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Blackstar Theory: The Last Works of David Bowie: 2 (Ex:Centrics)

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CO: So, in your book, as this late period begins, another is winding down. You were a BowieNetter 2, and that era seems like such a contrast to the late years. In the late Nineties, he’s Accessible Bowie. He’s chatting with fans, having in-studio live feeds, doing interviews with anybody who claimed to be a journalist. It must have been a fun period for you—does it feel bizarre in retrospect? LK: He was so omnivorous with his listening. There’s so much he takes from jazz, classical and experimental music and I really think he downplayed his musicianship a lot in public: the catalog tells another story. Bye Bye Life’ finale sequence from All That Jazz. 1979. Directed by Bob Fosse. 20th Century Fox. All That Jazz (Bob Fosse, 1979) However he also struggled with his confidence. I asked Tony about The Next Day: why did it take so long? He said it was his confidence. CO: The demoing is far different from the old days when he’d go into the studio and tell Carlos Alomar, “okay, this is in A major, and have this funk riff here, and let’s work this out.”

Particular approaches to composition explored in this exegesis include: the life of the score and recycling score-based music materials through human filters; attempting to communicate ideas using “sonic vernacular,” referring to the subtle sound language built from musical clichés, samples of other recordings, perceived sound quality and colour; exploring personal narratives through experimentations with muscle memory improvisation.The Man Who Fell to Earth. 1976. Directed by Nicolas Roeg. David Bowie in Nicolas Roeg’s THE MAN WHO FELL TO EARTH (1976). CO: Does the last work need to be the last work? Does it lose its power if Bowie lives five more years and makes two more records? The setting in a New York penthouse with a view of 2nd Avenue, the fourteen year old Girl (played by Sophia Ann Caruso). In the play, Thomas wants and needs to die, but he can’t do this until he has successfully resisted temptation, confronted his own shadow and severed his attachment to the spectral image of his lost daughter. These details felt strangely specific when I saw the show in New York; they made a lot more sense after he died some four weeks later. When I saw it again during its run in London in 2017, it felt like a different show.

CO: For me “Dollar Days” feels like an epilogue, the calm after the storm, a song about wanting to go home but knowing you will never go home again. Love is Lost (Hello Steve Reich Mix by James Murphy for the DFA – Edit)’ is available to stream on YouTube. Kardos, Leah (2017). In:Ruthmann, AlexandMantie, Roger, (eds.) The Oxford handbook of technology and music education.Oxford, U.K. : Oxford University Press. (Oxford Handbooks) ISBN 9780199372133 (In Press) The demoing comes into its own in the late period, the particularity of the choices that David makes tended to get translated. Tony bought his own Zoom unit so he could figure out how to work with it. Reportedly David would say things like ‘I like the way I did it [on the demo], I don’t see why I have to do it again.’ So the demoing is bleeding into the end results. Bowie, 2008: “I’ve never been keen on traditional musicals. I find it awfully hard to suspend my disbelief when dialogue is suddenly song. I suppose one of the few people who can make this work is Stephen Sondheim with works such as Assassins.“Kardos, Leah(2015) In:Burnard, PamelaandHaddon, Elizabeth, (eds.) Activating Diverse Musical Creativities: Teaching and Learning in Higher Music Education.London, U.K. : Bloomsbury Publishing. pp. 223-240. ISBN 9781472589118 When explaining the genesis of the Lazarus script, co-writer Enda Walsh told the Financial Times that the pair ‘began to talk about death … about morphine. How the brain would wrestle with itself or what it would see in the moments before death. [Bowie said:] “Can we structure something about that?”.’ They talked about the psychotherapeutic noir of Dennis Potter’s The Singing Detective and Bob Fosse’s cinematic ode to mortality All That Jazz (1979). ‘We discussed drugs and the drunken state a lot. How to construct something and place it behind the eyes of someone who is totally out of it. The film [Roeg’s adaptation] does it so brilliantly. We thought, we can do that on stage, too’.

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