Archive for the ‘david bowie’ Tag
So today is The Next Day – the day after Bowie’s birthday, after the anniversary of the release of Blackstar, the day before the anniversary of his death, the middle day, the limbo day.
As promised in yesterday’s birthday post, The Man Who Rose from Earth, in this one I’m going to gather some of the Bowie posts from across the years of Simple Pleasures part 4. As a blog about Creativity and the quest for Happiness through the Simple Pleasures of life Bowie was always bound to feature as a great creator, an outstanding innovator and a man who worked hard to know himself and find Peace.
Bowie: The Next Day [11 January, 2016] My reflections on his death
The Berlin Trilogy 1 [16 January, 2016] the first day oy my trip to Berlin in the days after his death
The Berlin Trilogy 2: Where Are We Now? [17 January, 2016]
The Berlin Trilogy 3: Goodbye to Berlin [19 January, 2016]
Heroes Mystery Solved [27 January, 2016]
David Bowie locations in Berlin [22 January, 2016] a ready-made tour
Heddonism [11 April, 2012] a first-hand account of the unveiling of his plaque in Heddon St.
A Bowie Moment [13 January, 2016] Ziggy Stardust plaque unveiling video
4 for 66 (Happy Birthday David Bowie) [9 January, 2013] 4 of his best songs
Sound & Vision [12 November, 2016] the best of Bowie’s art collection
Cut up by Bowie’s Black-out [20 January, 2016] a Bowie-style cut-up
Where Are We Now? [11 January, 2016] an animation
100 Greatest Songs [12 January, 2008]
Celebrated The Big Man’s birthday yesterday evening by watching David Bowie: The Last Five Years, a new BBC feature documentary commissioned by my friend and former Channel 4 colleague Jan Younghusband. It is an excellent watch, breaking new ground with its focus on his last half decade and last two LPs in an intelligent and insightful way. It was directed by Francis Whately. There are various clips here.
I fell asleep with the radio on…
…when I woke just before 4am, death hour, David Bowie was playing and the listeners to Up All Night on Radio 5 had selected Sound and Vision as the song that best captures Bowie, and one caller was arguing for Station to Station as the best LP, which was my view too in the wake of his death on 10th January last year. Sound and Vision was the track on my first directorial showreel (of which a poor digitisation is to be found here, though I think it may have been blocked by YouTube during the last year because of the copyright track (I can still see it but sorry, you may not be able to)) – cutting that reel is why it is burnt into my consciousness, hard wired from the edit suite.
Update 8.i.17 21:30 – I managed to find a badly encoded/pixellated copy of my Sound & Vision reel from which you can get the general idea
So it’s 04:40 now on Bowie’s birthday – one year on. We’re all going to be bombarded with Bowie The Next Days of course but it’s worth asking “Where are we now?” like the image I saw on the Big Man’s front door at 155 Hauptstrasse in Schoeneberg, Berlin on 17th January 2016. I was due to work in Berlin by chance, at Documentary Campus, six days after I first heard the news of Bowie’s ascension early one morning on the radio. I decided to make it something of a tribute trip. Here’s the photo album.
Where Are We Now? The world looks quite different from 10th January 2016.
That set of photos is the first fragment as I start over the next couple of anniversary days to pull together a picture of where we are now Bowie- & Other-wise.
My initial reaction at this point one year on is that his death cast a shadow over the whole year which is extraordinary for someone I didn’t know and never talked to. I saw him in the flesh a couple of times but I feel less about his passing emotionally than that of John Martyn, however his music is woven into my life, like that of many other people of the Bowie era (a long one by popular music standards) and that I reckon is one of the main reasons his passing prompted such widespread, strong and unique reaction.
The second fragment is this – written 15 minutes after hearing the surprise black news 363 days ago, another occasion I have been woken early by Bowie.
A right Charlie wrote this, which seems to say something about the year we’ve just gone through:
It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us, we were all going direct to Heaven, we were all going direct the other way
The Charlie in question was Dickens, written in 1859 about 1775 in A Tale of Two Cities.
