“Sister Midnight” from the Reality tour. This performance from the Vienna show is particularly good IMO, darker than usual with brilliant vocal harmony.
This song originally appeared on Iggy Pop’s The Idiot. It’s been on Bowie’s live repertoire since the mid 70s off and on. Also, Red Money from Lodger uses the same riff.
An incredibly beautiful live version of “Bring me the Disco King,” — just voice, piano and drum loop.
It’s no secret I am a mega David Bowie fan. My obsession began when Ryko started re-issueing Bowie’s entire RCA catalog back in 1990. I knew of Bowie of course, and I was a fan, but I wasn’t quite the maniacal rabid fiend yet. The discovery sent me spiraling back and digging up every one of his older releases and drooling in anticipation for the next one. I joined a Bowie fan club and won tickets to see Tin Machine in LA. Got there early as fuck and stood at the very front withstanding the pressure of masses squashing my wee frame.
I decided to take a stab at writing music because nothing else could capture the feeling he evoked in me — his music, yes, but it was more than that, he was art come to life.
For the next several days I’ll be sharing Bowie’s music, photos, quotes, whatever catches my fancy. #30daysofBowie
Another Void (alt) — unearthed remix. It’s a free/pay-what-you-want download from my Bandcamp. A remix from The Dividing sessions. I thought it had been lost but I recently came across it on an archived DAT.
After he’s gone, he still continues to amaze me. Going trough some of his documents in a research for the design of a tattoo in his memory, I came across multiple of his signatures, along with some drawings, sketches and texts.
I became suddenly amazed by his signature, and while studying it, considering to center the design of the tattoo on it, I made a quite interesting discovering. Nothing that I wouldn’t expect from a beautiful mind as his. David Bowie’s signature was an ambigram, in which he kept his two selves eternally communion. David Robert Jones choose his artistic name, David Bowie, as he transformed in who he dream himself of, achieving this in a way that all artists could envy and admire forever.
And I found that he managed to reflect this subtly in his signature, reminding us, even without us knowing it, that he was a whole, the creator and the creation.
I studied the graphology and the results were amazing.
You can easily perceive in his signatures the name “Bowie”, distorted, at least intuit it. A “B”, an “O”, and a line with a dot that could be the short transcript of the “wie”. He always signed adding the year of the signature. But that’s not all there was to it. Not slightly.
David Bowie never forgot who made himself who he was. And that was:
David
Robert
Jones
If you look closely and carefully, this can be seen in all his signatures.
B and O for Bowie.
D R J for David Robert Jones.
This discovering has made me admire a mind that I couldn’t think it was possible to admire more in a way that has brought me closer to his work and personality than ever. He always remembered who he was. He still was that boy, a boy with a dream and a will to follow it. And he knew that even if it was only to himself, the most important thing was to remember, to never let go of what created and accomplished who he was, himself. To keep his mind together. Ambivalence was his talent and his gift. And that was his greatest achievement, and he left us the most sincere proof for it.
It’s been really important for me personally and revealing to discover this. It leaves me with the feeling that even though I didn’t get an opportunity while he was alive, I’ve finally made contact with his soul, even if it’s with his trace.
This was as great an artwork as himself.
Jump in the van with us and come behind the scenes of our Spring 2010 minitour.
