Would David Bowie gone one last time on tour, the tickets had been sold out within minutes – even if they would have cost 1000 euros per piece.
A warm as Bowie is probably still welcomes no recurring pop artist, when he in 2013, after a long absence, with a large hagiographic exhibition and the wistful retrospective album “The Next Day” celebrated his comeback. The feuilletons brought intentioned, if not frankly jubilant meetings and retrospective texts on Bowie’s Berlin period now increasingly transfigured.
The critical voices on the musical quality of the plate were a few (for example, “PopMatters”: “Put quite simply ‘The Next Day’ is dull”), and they were in the cotton cloak of respect for a more than 40 years ending pop career wrapped. That was a whole new experience for the avant-garde, the eternal alien Bowie, whose numerous image and sound contraptions were felt in their time repeatedly as alien, abseitig or even ridiculous.
Pop-criticism is a volatile, highly subjective and dependent on the respective zeitgeist thing that is in the nature of her subject. According to hard it would have just had David Bowie, from the late sixties to its early 2000s-plates “Heathen” and “Reality” to please the critics right, if he had created it because it.
But Bowie, it says its decades confidant and producer Tony Visconti, have only ever done what he wanted. Bowie himself said in 2003 in one of his last interviews, the “Word” magazine: “All of my biggest mistakes happened when I tried to question myself or to please the audience.” His work was “always stronger when I regards very selfish.”
Bowie proved that self-centeredness, art claim and Entertainment exclude not necessarily or must avoid each other. Pop artists who have perfected this hybrid of pop art and entertainment and is constantly reinventing, are today quite naturally hailed as superstars, from Madonna to Lady Gaga. However, and were Bowie’s epigones scarcely ever brave enough commerciality always so completely disregard him – at least not yet. “Black Star”, which was published on Friday, musically rather idiosyncratic and experimental farewell album of critically ill Bowie would probably not have been hailed as universal in earlier times, when Bowie has not yet enjoyed the bonus of the old master, but rather once again a good song should write to hum along.
“Disgusting beautiful”
Even in 1974, when Bowie had blossomed after a failed start as folkie in the form of Space Rockers Ziggy Stardust to superstardom, Der Spiegel in a cultural pessimism, today again very current-sounding article about the decline of the music industry: “With ever more garish masquerades (??), the transvestites look like David Bowie (??) be the newcomers of today a fugitive publicity a and gloss over their low power of expression “.
Already in the previous year analyzed the SPIEGEL to now considered groundbreaking and dogmas down torrential androgynous appeal of Bowie’s glam rock incarnations under the heading “Disgusting beautiful” and concluded: “As soon as once heard something original, but the electronically frothed Beethoven Intrada the Bowie concerts, the brutal primitive rock of Slade, the macabre night music by Lou Reed (??) are calculated perfidious perfect to surprise attack the listener. ”
Today, inspired by Warhol and McLuhan Pop approaches Bowie – his breaking the rocker gesture by educated middle Dandy attributes his death blow to the heart of the idling Rock’n’Roll with the elevation of decadence – canon a postmodern oriented discourse about music. It belongs to the banal, but that’s why no less true dilemmas of the pop avant-garde, not to be taken seriously in his time.
About “Low”, the central piece of the now sacrosanct Berlin trilogy with which Bowie freed from Rockstar gesture, wrote in 1977 of “Rolling Stone”: “There is a lack Bowie at self-confident humor to his avant-garde ambitions follow through “, the Star was an” amateur “and his supposedly daring style mix dispose on the” subtlety of a mature blue cheese “. With the exception of “Heroes” not a single influential seventies albums Bowie was so unanimously acclaimed as now his late work.
The man who made never public
How exciting colorful or repulsive monochrome skin, the “chameleon” Bowie also show liked: There was always to kritteln something to hemes or to fear from incomprehension and strangeness feeling out. This was true even in the early eighties, when Bowie dropped the “glaring masquerades” fall in favor of pure pop music and thus finally conquered the US market. This was also the end of the eighties, when he tried to get away from the pop boredom by clinking band Tin Machine. And it lasted until drum’n’bass experiment “Earthling”, as has been curiously reproached him to jump only on the trend, rather than to have set himself.
2004 forced him a slight heart attack on hiatus. A plight that he transformed into probably the biggest triumph of his career. By the mid-sixties, as could be of a great pop career no speech nor should, have said Bowie to a friend: “When I’m really famous, I’ll talk to anyone anymore, not even more of my band.”
And that’s what took Bowie: By giving no interviews, sphinx-like communicated only through his mouthpiece Visconti and herumhuschte only now and then in New York at openings, he was an expectant always great and significant in the nostalgic look back to the spirit Past. Withdrawal as perhaps the greatest of all the provocations that has to offer, led by vanity pop culture. Ironically, the disappearance of which he has now manifested musically with “Black Star”, his myth has been greater than in the days in which he was dominant and challenging than fantasy rock star character on stage.
This is ironic Bowie, have the nihilists, who sees through all dialectical turns of the pop discourse early fallen. His death says Tony Visconti, is no different than had been his life, “a work of art”.
David Bowie remained the Alien, the man who made himself never mean, not with styles, not critics, not even with themselves.
On the death of David Bowie – The main contributions
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