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Ashes to ashes : the songs of David Bowie, 1976-2016
\"From the ultimate David Bowie expert comes this exploration of the final four decades of the icon's musical career, covering every song he wrote, performed or produced from 1976 to 2016. Starting with Low, the first of Bowie's albums, and finishing with Blackstar, his final masterpiece released just days before his death in 2016, each song is annotated in depth and explored in essays that touch upon the song's creation, production, influences and impact\"--Page 4 of cover.
Book
Ch‐Ch‐changes: the geology of artist brand evolutions
Purpose
Existing brand literature on assemblage practices has focused on providing a map or geography of brand assemblages, suggesting that an artist brand’s ability to evolve and achieve brand longevity remains constant. Using geology of assemblage, this study aims to explore the types and mechanisms of change in brand evolutions to address the problem of identifying when and how a brand can transform in an evolving marketplace.
Design/methodology/approach
The authors apply an interpretive process data approach using secondary archival data and in-depth interviews with 31 self-identified fans to explore the artist brand David Bowie over his 50-year career.
Findings
As an artist brand, Bowie’s ability to evolve his brand was constrained by his assemblage. Despite efforts to defy ageing and retain a youth audience appeal, both the media and his fans interpreted and judged Bowie’s current efforts from a historical perspective and continuously reevaluated his brand limiting his ability to change to remain relevant.
Practical implications
Brand managers, particularly artist brands and human brands, may find that their ability to change is constrained by meanings in past strata over time. Withdrawal from the marketplace and the use of silence as a communicative practice enabling brand transformations.
Originality/value
The geology of assemblage perspective offers a more nuanced understanding of brand changes over time beyond the possibilities of incremental or disruptive change. We identify the mechanisms of change that result in minor sedimentation, moderate cracks and major ruptures in a brand’s evolution.
Journal Article
Why Bowie matters
\"A unique, moving and dazzlingly researched exploration of the places, people, musicians, writers and filmmakers that inspired David Jones to become David Bowie, what we can learn from his life's work and journey, and why he will always matter. When David Bowie died on 10th January 2016, it seemed the whole world was united in mourning. His greatest hits were sung tearfully in pubs up and down Britain, garlands of flowers were left at the Aladdin Sane mural in his old stomping ground of Brixton and tributes poured in from a galaxy of stars. To many of us, Bowie was so much more than a pop idol. But why? In Why Bowie Matters, Professor Will Brooker answers that question persuasively, as both a fan and an academic. A Bowie obsessive since childhood, he hit the headlines over the course of a year-long immersive research project that took him from London to Berlin and New York, following in Bowie's footsteps, only listening to music and reading books he loved, and even at times adopting his fashion. In this original and illuminating book, Professor Brooker approaches Bowie from various angles, re-tracing his childhood on the streets of Bromley, taking us through his record collection and bookshelves, and deciphering the symbols and codes of his final work, Blackstar to piece together how an ordinary suburban teenager turned himself into a legend, and how perhaps we too could be a little more Bowie\"--Amazon.com.
Book
A Pop Art como material artístico da modernidade no Rock e suas distinções na Inglaterra e nos EUA
Na década de 1960, o rock esteve profundamente ligado à contracultura, permitindo que músicos explorassem novas formas sonoras e visuais em um ambiente aberto à experimentação. Nesse contexto, muitas bandas dialogaram com a pop art, tanto na Inglaterra quanto nos Estados Unidos. Este artigo analisa essas interações a partir das obras dos Beatles e de David Bowie, artistas que emergiram do underground e se conectaram com a estética pop em diferentes momentos. Destacamos a singularidade da pop art inglesa nas colagens presentes na produção dos Beatles entre 1967 e 1969, e o minimalismo da vertente norte-americana nas obras de Bowie durante a década de 1970. Haja vista que essas vertentes são comumente entendidas como sendo unívocas, buscamos contribuir para um debate mais amplo a respeito dos aspectos de produção da arte e do rock dos anos 1960-70, ressaltando as possibilidades inauguradas a partir do diálogo entres tais mídias. In the 1960s, rock was deeply connected to counterculture, allowing musicians to explore new sonic and visual forms in an environment open to experimentation. In this context, many bands engaged in dialogue with pop art, both in England and the United States. This article examines these interactions through the works of the Beatles and David Bowie, artists who emerged from the underground and connected with pop aesthetics at different moments. We highlight the uniqueness of British pop art in the collages found in the Beatles’ productions between 1967 and 1969, and the minimalism of the American strand in Bowie's work during the 1970s. Contrary to the often homogeneous view attributed to pop art, we aim to contribute to a broader debate on the relationship between art and rock in the 1960s and 70s, emphasizing the creative possibilities that arose from the dialogue between these different media. En la década de 1960, el rock se vinculó estrechamente a contracultura, lo que permitió a músicos explorar nuevas formas sonoras y visuales en un entorno propicio para la experimentación. En ese contexto, muchas bandas dialogaron con el arte pop, tanto en Inglaterra como en Estados Unidos. Este artículo analiza esas interacciones a partir de las obras de los Beatles y David Bowie, artistas surgidos del underground que se conectaron con la estética pop en distintos momentos. Destacamos la singularidad del arte pop inglés en los collages producidos por los Beatles entre 1967 y 1969, así como el minimalismo de la vertiente norteamericana en las obras de Bowie en los años 70. Al considerar que estas vertientes suelen entenderse como unívocas, buscamos contribuir a un debate más amplio sobre la producción artística y musical de los sesenta y setenta, resaltando las posibilidades creativas nacidas del diálogo entre arte y rock.
