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WATCHMOJO – the Life and Career of David Bowie (1947-2016)
WATCHMOJO – The life and career of David Bowie (1947-2016) https://www.youtube.com/watch?v=Lan_wotkon0 [Fashion] Welcome to watchmojo.com and today we're taking a look at the life and career of David Bowie. [Queen Bitch] David Robert Jones was born on January 8 1947 in Brixton London England. Though he showed musical interest at a young age it was only in the early 60s that he really pursued the art. He started by joining several blues bands but branched off on his own when they had little success. Renaming himself David Bowie he released his self-titled debut in 1967. [Who's that hiding in the apple tree clinging to a branch] Its lack of success led Bowie to participate in a promotional film called Love you till Tuesday which showcased several of his songs. A particular interest was Space Oddity : that track became a hit after it was released at the same time as the first moon landing. [Ground control to Major Tom] His sophomore effort of the same name however was another commercial disappointment. [The man who sold the world] To promote his third album The man who sold the world, Bowie was put in a dress to capitalize on his androgynous look. [Life on mars] [Ziggy Stardust] In 1971 a pop influenced record called Hunky-Dory came out and was followed by the creation of his flamboyant Ziggy Stardust persona and stage show with backing band The Spiders from Mars. Then came his breakthrough record The rise and fall of Ziggy Stardust and the Spiders from Mars which climbed the charts thanks to his performance of the single Star Man on Top of the Pops. -
Music & Entertainment Auction
Hugo Marsh Neil Thomas Plant (Director) Shuttleworth (Director) (Director) Music & Entertainment Auction 20th February 2018 at 10.00 For enquiries relating to the sale, Viewing: 19th February 2018 10:00 - 16:00 Please contact: Otherwise by Appointment Saleroom One, 81 Greenham Business Park, NEWBURY RG19 6HW Telephone: 01635 580595 Christopher David Martin David Howe Fax: 0871 714 6905 Proudfoot Music & Music & Email: [email protected] Mechanical Entertainment Entertainment www.specialauctionservices.com Music As per our Terms and Conditions and with particular reference to autograph material or works, it is imperative that potential buyers or their agents have inspected pieces that interest them to ensure satisfaction with the lot prior to the auction; the purchase will be made at their own risk. Special Auction Services will give indica- tions of provenance where stated by vendors. Subject to our normal Terms and Conditions, we cannot accept returns. Buyers Premium: 17.5% plus Value Added Tax making a total of 21% of the Hammer Price Internet Buyers Premium: 20.5% plus Value Added Tax making a total of 24.6% of the Hammer Price Historic Vocal & other Records 9. Music Hall records, fifty-two, by 16. Thirty-nine vocal records, 12- Askey (3), Wilkie Bard, Fred Barnes, Billy inch, by de Tura, Devries (3), Doloukhanova, 1. English Vocal records, sixty-three, Bennett (5), Byng (3), Harry Champion (4), Domingo, Dragoni (5), Dufranne, Eames (16 12-inch, by Buckman, Butt (11 - several Casey Kids (2), GH Chirgwin, (2), Clapham and inc IRCC20, IRCC24, AGSB60), Easton, Edvina, operatic), T Davies(6), Dawson (19), Deller, Dwyer, de Casalis, GH Elliot (3), Florrie Ford (6), Elmo, Endreze (6) (39, in T1) £40-60 Dearth (4), Dodds, Ellis, N Evans, Falkner, Fear, Harry Fay, Frankau, Will Fyfe (3), Alf Gordon, Ferrier, Florence, Furmidge, Fuller, Foster (63, Tommy Handley (5), Charles Hawtrey, Harry 17. -
David Bowie's Urban Landscapes and Nightscapes