I read A Tale of Two Cities between May 1989 and January 1990. Much though I loved it, I can be a slow reader. The story is set in the run up to and during the French Revolution. During the 9 months it took me to read the novel a number of actual revolutions broke out across Europe from Poland to Turkmenistan, Hungary to East Germany. The book sits on my Shelf of Honour:
Updated 1.1.17 & 7.1.17 – put to bed 10.1.17
Manchester by the Sea
The Nice Guys
Casey Affleck – Manchester by the Sea
Ben Affleck – The Accountant
Tom Hanks – Sully
Shia LaBeouf – American Honey
Chris Pine – Hell or High Water
Brad Pitt – Allied
Ryan Gosling – The Nice Guys
Sasha Lane – American Honey
Rebecca Hall – Christine
Marion Cotillard – Allied
Dakota Fanning – American Pastoral
Meryl Streep – Florence Foster Jenkins
Amy Adams – Arrival
Jack Reynor – Sing Street
Hugh Grant – Florence Foster Jenkins
Aaron Taylor-Johnson – Nocturnal Animals
Tom Wilkinson – Denial
Jeff Bridges – Hell or High Water
Michelle Williams – Manchester by the Sea
Hayley Squires – I, Daniel Blake
Jennifer Connelly – American Pastoral
Riley Keough – American Honey
Margot Robbie – Suicide Squad
Kenneth Lonergan – Manchester by the Sea
Andrea Arnold – American Honey
Ewan McGregor – American Pastoral
John Carney – Sing Street
Tom Ford – Nocturnal Animals
Woody Allen – Cafe Society
Kenneth Lonergan – Manchester by the Sea
John Carney – Sing Street
Andrea Arnold – American Honey
Tom Ford – Nocturnal Animals
Eric Heisserer – Arrival
Joe Walker – Arrival
Jennifer Lame – Manchester by the Sea
Vittorio Storaro – Cafe Society
Rodrigo Prieto – Silence
In Tiburon – Van Morrison
Blackstar – David Bowie
Keep Me Singing – Van Morrison
Imagining Ireland – Friday 29 April 2016 at Festival Hall
Bruce Springsteen – Wembley stadium
Fela Kuti tribute – Bukky Leo & Black Egypt (Jazz Cafe)
Carole King – Tapestry (Hyde Park)
Jesus Christ Superstar (Regent’s Park)
Things I Know to be True – Andrew Bovell (Lyric, Hammersmith)
How the Other Half Loves – Alan Aykborn (Haymarket)
You Say You Want a Revolution? (V&A)
Georgia O’Keeffe (Tate Modern)
opening day of the Design Museum, Kensington
Russell-Cotes gallery, Bournemouth
Graves gallery, Sheffield
Neue Pinakothek, Munich
The Sellout – Paul Beatty
Judas – Amos Oz
Read This Year:
All Fall Down – James Leo Herlihy
The Night Manager
Long Lost Family
Ireland beating New Zealand at rugby in Chicago
Jack Laugher and Chris Mears winning diving gold at Rio Olympics
Commemorating the Easter Rising at the GPO in Dublin (100 years to the minute after, right on the spot)
David Bowie trip to Berlin with Noah
I had a bit of an art blow-out earlier this week with three thoroughly enjoyable exhibitions in a day:
You Say You Want A Revolution? at the V&A which looks at “records and rebels” from 1966 to 1970 – I went with my friend Kathelin Gray who was present at many of the events showcased and knew many of the people referred to, including Allen Ginsberg who is the person who first brought us together when I was on sabbatical writing in 2013-14. Walking through this excellent display with her certainly added a special, personal dimension. For a while we kicked back on beanbags to watch highlights from the Woodstock movie, including Jimi Hendrix’s era-defining rendition of the Stars & Stripes, perfect for US election day.
The Path Beaten at The Halcyon which for the second time in as many years brings together in London a collection of Bob Dylan’s paintings and sculpture. The images which most appealed were ones like ‘Endless Highway’ which seem of a piece with his songs and how they capture the essence of America. Also perfect for an election day when that could easily get lost.