Journal Article
Bowie
\"In this concise and engaging excursion through the songs of one of the world's greatest pop stars, Critchley, whose writings on philosophy have garnered widespread praise, melds personal narratives of how Bowie lit up his dull life in southern England's suburbs with philosophical forays into the way concepts of authenticity and identity are turned inside out in Bowie's work. The result is nearly as provocative and mind-expanding as the artist it portrays.\"--Back cover.
Book
“As Long as There’s Me. As Long as There’s You”: Trauma and Migration in David Bowie’s Berlin Triptych
This essay explores David Bowie’s so-called “Berlin Triptych”: Low, “Heroes”, and Lodger. The essay takes issue with previous interpretations that have claimed that the albums do not form a “triptych” of any meaningful kind, and that this pretentious term was only applied ex post facto as a marketing strategy. At the heart of my argument is the concept and experience of migration. In the mid-1970s David Bowie was living in Los Angeles at a highpoint of fame and acclaim. His life, however, was also an increasingly hellish nightmare of delusion, paranoia, and cocaine psychosis. In order to save his music, and his life, the singer decamped to Europe. For the next several years he lived an itinerant life with Berlin at its centre. The experience of displacement, and a series of encounters that this displacement facilitated (with the European new wave and a longer tradition of avant-garde modernism), led to both a reshuffling of the self and a radical new sound. The “triptych” tells the story of this progression, both narratively and sonically.
Journal Article
David Bowie : a life
\"Drawn from over 180 interviews with friends, rivals, lovers, and collaborators, some of whom have never before spoken about their relationship with Bowie, this oral history weaves a hypnotic spell as it unfolds the story of a remarkable rise to stardom and an unparalleled artistic path.\"--Provided by Publisher.
Book
Strangers when we meet: David Bowie, mortality, and metamorphosis
David Bowie, his 1967 debut LP, is an intriguing creation—the sleeve notes promise a songwriter who can “view the world around him with the eye of an articulate eagle”, while the record itself is a mixture of Syd Barrett-style whimsy and Edwardian music hall. [...]it's populated with damaged or neurotic characters: the opening track Uncle Arthur is about a middle-aged man who “still reads comics” and lives with his mother; Rubber Band features a soldier who returns from the Great War to find his sweetheart married to a bandmaster (“I hope you break your baton!” he sobs); and the final track, Please Mr Gravedigger, is set in a ruined Lambeth churchyard: “Please Mr Gravedigger, don't feel ashamed/As you dig little holes for the dead and the maimed”. Laing's thoughts on mental health and mental illness were wide-ranging and complex, but are best summarised in a line from The Politics of Experience and The Bird of Paradise, published in 1967: “Madness need not be all breakdown. In Todd Haynes' 1998 film Velvet Goldmine, the closest thing we have to a Bowie biopic (Bowie refused permission for his music to be used, resulting in a delightful ersatz glam rock soundtrack), the Ziggy Stardust-like singer Maxwell Demon doesn't just break up the band at the end of his tour—he fakes his own assassination live on stage.
Journal Article