The Age of Bowie (英語) ペーパーバック – 2016/7/28
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THE SUNDAY TIMES BESTSELLER 'A handsome six footer with a warm and engaging personality, Davie Jones has all it takes to get to the show business heights including . . . talent.' David Bowie at 17 in May, 1964 writing his own press biography. Respected arts commentator Paul Morley, one of the team who curated the highly successful retrospective exhibition for the Victoria & Albert Museum in London, David Bowie Is . . . constructs the definitive story of Bowie that explores how he worked, played, aged, structured his ideas, invented the future and entered history as someone who could and would never be forgotten. Morley will capture the greatest moments of Bowie's career; from the recording studio with the likes of Brian Eno and Tony Visconti; to iconic live performances from the 1970s, 80s and 90s, as well as the various encounters and artistic relationships he developed with rock luminaries John Lennon, Lou Reed and Iggy Pop. And of course, discuss in detail his much-heralded, and critically-acclaimed comeback with the release of Black Star just days before his shocking death in New York. Morley will offer a startling biographical critique of David Bowie's legacy, showing how he never stayed still even when he withdrew from the spotlight, how he always knew his own worth, and released a dazzling plethora of mobile Bowies into the world with a bloody-minded determination and a voluptuous imagination to create something amazing that was not there before.
'Morley has not only plenty of insights into Bowie's life and work but also the kind of details that only a diligent biographer unearths' * The Times * 'A discursive, free-associating ride across the life and work of the Starman Who Changed the World [...] The Age of Bowie does feel like an outpouring of the sincerest love for its subject, the fruit of an obsessive emersion of everything Bowie meant to him and us. Eschewing the conventionally dry biographical voice, Morley's expansive present-tense prose flows [...] I hold him to be one of the great pop writers. You might even call him the Bowie of rock journalism.' * The Guardian * 'A huge sprawl of Bowieania that takes us from skiffle to social media' * The Herald * 'Morley has a deep understanding of Bowie's music . . . this is great fun.' * The Times * 'A thrilling hymn to a brilliant and beloved "song and dance man". David Bowie did make a world of difference, and Paul Morley explains why.' -- Barney Hoskyns * The Observer *
Writer, broadcaster, and cultural critic PAUL MORLEY has written about music, art, and entertainment since the 1970s. A founding member of the electronic collective Art of Noise and a member of staff at the Royal Academy of Music, he is the author of Ask: Chatter of Pop; Words and Music: A History of Pop in the Shape of a City; Piece by Piece: Writing About Joy Division 1977-2007; Earthbound; The North; and Nothing, and he collaborated with music icon Grace Jones on her memoir, I'll Never Write My Memoirs.
On the song "Absolute Beginners"; "It is a tribute to the sort of emotional, uncomplicated pop music that Bowie never got around to writing. It's also an exercise in writing the perfect love song to be played over the end credits of a film and extend the fantasy for a few more wonderful minutes. A love song about a love song, about the power of film, where the singer dreams of a love song that can fly over mountains, sail over heartaches and laugh at the oceans.
Bowie said at the time that he wished he could be in this kind of love with someone, but there is definitely some love, and real loss, making it into the song. He's singing a song for his extremely non-conformist brother Terry, who helped give Bowie his beginning. Terry who introduced Bowie to lesser-known sights and sounds, helping him enter new worlds and deep layers of history that might yet control and prevent madness.
He's singing a dream of the kind of less tense, less distressed music he might have made if he didn't have the shadow of Terry always there, the constant fear of losing control, of having to make a choice between staying with all the madmen or perishing with the sad men roaming free; this lovesong-loving Bowie was always there, among all the shadows keen on ruling, and ruining, his psyche, which is why there was always some big-hearted pop element lurking in even his more dark, savage songs. Here it takes over."
On the song "Heroes": Sobre la canción "Heroes":
"He is leaving Berlin, and leaving the walled-in Berliners a hymn, which is a sign of his rebirth,and becomes a part of the city's own rebirth, and which doesn't exactly eventually knock the Wall down, but imagined a world where it was not needed, and needs to be sung when it is, and comes to symbolise the significant end of a divided city."
On the performance of "Heroes" on the Bing Crosby show:
"Still with the sad clown in his heart, he makes out the wall with his hands in the way the classic mime artist describes a box they are trapped inside, as if to say, the wall is not really there."
"If I've been at all responsible for people finding more characters in themselves than they originally thought they had then I'm pleased because that's something I feel very strongly about; that one isn't totally what one has been conditioned to think one is; that there are many facets to the personality which a lot of us have trouble finding and some of us do find quickly."
I could go on and on. Just do yourself a favor and read it. It will enlighten your life