Sandwiched between was a visit to Bowie / Collector at Sotheby’s, a last viewing of Bowie’s personal collection (minus the stuff of sentimental value) before it went under the auctioneer’s hammer on Thursday 10th and Friday 11th November (yesterday and the day before). I went with my friend Doug to whom I picked out a single painting by Jean-Michel Basquiat as The One. As it turned out that canvas went for £7.1M, the top price at an auction which raised double the expected revenue, in this case more than doubling its top estimate of £3.5M. So I reckon I’ve got a good eye. And what that good eye spied on the day were these…
ONE Lot 22: Jean-Michel Basquiat – Air Power (1984)
For all the bullshitWar(se)hol(e)hype around Basquiat, the young man was a really dynamic artist with a beautiful sense of colour. Bowie played Warhol in Julian Schnabel’s biographical movie. The canvas displays Basquiat’s usual mix of lively paint (acrylic) and fat chalky lines (oilstick) looking like the bastard offspring of a blueprint and a Brooklyn wall. The white ladder shape on the chest and body of the main figure reminds me at once of one of those bone breast decorations Red Indians wear and a railway line reaching westwards. In other words JMB seems to really capture that essence of America.
TWO Lot 4: Peter Lanyon – Trevalgan (1951)
Hot on the heals of the excellent Lanyon exhibition, Soaring Flight, at The Courtauld last Christmas, Bowie/Collector afforded an encounter with another group of Lanyon’s fresh, original landscapes, of which this stood out the most. Trevalgan is a landmark work in Lanyon’s journey of reinvention of landscape painting, tilting it up to become a fusion of map, aerial photo and abstract expressionist take on the Cornwall countryside, the horizon curved around the picture surface on which sea, fields, cliffs and sky are transformed into a gigantic emerald of England.
THREE lot 43: Patrick Caulfield – Foyer (1973)
I’ve always had a soft spot for Caulfield as one inclined to a very graphic style in my own drawing and painting. This large acrylic captures much about modern life in a bland space of the hotel lobby variety (which is not much variety) – to get to anything of interest or colour you have to penetrate to the bar, a small bejewelled space of coloured glass and decorated alcoves, tucked away small in the background distance of the image.
FOUR Lot 101: David Jones – Crucifixion (c.1922)
I suspect Bowie bought this one because the artist shares his real name, plus of course Jones was a highly accomplished religious artist in the vein of Eric Gill. This sparse, stripped down pencil and watercolour drawing captures the agony of the Crucifixion, remembering even to bloody the knees, not just the stigmata. He achieves something truly ancient and in touch with the roots of Christianity.
I felt two things as I left the exhibition. (i) There was so much of it. Too much for any one person to own. It made me feel a bit sick being amongst so much. It must have been a relief for Bowie and his family to offload All This Stuff. David Jones #1’s Christ departs with just a delicate blue loin cloth and a crown of thorns. (ii) Having gone to so much trouble assembling some very fine sub-collections among his overall Collection (mainly of the 20th Century British Art I really love) I wonder why he broke it all up again? Why didn’t he donate little groups to museums to keep them together? I suspect his family don’t really need all £33M of the proceeds.
What Bowie did give – from my little perspective – was an introduction to my ideal drawer and one of my favourite artists, Egon Schiele. I heard him talking about this artist (who I, like most people at the time, had never heard of) on Radio 1 around the time of his Lodger record, the last of the Berlin trilogy. From there a life-long love sprouted. If Bowie had any Schiele’s he kept them back from the sale. The nearest is a single Oskar Kokoschka litho and an Eric Heckel woodcut figure with long boney hands. He certainly had a heroic eye for art. (Though he could have gotten arrested by the design police for his taste in furniture.)
I wrote about 1971 as the key year in music this time last year and this week David Hepworth has released a book on exactly the same theme. I started thinking about this in 2013 when I had a discussion at BAFTA with Malcolm Garrett, designer of the covers of Another Music in a Different Kitchen and Love Bites (referred to below) – Malcolm argued for 1970. Today my friend & best man Stuart Rubenstein proposed 1978 as an alternative. I don’t really buy it as the most significant year but it was a landmark, dynamic one.
Here are a dozen of the LPs that got my blood racing that pivotal year of my youth and I write this listening to Stuart’s 1978 playlist.
1978 was the year I fully got the punk bug thanks to Buzzcocks who released 2 great LPs during those palpitating 12 months. So in no particular order:
(1) Give Em Enough Rope – The Clash
I trudged through the snow to Loppylugs in Edgware to buy this. I saw the tour at the Electric Ballroom in Camden Town with Mikey Dread and Joe Ely supporting, one of the greatest gigs of my life.
