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Draw David Lynch’s hair
01.20.2016
11:09 am

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The good people at Welcome To Twin Peaks have shared a wonderful web widget with which you can kill some quality time today—”David Lynch Doodle.” It’s a caricature of Lynch (who turns 70 today) with his epic haircut lopped off, and you get to draw it in, with eleven simulated brushes to choose from. (While you justly make fun of my shitty efforts, bear in mind that I went to art school. And graduated. In lots of debt.)
 

 

 
More after the jump…

Posted by Ron Kretsch | Leave a comment
Tin Machine: When David Bowie was just the singer in the band
01.20.2016
10:45 am

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David Bowie found that being a superstar in the 1980s was “not terribly fulfilling.” He started the decade with a massively successful album Let’s Dance and world tour. It made him very rich. It also brought commercial expectations to write another album of pop hits to make him and his record company even more money. But hard commerce and creativity rarely endure.  Bowie soon discovered that he had less creative independence to make the music he wanted. After the negative reception to his follow-up albums 1984’s Tonight and Never Let Me Down in 1987, he launched his massive Glass Spider tour. It made plenty of money, too, but with a set-list of greatest hits the tour looked like the Thin White Duke was rehearsing for a residency in Las Vegas.

In 1989, Bowie formed Tin Machine with guitarist Reeves Gabrels and the Sales brothers—drummer Hunt and bassist Tony. The band had grown out of jam sessions. The Sales had played with Bowie when they had backed Iggy Pop together in the 70s. Gabrels met Bowie during his Glass Spider tour and collaborated together on a reworking of the Lodger song “Look Back in Anger.” Tin Machine was structured as a “democratic unit.” Each member had an equal say. Bowie described himself as just the singer. Their intention as a band was to play “back to basics” music—hard rock, low production, no over-dubs.

They recorded over 30 songs in six weeks. Bowie enthused in interviews how liberating it was to write songs in collaboration with his bandmates. Of being able to share an idea and have it taken in an utterly different direction. Their 1989 debut album, the eponymously titled Tin Machine sold well enough but was savaged by the critics. The sales were in large part down to Bowie’s loyal fanbase and the band had a successful world tour. Then Bowie took a year off to do his solo Sound + Vision outing. In 1991, Tin Machine regrouped and released Tin Machine II—which received even worse reviews than their first record and led one music magazine (Q) to ask the question: Are Tin Machine crap?

Though both albums have noteworthy tracks, the main problem with Tin Machine is its being a “band” and not a David Bowie solo project. Having four equal partners in a group works best when there are four members of equal ability. Bowie was too talented, too clever and too damned good to share equal billing with three musicians for hire.

The critics may have been overly harsh in their judgment of the band—some even dared to suggest Bowie’s career was finished. But in truth, Bowie needed Tin Machine to purge what had been—what had gone wrong—so he could start again evolving again as an artist. This led to a return to form with his first solo album of the 1990s—Black Tie, White Noise.

More Tin Machine after the jump….

Posted by Paul Gallagher | Leave a comment
Charlie Chaplin on the set of ‘The Great Dictator’
01.19.2016
10:18 am

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Politics

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Even in these so-called enlightened times it’s not so unthinkable that some slobbering buffoon could be elected the leader of a great country to the detriment of its people, and indeed the entire world. In politics the unthinkable is always possible—and unfortunately such dangerous men often stand for election. You can recognize them by their speeches that play on fears and grievances and creates division thru trumped up accusations against anyone who disagrees with them—I’m sure you know the Trump type.

Charlie Chaplin was all too aware of the dangers of some twit being elected on a racist, xenophobic and downright nasty manifesto when he poked fun at Adolf Hitler in The Great Dictator. Though Chaplin was criticized by various countries (Germany, Britain) for being irresponsible while making his fascist satire, he was soon vindicated by the actions of Herr Hitler and the Second World War—though the great comedian and director later said he felt some regret about making the movie:

Had I known of the actual horrors of the German concentration camps, I could not have made The Great Dictator; I could not have made fun of the homicidal insanity of the Nazis.

On its release in 1940 The Great Dictator was an enormous success in the Allied countries—though not at all in Nazi Germany… The film was a rallying point for those who wanted to defeat the evils of Nazism. It helped people to laugh at the Nazis while at same time being made aware of the insidious dangers of voting a madman into power—a point still highly relevant today.

