On January 8, had turned 69 years old, the same day he dismissed the world “Blackstar” comeback record after three years of silence and yet another demonstration of its ability to overturn stereotypes of making songs to transfigure the pop traghettandolo on other shores, in this case an unexpected free jazz contaminated of many eco-edge.
But David Bowie, aka David Robert Jones was born in Brixton, near London in 1947, had been ill for some time: even if for once it was not able to make public something of his life, also in the spotlight deliberately (and often too well) since the debut in 1967, with a disc (“David Bowie”) wandering between folk and vaudeville and was well away from the innovative ideas that would pass through the career. The impact of “Blackstar”, among others launched by individual scattered among television series and ladders musicals, made it even more shocking especially for fans of the death of David Bowie, during the night and long denied by the company , until finally unfortunately be confirmed by his wife and manager.
Behind the millennium, Bowie was voted “most influential artist of all time” by a large survey held in the UK; and even in the press release of what will be his last album stands a review of the magazine “Rolling Stone” that compares the White Duke to Miles Davis, outlining a parallel between the inexhaustible ability to renew jazz of Miles at the cost of incurring him arrows of all kinds, from the same criticism in the first place, and knowing how to reshuffle the cards periodically pop-rock that marked the career of Bowie. We must, at this point, however, be very precise in the evaluation of expressive worlds of which was made up in time the artist’s career: one thing is the image, the glamor provocative and ambiguous which gave a quid most aesthetic appeal ( for precise choice) to the music, but he was not content to it; something else was just the music itself, a succession of many epochal records for their ability to bring new sound to the desire to shake society to its foundations, a song often theatrical and dramatized to sing with the world and among gifts criticisms of the American star system, analysis of the role of the musician, attempts to understand – referring much to Orwell – the future of the civilization of the image, the epic of man at the same time bold and decadent, and frequent raids incisive analysis of the psyche ‘individual, their first and foremost.
Milestones of discography of David Bowie already turn out to be the very first album: “Space oddity”, pure futurism of 1969, “The man who sold the world” (revealing title: the man who sold the world ) of the 70′s, centered on the risks of a technological society and influenced by modern psychosis, “The Rise and Fall of Ziggy Stardust” ’72 centered on a messianic figure called to show the world the risk of an apocalypse ethics even before physics. Ziggy will soon alter ego unwanted Bowie, to push the artist to declare a withdrawal from the scene early then sent infantry, fortunately, the creative quality of the subsequent discs “Pin ups” series of covers that projected Bowie among the few able to give new interpretation to the lymph rock revolution that was incancrenendosi, and especially “Diamond dogs”, inspired by Orwell and Burroughs and the most important for understanding the parallel between an image deliberately provocative sexually and content, provocative in well otherwise, of the songs.
However Far from stopping to look at himself in his icon, even if very able to exploit the aura lingering for decades, Bowie is then passed through a reading of the original soul (“Young Americans”), experimental pop mixed Surrealism and wanted to redeem the world from the darkness of civilization punk-industrial (the famous Berlin trilogy, “Low,” “Heroes,” “Lodger”), and also going to Broadway and the big screen arrived then “Let’s dance” , the best-selling album of his career, pop-dance adulthood scoops the charts in the world using the language easier to continue, however, to reflect on the dangers of reality. And ‘here, in ’83, that occurs rather a kind of dossier artist, almost forced into the icon aesthetics created by himself: and it will take a decade to return capable of making art incisive while inside the image, with “Outside” and her cries against paganization of Western civilization and the debasement of the body as an object.
After having published the first CD-ROM of the rock and have sold (1996) the first song downloads on the Internet, a Bowie increasingly divided between awards, film and solidarity then awaited 2003 “Reality” to return to denounce the decadence of the world – not just in music inspired by 11th September – and even 2013 for the next album of unreleased “The next day”, once more incisive than twilight, sometimes apocalyptic. Then, the renunciation to live, the majestic anthology of the 50th of his career, an announcement of withdrawal from the scenes and even just “Blackstar” hard worked with jazz musicians, written and electronic listening to hip-hop, landed seven songs far more innovative and “younger” than usual bait for these days from the minds of younger artists well Bowie.
“Blackstar”, where glamor is pure form anesthetized by research and irony, Bowie postponed to Coltrane free jazz, avant-garde, the same Miles Davis; decomposed pop to propose it to a level of sound and well-educated and mature; He parodied the singing of love rhetoric (“Girl loves me”), he attacked the company money (“Dollar Days”), and “Lazarus”, adapted from a play based on the novel “The Man Who Fell to Earth” that saw the White Duke character to the movies in ’76, she sang the “scars of the soul” of the man who died and rose again in the march and gloomy complex of an increasingly daunting. David Bowie will go over time, we believe, revalued to the content of thought and ideas sound: and will be re-evaluated much more than certain that his image in much of choice, often cheeky but also suffered at last, allowed to do during his career.
His voice capable of soul and rock, theatrical and expressive violence, especially read and reported a man on the edge of a cliff: that of modernity alas dehumanized and increasingly devoid of values any mold. This, after all, the provocations of Bowie tried to focus: and they did to the last, giving a kind of esperanto music, between past and present of the sounds of pop-rock, who could look to the future and I hope someone, someday, know to resume and carry out the logic of the show-business for which the image is not mask, but unfortunately face. David Bowie, however, and sang until the last also with irony, the icon was the only reference to an art aesthetic content, and was used to the extent that he helped with his impact – between the lines, in Sometimes, but less often than it appeared – to pierce the veil of indifference on the decadence of man and of the world.
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