Miranda Revue pluridisciplinaire du monde anglophone / Multidisciplinary peer-reviewed journal on the English- speaking world 17 | 2018 Paysages et héritages de David Bowie David Bowie’s urban landscapes and nightscapes: A reading of the Bowiean text Jean Du Verger Electronic version URL: http://journals.openedition.org/miranda/13401 DOI: 10.4000/miranda.13401 ISSN: 2108-6559 Publisher Université Toulouse - Jean Jaurès Electronic reference Jean Du Verger, “David Bowie’s urban landscapes and nightscapes: A reading of the Bowiean text”, Miranda [Online], 17 | 2018, Online since 20 September 2018, connection on 16 February 2021. URL: http://journals.openedition.org/miranda/13401 ; DOI: https://doi.org/10.4000/miranda.13401 This text was automatically generated on 16 February 2021. Miranda is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. David Bowie’s urban landscapes and nightscapes: A reading of the Bowiean text 1 David Bowie’s urban landscapes and nightscapes: A reading of the Bowiean text Jean Du Verger “The Word is devided into units which be all in one piece and should be so taken, but the pieces can be had in any order being tied up back and forth, in and out fore and aft like an innaresting sex arrangement. This book spill off the page in all directions, kaleidoscope of vistas, medley of tunes and street noises […]” William Burroughs, The Naked Lunch, 1959. Introduction 1 The urban landscape occupies a specific position in Bowie’s works. His lyrics are fraught with references to “city landscape[s]”5 and urban nightscapes. The metropolis provides not only the object of a diegetic and spectatorial gaze but it also enables the author to further a discourse on his own inner fragmented self as the nexus, lyrics— music—city, offers an extremely rich avenue for investigating and addressing key issues such as alienation, loneliness, nostalgia and death in a postmodern cultural context. -
Pinups, Striptease, and Social Performance
Miranda Revue pluridisciplinaire du monde anglophone / Multidisciplinary peer-reviewed journal on the English- speaking world 17 | 2018 Paysages et héritages de David Bowie “Come Tomorrow, May I Be Bolder Than Today?”: PinUps, Striptease, and Social Performance Shannon Finck Electronic version URL: http://journals.openedition.org/miranda/12497 DOI: 10.4000/miranda.12497 ISSN: 2108-6559 Publisher Université Toulouse - Jean Jaurès Electronic reference Shannon Finck, ““Come Tomorrow, May I Be Bolder Than Today?”: PinUps, Striptease, and Social Performance”, Miranda [Online], 17 | 2018, Online since 19 September 2018, connection on 16 February 2021. URL: http://journals.openedition.org/miranda/12497 ; DOI: https://doi.org/10.4000/miranda. 12497 This text was automatically generated on 16 February 2021. Miranda is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. “Come Tomorrow, May I Be Bolder Than Today?”: PinUps, Striptease, and Social ... 1 “Come Tomorrow, May I Be Bolder Than Today?”: PinUps, Striptease, and Social Performance Shannon Finck 1 In the spring of 1973, just before the official “retirement” of Ziggy Stardust that summer, David Bowie asked the public what turned out to be a career-defining question: “Who’ll love Aladdin Sane?” (“Aladdin Sane”). Not only did Aladdin Sane, Bowie’s sixth studio album, usher in the series of bold musical innovations that would launch him into rock-and-roll legendry, the introduction of the Aladdin Sane persona —“a lad insane”—signaled a performative instability that would continue to inspire, frustrate, and titillate fans and critics even after his death. This essay explores opportunities for tarrying with—rather than reducing or trying to pin down—that instability and critiques what seem to be inexhaustible efforts to do just that. -
Series Contemporánea
Duffy Bowie Series Contemporánea Press Release DUFFY BOWIE SERIES La Térmica, Málaga From February 14th to March 23rd 2014 Curator: Mario Martín Pareja David Bowie, Scary Monsters, 1979 © Duffy Archive Curated by Mario Martín Pareja, La Térmica presents the photographic series which document the relationship between David Bowie and Brian Duffy, the man who change the face of British and European Photography “Duffy was a commercial photographer, a picture-maker for paying clients in the worlds of fashion, marketing and the print media... An anarchic, abrasive, provocative young talent in 60s London who precisely sensed the seismic shifts in British culture that could allow him to invent himself as one of the most successful of a new breed of fashionable photographers.” Philippe Garner, International Head of Photography, Christie’s Duffy, 1986 © Trevor Leighton