In the film, a Jewish barber is mistaken for the dictator Adenoid Hynkel and by chance ends up taking his place. At the end of the film, the barber addresses Hynkel’s army of followers with a speech about hope and humanity:

I’m sorry but I don’t want to be an Emperor – that’s not my business – I don’t want to rule or conquer anyone. I should like to help everyone if possible, Jew, gentile, black man, white. We all want to help one another, human beings are like that.

We all want to live by each other’s happiness, not by each other’s misery. We don’t want to hate and despise one another. In this world there is room for everyone and the earth is rich and can provide for everyone.

The way of life can be free and beautiful. But we have lost the way.

Greed has poisoned men’s souls – has barricaded the world with hate; has goose-stepped us into misery and bloodshed….

You the people have the power, the power to create machines, the power to create happiness. You the people have the power to make life free and beautiful, to make this life a wonderful adventure. Then in the name of democracy let’s use that power – let us all unite. Let us fight for a new world, a decent world that will give men a chance to work, that will give you the future and old age and security. By the promise of these things, brutes have risen to power, but they lie. They do not fulfill their promise, they never will. Dictators free themselves but they enslave the people. Now let us fight to fulfil that promise. Let us fight to free the world, to do away with national barriers, do away with greed, with hate and intolerance. Let us fight for a world of reason, a world where science and progress will lead to all men’s happiness.

Now that’s the kind of manifesto I’d vote for.
 
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More photos of Chaplin as ‘The Great Dictator’ plus color footage, after the jump…

Posted by Paul Gallagher | Leave a comment
Clock tower in Norway to chime songs by Bowie and Motörhead every day until the end of May
01.18.2016
10:00 am

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Music
R.I.P.

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A fantastic but sadly fake
A fantastic, but sadly fake “photo” of David Bowie and Lemmy Kilmister (see the actual photo of Lemmy and his French girlfriend, here)
 
The clock tower that stands on the grounds of City Hall in the capital of Norway, Oslo, has marked the passing of the hours with musical interludes for many years. Now at six and seven pm respectively, the 49 bells in the tower’s carillon will play “Changes” from David Bowie’s 1971 album Hunky Dory and, the track “Electricity” from what sadly turned out to be the last record Lemmy Kilmister would record with Motörhead, 2015’s, Bad Magic.
 
The music of Motorhead and David Bowie to play from the clock tower on Oslo City Hall through May 31st
The music of Motorhead and David Bowie to play from the clock tower on Oslo City Hall through May 31st

In an interview with Oslo Town Hall’s carillonist, Laura Marie Rueslaatten Olseng, after seeing how many of her fellow Oslo residents were affected by Lemmy’s passing, she felt that the lyrics to “Electricity” reflected “an attitude that fit Oslo very much.” After Bowie’s untimely passing, Olseng said that there was “no discussion” and the choice was made to add “Changes” to the clocks daily musical rotation which also includes music from Kraftwerk, Nine Inch Nails, and John Lennon. The clock tower will play both songs daily until May 31st. You can listen to the bells chiming for Bowie below, and the belfry belting out Motörhead, here.
 


The clock tower at City Hall in Oslo, Norway chiming to David Bowie’s “Changes.”
 
h/t: Metal Hammer

Posted by Cherrybomb | Leave a comment
Bruce Lee: Intimate photos of the martial arts legend and his young family
01.15.2016
10:44 am

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Heroes
Movies

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Maybe it’s because I’ve become so used to seeing images of Bruce Lee from his movies—ripped, sweating and flashing his martial arts skills at some no good bad guy—that I find these photographs of Mr. Lee with his wife Linda and children Brandon and Shannon utterly charming.

Having grown-up with a wall covered in Bruce Lee posters and spent far too much time trying out nifty martial arts moves on anyone fool enough to let me, these pictures show Mr. Lee as just an ordinary Dad—doing what every doting parent does: playing with his kids, posing for that holiday portrait, showing off the newborn, or celebrating birthdays.

Of course, he would never dance like anyone else’s old man—as the mighty master of Jeet Kune Do was also an exquisitely graceful dancer who—in between waiting tables during his youth—gave dance classes. Which makes me think someone out there’s got a damn fine story to tell the grandkids about how Bruce Lee once taught them to dance the Cha-Cha-Cha.
 