(2) The Scream – Siouxsie & the Banshees
Was transfixed by this band, not least the track Switch. Saw them at Hammersmith Odeon and the Music Machine in Mornington Crescent around this time.
(3) Another Music in a Different Kitchen – Buzzcocks
Got this as a Christmas present (at my own request) from someone I didn’t much like. The single from it (which I got first from Smiths in Chichester), What Do I Get, was what opened me up to Punk. The sleeve design was really striking with its silver and fluorescent orange. It was a kick years later to meet its super-talented designer Malcolm Garrett through work. My copy now bears his signature.
(4) Easter – Patti Smith
I was transfixed by the hairy armpit in the cover photo by Robert Mapplethorpe.
(5) Plastic Letters – Blondie
I had a crush on Debbie Harry as Debbie had on Denis. I saw them for my 2nd ever gig at Hammersmith Odeon, as well as outside their record label, Chrysalis, near Bond Street.
(6) Stage – David Bowie
One of the few things outside of punk to catch my attention.
(7) Handsworth Revolution – Steel Pulse
Can’t recall how I came across this but it will have been thanks to the Punk-Reggae axis.
(8) Public Image – Public Image Ltd
How could Johnny Rotten transcend the Pistols? With a single as startling as anything those bad boys did.
(9) An American Prayer – Jim Morrison & The Doors
I still reckon Jim was a significant and talented poet.
(10) Here My Dear – Marvin Gaye
As intense as records ever get – I pictured Marvin alone in the studio in the dark, laying his voice over and over itself.
(11) Moving Targets – Penetration
Something a little exotic from the regions
(12) Power in the Darkness – Tom Robinson Band
My very first gig at Hammersmith Odeon with PJE. I used the stencil which came with this on my school bag.
This has flown in from Dan McKevitt in Carlingford (via Facebook). A musical parlour game for the holidays.The emphasis is on records that have meant a lot to you rather than the all-time greatest.
“Here are the rules. Post up 12 albums on to your timeline that have stayed with you for whatever reason. One album per Artist/Band. Tag 12 friends and get them to do likewise, include me so I can see your choices. Don’t overthink it. Enjoy. No Compilations.”
1 Kind of Blue – Miles Davis [how to become tranquil in 5 easy steps/tracks]
2 Jesus Christ Superstar [as a young teen I used to spend hours and hours drawing and colouring to this]
3 What’s Going On – Marvin Gaye [I played it the night my fist born made his appearance]
4 Another Music In a Different Kitchen – Buzzcocks [my route into punk]
5 A Love Supreme – John Coltrane [took me somewhere higher]
6 Hot August Night – Neil Diamond [the first LP I bought myself – helluva jean jacket]
7 Let’s Dance – David Bowie [helped me find the joy in my first year away from home]
8 Glorious Fool – John Martyn [prompted me to recognise that JM was the greatest singer of them all …ever]
9 Give ’em Enough Rope – The Clash [trudging through the snow to get this from Loppylugs the day it came out – there’s never been such anticipation]
10 Moondance – Van Morrison [contains my eponymous wedding dance]
11 The White Album – The Beatles [teen memories of discovering the Fab Four and others with JRT]
12 The Scream – Siouxsie & the Banshees [will life ever get more exciting?]
A few days ago when I was in Berlin I wrote this (in a post called Where Are We Now? about David Bowie):
There are a few panels of the Berlin Wall on display on the north side of the place and then a significant stretch of the banal concrete sections in Niederkirchnerstrasse (on the corner of which was the Blackstar poster above). The bands graffitied on that section indicate how frozen in time it is: Blondie, Madness, Lee Perry all get a painted name check. A few more individual sections stand in the grounds of the apartment blocks adjacent to the Hansa Studio in Köthener Strasse. It all helps get you in the ‘Heroes’ frame of mind. I tried to figure out where Bowie might have seen Visconti and his lover from the studio windows but it’s hard to figure as two walls are blank and there’s no obvious spot where the Wall would have been in sight from the front or back of the Hansa building so the lovers’ kiss remains in the imagination (which is probably where it actually was anyway).