Contemporánea Contact [email protected] Mario Martín www.contemporanea.org +34 686 265 924 Duffy Bowie Series Contemporánea DUFFY BOWIE SERIES “Bowie Series” opening will be on February 14 at La Termica, an artspace created by Malaga Diputacion Provincial. This exhibition is a visual record of the photographic genius. Duffy’s newly restored body of work firmly cements his place in British photography as part of the notorious “Black Trinity” that defined the visual language of swinging sixties London and pre-Punk era. The exhibition includes a unique collection of photographs never before seen behind the scenes images will feature in the exhibition. “Duffy. Bowie Series” comprises of images taken during five photographic sessions with iconic musician David Bowie, released to coincide with the Victoria and Albert Museum’s ‘David Bowie is’ exhibition in Sao Paolo (Brazil). -
Aladdin Sane
Aladdin Sane Aladdin Sane 1 / 2 The follow-up to the hugely successful Ziggy Stardust album, Aladdin Sane found David Bowie experimenting with a range of new musical styles, and reflected .... Aladdin Sane. Design/Artwork: Brian Duffy, Celia Philo, Philip Castle Photography: Brian Duffy Released: April 1973. Label: RCA Producers: Ken Scott, David .... Live versions of all but "The Prettiest Star" and "Lady Grinning Soul" have been released on various discs including Ziggy Stardust: The Motion Picture, David Live and Aladdin Sane – 30th Anniversary. "The Jean Genie" is the only song on the album that Bowie played in concert throughout his career.. Why Aladdin Sane Is David Bowie's Most Important Album. ______. THIS is one of those pieces that is not provoked by…. ClashMusic: Classic Album, Recorded in London and New York in 1973 to a backdrop of infidelity and egotism, 'Aladdin Sane' saw David .... "Aladdin Sane (1913–1938–197?)" is a song by David Bowie, the title track from his 1973 album Aladdin Sane. Described by biographer David Buckley as the .... Aladdin Sane makes me think of Queen and Freddie Mercury's stage presence, as well as Marlene Dietrich in Blue Angel. I would listen to this album while:.. If by conventional lights Bowie is a lad insane, then as an Aladdin, a conjurer of supernatural forces, he is quite sane. The titles may change from .... The second most important moment in Bowie's glam period, Aladdin Sane is full of smart, cutting-edge songs that hold up decades later as classic moments in .... Like The Rise and Fall of Ziggy Stardust and the Spiders From Mars, Aladdin Sane was co-produced by Bowie and Ken Scott at London's Trident ... -
Aladdin Sane and Close-Up Eye Asymmetry
Igor Juricevic, ‘Aladdin Sane and Close-Up Eye Asymmetry: THE COMICS GRID David Bowie’s Contribution to Comic Book Visual Language’ Journal of comics scholarship (2017) 7(1): 4 The Comics Grid: Journal of Comics Scholarship, DOI: https://doi.org/10.16995/cg.94 RESEARCH Aladdin Sane and Close-Up Eye Asymmetry: David Bowie’s Contribution to Comic Book Visual Language Igor Juricevic Department of Psychology, Indiana University South Bend, South Bend, US [email protected] In April 1973 David Bowie released Aladdin Sane. The cover of Aladdin Sane features an iconic image of David Bowie, a close-up shot of the artist with brightly colored orange hair and asymmetrical lightning bolt make-up on the right side of his face. This article argues that the cover image for Aladdin Sane uses the Close-Up Eye Asymmetry (CUE-A) pictorial device (i.e., close-up view of David Bowie, asymmetrical make-up around his eye) and that CUE-A was adopted into Comic Book Visual Language by first providing evidence that CUE-A is used in comic book art. A link is then established between comic book art and music album art by showing that: (1) David Bowie was familiar with Comic Book Visual Language and could make a contribution to the language, and (2) comic book artists are influenced by music album art. I then make a case that the adoption of CUE-A into Comic Book Visual Language was specifically due to the cover image for Aladdin Sane by analyzing: (1) the use of CUE-A by influential artists in the 1990s and (2) the different rates of adoption of CUE-A for the depiction of established versus newer comic book characters. -