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More of Bruce Lee and family, after the jump…

Posted by Paul Gallagher | Leave a comment
Listen to Black Sabbath’s earliest demo recording from 1969
01.15.2016
10:00 am

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Heroes
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Black Sabbath, early 1970s
Black Sabbath, early 1970s

In 1969 while Black Sabbath was still sort of transitioning from their original name “Earth” (the band had booked gigs late into the summer of 1969 as “Earth,” and continued to billed as such for a few months), they recorded a few demos of songs written by fellow Birmingham musician, Norman Haines. Haines was the keyboard and organist in the Brummy band, Locomotive who scored a hit with their version of Dandy Livingstone’s ska-smash, “A Message To You Rudy”.

In August of 1969, and according to Tony Iommi in his book, My Journey Through Heaven and Hell with Black Sabbath, the band stepped into the same studio that The Beatles recorded much of The White Album in during the summer of 1968, the opulent eight-track room at Trident Studios in Soho, London. Iommi had never set foot in a studio before and had no idea how to mic his own guitar properly. The band recorded “The Rebel” and then a couple of months later a second track that was also written by Haines, “When I Came Down” at Zella Studios, Birmingham in October of 1969 .
 

Acetate of “When I Came Down” an early Black Sabbath demo from 1969
 
Engineer Roger Bain, (who had at time had never worked with Sabbath, but would go on to produce the band’s next three records) tried to reduce the amount of distortion in the band’s sound which resulted in Iommi’s very metal response “Fucking leave it! It’s a part of our sound!” If you haven’t heard “The Rebel” before, prepare to have your mind blown as the rousing, anthemic track is devoid of Ozzy’s usual high-pitch vocals, but not without Iommi’s instantly recognizable, licky as fuck riffs. I’ve also included the very Sabbath-y sounding “When I Came Down” for your headbanging pleasure. “The Rebel” appears on Walpurgis - The Peel Session 1970, along with “Walpurgis,” “Fairies Wear Boots,” and “Behind The Wall of Sleep” that were recorded for a session on John Peel’s radio show in April of 1970.
 
Continues after the jump…

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The Bowie, Elvis, Warhol ‘Black Star’ connection: Popism eats itself
01.12.2016
07:57 pm

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Music
Pop Culture

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Like everyone else on this planet, I feel the loss of David Bowie like a black hole in my heart and this sets me searching and thinking and finding weirdness a go-go (and everything tastes nice). After watching the new video for “Lazarus,” I was left chilled to the bone as though it was recorded as he was dying, and as if he were speaking directly to me. The whole thing with UK newspapers saying there are “clues” all over Blackstar and all that “Paul is Dead” sorta stuff. Except David Bowie is dead. I mean he is dead, right? Then I was alerted to the unreleased song “Black Star” recorded by Bowie’s birth mate (everyone knows they share a birthday of course) Elvis!
 
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This track was recorded for a 1960 film that was originally to be called Black Star but that wound up being retitled Flaming Star instead.

The original recording sat in the vaults until the 1990s when it became available to the public. Besides sharing a birthday with the King of Rock and Roll, Bowie was very interested in and influenced by Elvis, too, so there would be no reason to think that he wouldn’t have been aware of this song, with its aptly chilling lyrics that could be applied to Bowie’s end of life situation…

Every man has a black star
A black star over his shoulder
And when a man sees his black star
He knows his time, his time has come

Black star don’t shine on me, black star
Black star keep behind me, black star
There’s a lot of livin’ I gotta do
Give me time to make a few dreams come true, black star

When I ride I feel that black star
That black star over my shoulder
So I ride in front of that black star
Never lookin’ around, never lookin’ around

Black star don’t shine on me, black star
Black star keep behind me, black star
There’s a lot of livin’ I gotta do
Give me time to make a few dreams come true, black star

One fine day I’ll see that black star
That black star over my shoulder
And when I see that old black star
I’ll know my time, my time has come

Black star don’t shine on me, black star
Black star keep behind me, black star
There’s a lot of livin’ I gotta do
Give me time to make a few dreams come true, black star

 
Here’s Elvis’ “Black Star”:
 

 
And Bowie’s “Blackstar”...
 

