboards, drums and bass, on a bare black stage in the bare glare of white-only stage and spots. Looking about as comfortable as Frank might fill-in as lead singer for Led Zeppelin, and even within that assuming total control over the proceedings.Bowie has always said that on stage he feels like an actor playing the part of the rock star.

Collins and Moylan take a slice-of-life approach with Bowie's life, with the proviso that his life wasn't anything like a normal person's at this time. Towards the end some of the panels feature Bowie making utterances from his Playboy interview.

Click here to read the whole thing.













Here's "Station to Station" being rehearsed in Vancouver prior to the Isolar tour in 1976, for those who want to hear the title line. Note that Bowie forgets the lyrics, but the band soldiers on:





Posted by Martin Schneider

Dangerous Minds


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MessagePosté le: Lun 19 Jan - 21:49 (2015)    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 - 13:32 (2015); édité 1 fois
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MessagePosté le: Lun 19 Jan - 22:52 (2015)    Sujet du message: J'ai entendu un truc sur David Bowie Répondre en citant

On le trouve également dans l'adagio d'un quatuor de Beethoven ! Sacré Mike Garson !

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MessagePosté le: Lun 19 Jan - 23:34 (2015)    Sujet du message: J'ai entendu un truc sur David Bowie Répondre en citant

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