David Bowie and the Clash Were Fans of Derek Boshier’S Art, and You Should Be Too,” Vice Noisey, May 25, 2017
! Katie Bain, “David Bowie and The Clash Were Fans of Derek Boshier’s Art, and You Should Be Too,” Vice Noisey, May 25, 2017. David Bowie and The Clash Were Fans of Derek Boshier’s Art, and You Should Be Too Katie Bain May 25 2017, 12:00pm The British pop art great walks us through his new exhibit to reflect on collaborating with Bowie, tutoring Joe Strummer, and painting iPhones. In 1979, Derek Boshier met David Bowie on a blind date. Boshier, the British pop artist who first made his name in the swinging London scene of the 1960s, was at the time curating a photography exhibition at London's Hayward Gallery, a major stronghold for contemporary art. The collection, Lives: An Exhibition Of Artists Whose Work Is Based On Other Peoples' Lives, featured luminaries including David Bailey, David Hockney (with whom Boshier attended art school), and fashion and portrait photographer Brian Duffy. After the opening, Duffy called to say he had a friend he thought Boshier would get along with. He wanted them to meet. 2276 EAST 16TH STREET, LOS ANGELES 90021 NIGHTGALLERY.CA ! "The way he framed it, I thought it was a female, and I thought it was a blind date," Boshier recalls on a gray Wednesday afternoon at LA's Night Gallery with a lilting Portsmouth accent. "So he told me to come to his studio. I arrived there, and it was David.” The date-that-wasn't sparked a 37-year friendship and professional relationship that began when Boshier designed the art for Bowie's 1979 LP Lodger. -
Patrick Dodd Trio – Future Blues
Patrick Dodd is a Memphis blues singer/guitarist who is a fixture on Beale Street. Patrick has a very soulful, raspy voice and was recently on the singing competition show, The Voice, along with three other Memphis singers. As a result of this exposure, Patrick’s excellent Future Blues EP was #4 on iTunes as of this writing. Shannon McNally became a resident of Oxford, MS after she was displaced from New Orleans by Hurricane Katrina. Shannon plays roots music that she calls North American Ghost Music because she says music labels are dumb. She can be found performing solo, as part of The Wandering and as a duo with Amy LaVere. Shannon just released Small Town Talk, an album of Bobby Charles songs, and it is her best album (of 10) so far. Just as David Bowie’s fans had finally accepted his retirement from music, a secretly recorded new album was announced on his sixty-sixth birthday on January 8, 2013, and it was released on March 8, 2013. This was totally unexpected, but Bowie has always been unpredictable, and he is poised to make a big comeback if he wants one. While Bowie was on his Ziggy Stardust Tour of America in 1972, he was also busy writing songs for the follow-up album called Aladdin Sane. It was a worthy successor to The Rise And Fall Of Ziggy Stardust And The Spiders From Mars, and it has just been re- issued as a remastered 40th Anniversary Edition. Patrick Dodd Trio – Future Blues As a teenager in the 1990s, Memphian Patrick Dodd played alternative rock similar to Dave Matthews. -
Mr. Bowie Changes Trains: Station to Station Written for Artist Doug
Mr. Bowie Changes Trains: Station to Station Written for artist Doug Aitken's 2015 "Station to Station" art event IN THE DAYS of vinyl album sleeves, rock music was always a synaesthetic experience, and David Bowie's Station to Station is nothing if not white: a white-out of cleansing and purging, if also of cocaine euphoria. Station to Station is also a bit red (the lettering) and a tad orange (the tangerine RCA label). White seemed right for Bowie in 1975/76, at least until the "Thin White Duke" talked foolishly and ill-advisedly of fascism and Hitler and you wondered if it was the White of Aryan supremacy that he meant to convey. Which of course it wasn't: half the Duke's group was black, for starters. Bowie's whole career is a journey from station to station, and his tenth album Station to Station remains one of the most impressive of his musical junctions: intense, passionate, focused, surging and urgently funky – stripped-back, too, just as its iconography is stripped-back and monochromatic after the hypertrophied dystopianism of Diamond Dogs and the funky-but- chic hustle of Young Americans. Station to Station is also a miracle, given the physical/chemical state of the Skeletal White Duke in the Los Angeles of 1975. (Was there ever a less Californian rock god than Bowie?) "I heard Station to Station and I thought it was brilliant, absolutely mindblowing," recalled the former Deep Purple bassist Glenn Hughes, at whose L.A. home Bowie stayed in May and June of that year. -