 
...with its own chilling and obscure lyrics:

In the villa of Ormen, in the villa of Ormen
Stands a solitary candle, ah-ah, ah-ah
In the centre of it all, in the centre of it all
Your eyes

On the day of execution, on the day of execution
Only women kneel and smile, ah-ah, ah-ah
At the centre of it all, at the centre of it all
Your eyes, your eyes

Ah-ah-ah
Ah-ah-ah

In the villa of Ormen, in the villa of Ormen
Stands a solitary candle, ah-ah, ah-ah
In the centre of it all, in the centre of it all
Your eyes
Ah-ah-ah

Something happened on the day he died
Spirit rose a metre and stepped aside
Somebody else took his place, and bravely cried
(I’m a blackstar, I’m a blackstar)

How many times does an angel fall?
How many people lie instead of talking tall?
He trod on sacred ground, he cried loud into the crowd
(I’m a blackstar, I’m a blackstar, I’m not a gangster)

I can’t answer why (I’m a blackstar)
Just go with me (I’m not a filmstar)
I’m-a take you home (I’m a blackstar)
Take your passport and shoes (I’m not a popstar)
And your sedatives, boo (I’m a blackstar)
You’re a flash in the pan (I’m not a marvel star)
I’m the great I am (I’m a blackstar)

I’m a blackstar, way up, oh honey, I’ve got game
I see right so white, so open-heart it’s pain
I want eagles in my daydreams, diamonds in my eyes
(I’m a blackstar, I’m a blackstar)

Something happened on the day he died
Spirit rose a metre and stepped aside
Somebody else took his place, and bravely cried
(I’m a blackstar, I’m a star star, I’m a blackstar)

I can’t answer why (I’m not a gangster)
But I can tell you how (I’m not a flam star)
We were born upside-down (I’m a star star)
Born the wrong way ‘round (I’m not a white star)
(I’m a blackstar, I’m not a gangster
I’m a blackstar, I’m a blackstar
I’m not a pornstar, I’m not a wandering star
I’m a blackstar, I’m a blackstar)

In the villa of Ormen stands a solitary candle
Ah-ah, ah-ah
At the centre of it all, your eyes
On the day of execution, only women kneel and smile
Ah-ah, ah-ah
At the centre of it all, your eyes, your eyes
Ah-ah-ah

And as all things in pop culture eventually lead back to Andy Warhol, the kicker for me is that as I was looking into this I realized that all the infamous Warhol Elvis silkscreen art that you have seen your whole life is from (of course) a still photo from Flaming Star. And I don’t have to remind you that Bowie played Warhol in the 1996 film Basquiat do I? More will be revealed, I’m sure. It’s like that Kennedy and Lincoln coincidence thing, isn’t it?
 
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Posted by Howie Pyro | Leave a comment
Photos of AC/DC live at CBGB’s in 1977
01.12.2016
09:56 am

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Heroes
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AC/DC playing an impromptu gig at CBGB's, August 27, 1977
AC/DC at CBGB’s, August 27, 1977
 
There are few bands in the world that bring me as much fist-pumping joy as AC/DC. I was sadly just a touch too young to see the band perform with Bon Scott, but saw the band after Scott’s departure many, many times and the albums that make up their vast catalog have always been my “go to” records since my parents gifted me with Highway To Hell on Christmas in 1979.
 
AC/DC live at CBGB's, 1977
AC/DC killing it live at CBGB’s, August 27th, 1977
 
Bon Scott racing across the tiny stage at CBGB's, August 27th, 1977
Bon Scott racing across the tiny stage at CBGB’s
 
Bon Scott carrying Angus Young through the crowd at CBGB's, August 27th, 1977
Bon Scott carrying Angus Young through the crowd at CBGB’s, August 27th, 1977
 
Show bill for AC/DC's show at CBGB's, August 27th, 1977
Show bill for AC/DC’s show at CBGB’s, August 27th, 1977
 
When the band played CBGB’s on August 27, 1977, they were a late addition to the bill that included The Dead Boys and the Talking Heads. The rabble-rousing Aussies were on a U.S. tour in support of their 1976 record, High Voltage and had just played a show at the Academy of Music opening for The Dictators, and really wanted to play the popular punk club.
 
Angus Young rocking the fuck out at CBGB's, August 27th 1977
Angus Young rocking the fuck out at CBGB’s, August 27th 1977
 
Bon Scott and Malcom Young at CBGB's August 27th, 1977
Bon Scott and Malcolm Young at CBGB’s August 27th, 1977
 
More after the jump…

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‘She asked for my love and I gave her a dangerous mind’: Goodbye David Bowie from Dangerous Minds
01.11.2016
03:58 pm

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David Bowie playing at Rodney Bingenheimer’s club in Los Angeles, 1970. Courtesy of Getty Images. Buy a print of this photograph at Photos.com.