Well I was wrong – the spot where the lovers (Visconti and a backing singer) kissed by the Wall was behind the building. I actually snuck through an archway to investigate that Sunday afternoon. A security guard came out of a concealed door as I got to the end of the short tunnel but he must have thought it was not worth the bother and let it go. I walked around a bit in the back garden and car park in search of the spot so I reckon I must have been pretty much bang on at one point.
The mystery is solved in this fascinating video clip (20 mins) from BBC4 in which Visconti recalls the event (about 11 mins in).
As promised in my Where Are We Now? post just below here is a list of David Bowie related locations in Berlin which can easily be visited on foot or by foot and public transport:
- David Bowie’s 1st floor apartment (shared with Iggy Pop). Bowie lived in Berlin from late 1976 to 1979. – Hauptstrasse 155, Schöneberg [U-bahn: Kleistpark]
- David & Iggy’s local (gay) bar, now called Neues Ufer, back then called Anderes Ufer – Hauptstrasse 157, Schöneberg
- Hansa Tonstudio, recording studios where Low and ‘Heroes’ were recorded (in oak-panelled Tonstudio 2) and produced The Idiot for Iggy Pop – Köthener Strasse 38 [near Potsdamer Platz (which gets a mention in Where Are We Now?) – you can only enter with an official tour like the ones lead by Thilo Schmied]. The ‘Heroes’ spot (where “Standing, by the wall … we kissed, as though nothing could fall”) is just behind the studio building, accessible through an arch albeit on private property. The position of the Wall is marked by a double line of cobblestones.
- The site of the Dschungel night club (as mentioned in Where Are We Now?) where Bowie, Iggy and Lou Reed shook a leg – Nürnberger Strasse 53 = Ellington Hotel
- KaDeWe department store (also as mentioned in Where Are We Now?) is round the corner at Tauentzienstraße 21-24
- Paris Bar arty restaurant in Charlottenburg where Bowie & Iggy went for special occasions to hang out with artist types – Kantstrasse 152 [U & S Zoologischer Garten]
- Brücke Museum where Bowie went to be inspired by German Expressionist art such as that of Ernst Ludwig Kirchner and Erich Heckel. Otto Müller’s Lovers Between Garden Waals may be a source for the song ‘Heroes’ – Bussardsteig 9 [bus line 115, Pücklerstraße stop]
- In front of the Reichstag where Bowie performed to 70,000 Germans in 1987, audible to more over the Wall in the East (two years before the Berliner Mauer fell).
To be added:
- Filming locations for ‘Just a Gigolo’, the movie Bowie starred in in 1978 (directed by David Hemmings).
- S036 – music venue in Kreuzberg where Bowie & Iggy hung out
- Bösebrücke – the only other location mentioned in Where Are We Now? (a bit out of the city centre) where the first wave of 20,000 East Germans crossed over in 1989.
- Joe’s Beer House – a drinking haunt of Bowie & Iggy
- Unlimited – another of their nightclub hang-outs
- Lützower Lampe – where Bowie celebrated his 31st birthday with Iggy and Eno and a bunch of trannies.
(I’ll add some of my pictures to this in the next few days)
Something happened on the day he died
Karma is keeping quiet for now
Beloved by luscious
Then I’m useless in the evening
Night owls might be more creative
Spiders May Live in Every Room of Your House
Three Scottish boys discovered a strange cache
A Blast from the Past
And Air & Space
Show off your genius
Because I can
When I Come Around
Millions of songs
We rise and shine driven
After mourning the passing
Black on white
With teachers at all levels
For the twenty-first century
Cushioned within the box
We are losing all our heroes
People that simply do not exist anymore
The dance sequence is my favourite part
Das war noch Musik
Where they trashtalk each other
Fame and offending people
And it was impossible to find
Compulsive ice cream consumption
You just broke the internet
And a bunch of Silicon Valley dudes
Either help them or get out of their way
A “blessing to one another” he noted, chomping at the bit
And an environment teeming with wildlife
That will help shape the island’s future
The worldwide association
And improve trajectories.
[This was written by taking a phrase from each web page (starting with the lyrics of Blackstar) and then clicking through to an adjoining page and taking something that caught my eye from that and so on… – the pages ranged from an advert for a job on the Falkland Islands to scientific analysis of the benefits of early rising.]