Slipstream Radiowith Dwb on Monday, January 11
Playlist: SlipStream Radiowith dwb on Monday, January 11, 2016 Show Notes: So long Starman, Ziggy Stardust, the Thin White Duke, Major Tom, David Bowie, David Robert Jones (8 January 1947 – 10 January 2016) Time Artist Song Title Album Label Year 6:01 am john coltrane “offering” expression impulse! 1967 6:12 am david bowie “all the young dudes” essential david bowie emi 1997 6:17 am david bowie “it's ain't easy” the rise and fall of ziggy stardust and the rca 1972 spiders from mars 6:19 am david bowie “blackstar” blackstar iso records 2016 6:31 am rachel grimes “further foundation” the clearing temporary residence ltd. 2015 6:41 am david bowie “rebel rebel” later... with jools holland 6:43 am david bowie “tvc15” station to station rca 1976 6:48 am david bowie “oh you pretty things” hunky dory rca 1971 6:51 am david bowie “sound and vision” low rca 1977 6:56 am tortoise “ox duke” the catastrophist thrill jockey 2016 7:04 am david bowie “aladdin sane” aladdin sane rca 1973 7:16 am david bowie “outside” outside virgin 1985 7:16 am laurie anderson “from the air” heart of a dog nonesuch 2015 7:20 am david bowie “heroes” (by request) 6.15.2002 7:26 am david bowie “lazarus” (by request) blackstar iso records 2016 7:43 am walker-moestl “heaven or hell” the g-stone book g-stone 2000 7:47 am david bowie “dj” lodger rca 1979 7:50 am david bowie “diamond dogs” changesonebowie rca 1976 7:56 am susanna and the magical orchestra “it's a long way to the top” melody mountain rune grammofon 2006 8:04 am david bowie “life on mars?” 3.23.76 nassau coliseum -
Major Tom, Ziggy and the Thin White Duke Diplomarbeit
Major Tom, Ziggy and the Thin White Duke An Analysis of personas, fictional characters and their worlds in selected lyrics by David Bowie Diplomarbeit zur Erlangung des akademischen Grades einer Magistra der Philosophie an der Karl-Franzens-Universität Graz vorgelegt von Bettina TROPPER am Institut für Anglistik Begutachter: Ao.Univ.-Prof. Mag. Dr.phil. Hugo Keiper Graz, 2018 Eidesstattliche Erklärung Ich erkläre ehrenwörtlich, dass ich die vorliegende Arbeit selbstständig und ohne fremde Hilfe verfasst, andere als die angegebenen Quellen nicht benutzt und die den Quellen wörtlich oder inhaltlich entnommenen Stellen als solche kenntlich gemacht habe. Die Arbeit wurde bisher in gleicher oder ähnlicher Form keiner anderen inländischen oder ausländischen Prüfungsbehörde vorgelegt. Graz, Juni 2018 ………………… Bettina Tropper Danke an meine Eltern, Gerlinde und Harald, die mich in meinem Leben in jeder Lebenslage mit viel Liebe unterstützt haben. Durch euch habe ich diese Musik kennengelernt, die mich dazu inspiriert hat, diese Arbeit zu schreiben. Danke an meinen Freund, Robert, für die jahrelange Unterstützung in meinem Studium und den Optimismus, der mich immer wieder motiviert hat, weiterzumachen. Danke an meinen Sohn, Jonathan, für das Verständnis, dass viel Zeit der letzten Jahre dem Studium gewidmet war. Du bist der Grund warum ich den Mut hatte weiter zu studieren. Danke an meine Großeltern, Gabi und Franzi, und Schwiegereltern, Irene und Walter, für die großartige Hilfe und Unterstützung. Ohne euch hätte ich die Möglichkeit, Kurse an der Uni zu absolvieren, nicht gehabt. Danke an meine Kommilitonen, Bettina, Nadine, Johannes und Phillip, für die traumhafte und intensive Zeit, die wir zusammen verbracht haben. Danke an meine Freundinnen, Lisa, Julia und Anna (meinem study buddy), für die Motivation und das stundenlange Lernen, das mich immens weitergebracht hat.