As—ahem—some of our readers may have noticed over the years, the late David Bowie has always been our patron saint here at Dangerous Minds. You might say he was our spirit animal. Below, three of our writers pay tribute to the Thin White Duke and contemplate a world without David Bowie in it…

***

Christopher Bickel: Let’s be honest. At Dangerous Minds there are certain subjects that we have covered rather extensively. We’ve taken our share of good-natured ribbing over that fact that we jock Bowie hard and often. It goes without saying that the writers here are going to have something to say on this day when we celebrate the career and legacy of one of the true giants of the rock and roll era.

No celebrity death has emotionally affected me to this degree. We haven’t had a musician pass who was so universally loved for their talent and influence since the assassination of John Lennon. Michael Jackson, maybe, but his legacy was so tainted by the time of his death. Bowie’s life and artistic output remained inspiring up until the very end. Last November when the video for “Blackstar” dropped, I remarked that it was a “masterpiece.” Little did I know, then, that it was Bowie’s “parting gift” to us all. Certainly he knew.

I loved Bowie from the first time I heard him—which was “Rebel Rebel” on the radio. But as a kid, I thought the words I was hearing were “Grandma, Grandma—who tore your dress?” I remember at the time thinking “it’s really rude of this singer to call his grandmother a ‘tramp’”—but also kind of cool. I was wrong about the words I was hearing, but I wasn’t wrong about loving the music.  The man never put out a bad record. Sure, there’s varying degrees of quality in his catalog, but I challenge anyone to name a single Bowie record that “flat out sucks.” You can’t.

It’s hard to pin down a favorite. I called it as Low for years, but I’ve eventually settled on Scary Monsters as my top pick. New Wave Bowie is my guy. Bowie knew how to pick a backing band, and Fripp just kills it on that record. Reeves Gabrels later picked up that torch and THIS VIDEO from 2006 of “Scary Monsters” is absolutely scorching—and is as good as any Bowie performance from any point in his career. That’s the thing: Bowie remained relevant and exciting as both a writer and performer all the way until the very end. There will never be another. 

***
 

 
Martin Schneider: What is there to say? One mark of an artist’s power is a general inability on the audience’s part to imagine our world in their absence; we’re all experiencing that weird pang right now, big time. No rock star was more forward-looking or incorporated so many different cultural streams; it shouldn’t be surprising that his influence and resonance have only increased over the years. He was a cultural vampire, in the best sense; he took from everybody and he never aged.

As a teen, I found Bowie incredibly intriguing but also a bit chilly (Pink Floyd was easier); it took me a long time to warm up to him. Of course I did, finally—he’s inescapable, after all. As I get older he strikes me as the very best, the most mature and the most complex, that a rock star can realistically be.

So long, Star Man.

***
 

 
Richard Metzger: I first heard of David Bowie when I very first started listening to pop music. My interest in Bowie was probably what got me interested in music to begin with. I was eight and it was early 1974. A local AM radio station played “Space Oddity” at 11pm one night and I happened to be be up late listening and had my young mind totally blown into a million pieces. That song entered my consciousness and exploded there, rearranging my outlook on the world like nothing had before and like nothing has ever since, I can promise you. It was, for me personally, probably the Ur-epiphany of my entire life. But I didn’t catch the name of the singer or the song. The next night, at the exactly same time, the DJ played it again, and then the following night he spun it again. This time I was ready. I taped it with my $30 Sears cassette recorder, the mic held up to the clock radio’s speaker. Soon afterwards I had the 45rpm record and soon after that—a matter of just days—I had the ultra-heavy single only version of “Rebel, Rebel” (a record cut so loud that it threatened to blow out your speakers, as anyone reading this who owned it can attest to). My parents were okay with buying me a 99 cent single from time to time, but an LP (which might’ve cost about $4.98 then) was out of the question and I needed to have everything David Bowie-related. Immediately if not sooner.

So I did yard work and gardening around the neighborhood—weed-pulling to be exact, I was too young for pushing a lawn mower around—to be able to afford first Diamond Dogs, then in fairly rapid succession Aladdin Sane, Pin-Ups, The Man Who Sold the Word, David Live, Young Americans, etc. (Oddly enough, it would be Ziggy Stardust that I acquired last and it remains my least favorite of the pre-ChangesOneBowie catalog.)

And then I saw that they were repeating “The 1980 Floor Show” on The Midnight Special. I don’t think I was ever the same again after I saw that. It was a powerful and visceral lesson in… well… something. I was too young to know exactly what it all meant, but I did know intrinsically what he—David Bowie as an iconic entity—meant. Bowie-fandom was closer to a religion than a hobby. It was a revelation, you might say.

I would scour the TV Guide hoping for a Bowie-sighting and—in lieu of a VCR—I’d tape the audio on my cassette recorder whenever he appeared on things like Soul Train, Dinah!, Cher and the Grammy Awards telecast. I listened to them so many times that 35 years later I would see them again on YouTube and I’d know each and every word. On Dinah! he invited Dr. Thelma Moss on as one of his hand-picked guests, a UCLA professor who was known for investigating the science of Kirlian photography. This was in 1976 and I would have been, at that point ten and in the 5th grade. My Bowie-fanaticism was so ingrained in me by then that I built a rudimentary Kirlian photography device after finding plans for it on microfilm in the local library!
 

 
I wrote about this in 2010, on the occasion of the publication of the coffee table book Bowie: Object.

To give you a personal (and very small) example of the multitude of ways David Bowie has influenced little old me, when I was ten years old and Bowie was the guest on Dinah Shore’s afternoon talk/variety show, he was able to invite Dr. Moss on as a guest as well. Moss demonstrated the ability of the Kirlian device—a high voltage electric field “camera”—to basically take snapshots of plant and human “auras.” Because Bowie was fascinated by this wild new science of Kirlian photography, then, hey, so was I and—this is true—I built a homemade version of the Kirlian Photographic device for a grade-school science fair.

It was made with a battery, a wood base, some wire, a metal plate and used 2” by 2” film, which was placed under the plate, and sent a jolt via the battery to expose the film. Now, granted, at that age, I wasn’t testing the “before and after” side-effects of snorting cocaine on my aura (see above) like Bowie was—-I used leaves and my thumbprint—but still, you can see clearly in this stupid example of how I, a little kid at the time, saw David Bowie as this like, larger than life cultural avatar of the newest and coolest things around.

Beyond influencing my 5th grade science fair entry, I’m pretty sure that it was David Bowie that led me directly to my interests in Andy Warhol, Iggy, Lou Reed, the Velvets, George Orwell, and even William Burroughs. My interest in most things artistic and countercultural probably began with David Bowie when I was a kid and simply fanned out from there. I honestly don’t think I would be the same person today, or would have lived the life that I have or that I would even be doing what I do professionally without his influence on not only what I was thinking or feeding my head with when I was very young, but also on the way his life and art demonstrated what was possible to aspire to.

Twelve years ago, when someone working the register at St. Mark’s Books told me that David Bowie had purchased my Disinformation book and DVD—David Bowie knew who I was???—it was one of the proudest moments of my entire life. I simply can’t believe he’s gone.

Below, David Bowie and the Spiders from Mars on the ‘Ziggy’ tour in Dunstable, June 21, 1972 doing “Song for Bob Dylan”:

Posted by Richard Metzger | Leave a comment
Heartfelt letters written by a young David Bowie (and some of his youngest fans)
01.11.2016
12:59 pm

Topics:
Heroes
R.I.P.

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David Bowie, RIP
 
Like everyone out there, I’m at a loss for words upon hearing of David Bowie’s passing. As Bowie’s brilliant 25th album, Blackstar is a letter of sorts to all of us, I thought sharing some of Bowie’s letters to his fans and friends, as well as a few letters from Bowie’s youngest fans would be a way of helping to celebrate the life of the great man.
 
David Bowie's letter to
David Bowie’s beautiful post-Ziggy letter to his fan Susie Maguire, April of 1974
 
David Bowie's handwritten letter to his friend, designer Natascha Korniloff, 1979
David Bowie’s handwritten letter to his friend, designer Natasha Korniloff, 1979. It reads: “Love me, say you do. Let me fly away with you, for my love is like the wind; and wild is the wind.”
 
David Bowie's famous letter to a fourteen-year-old fan, 1967
A higher resolution image of the letter can be seen here
 
Davie Bowie's letter from 1970 to Bob Grace of Chrysalis Music, the man who signed the then 24-year-old to a five-year record contract
Davie Bowie’s letter from 1970 to Bob Grace of Chrysalis Music, the man who signed the then 24-year-old to a five-year record contract
 
Some fun fan letters, after the jump…

Posted by Cherrybomb | Leave a comment
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