There’s always a reason to talk about David Bowie, as far as I’m concerned, but not always within the context of this column. So, when the opportunity arises to write about the man, and remember him within historical parameters and important dates, I’m going to do that. Get used to it.
Get used to it.
American nightmare, guilty generation / fingers on the pulse of their parents’ alienation / from the history, histories of Western civilization
–Ty Segall, “California Hills”
There was a 1987 SPIN magazine cover story on David Bowie called “What Next, Put Together Man?” and while I can’t recall the article’s content exactly, that question has lingered in my brain ever since. At the time I was only just beginning to grasp the depth and breadth of Bowie’s shape-shifting abilities, and it took me years to fully understand the significance of that particular query.
Welcome to Episode #08 of The Official Popshifter Podcast.
Less Lee Moore and Jeffery X Martin have a hard time dealing with the state of the Hivemind, and discuss the Popshifter Manifesto, which is the driving force behind the pop culture coverage at the site. Also: The Oscars, the Royal Rumble, The X-Files and other stuff requiring the article, “The.” Please enjoy this podcast responsibly.
When I went to sleep, David Bowie was alive. When I awoke, he was not. Strange, the way things slip.
Knock on the walls. Flick your coffee cup with your fingernail. Stomp on the floor. Do you hear it? Something’s missing. There is a hollowness to the world now, with Bowie gone.
Today is David Bowie’s birthday and I don’t understand why anyone is at work or school. Why aren’t government offices closed? Why is this not a Federal holiday? We should all be in public parks, wearing body paint and having Aladdin Sane lookalike contests. We should put on our red shoes and dance the blues. We should be burning space capsules in effigy in the name of Major Tom.
David Bowie is 69 years old and is still cooler than everyone reading this article, combined.
Less Lee Moore and Jeffery X Martin examine the wide variety of cover versions of the songs of David Bowie, focusing on Cleopatra Records’ release A Salute to the Thin White Duke, the female-fronted Spiders from Venus album, and others. The show concludes with a discussion of Bowie’s single/video release, “Blackstar.”
Links:
A Salute to the Thin White Duke
Pop quiz, hot shots.
Who was the biggest selling musical artist of the twentieth century? We’ll make this multiple choice, just to make it easier.
A) Elvis Presley
B) Madonna
C) Perry Como
D) Bachman-Turner Overdrive
If you guessed Bachman-Turner Overdrive, bless your heart.
Xanadu, 1980
New this week on Popshifter: Emily reviews Dark, the latest from the British Electric Foundation; Chelsea appreciates the “exuberant energy” of CSS’s Planta; Melissa thinks Gap Band VII has “moments of brilliance” and enjoys the “invariably perfect” Volume 4 of Music from True Blood; Jeff introduces us to his next Waxing Nostalgic series on cover albums; and I review the new film Peaches Does Herself from the inimitable Peaches and the “remarkably original” John Dies At The End, now on DVD.
I have no idea how this didn’t make it onto my radar until last week. The second single from David Bowie‘s fine new album The Next Day—and the third video—is the title track.
With lines like “they whip him through the streets and alleys” and “they know God exists for the Devil told them so,” it’s not a stretch to imagine that said video might feature some religious iconography and controversy. With Bowie the boundary pusher, you’re guaranteed excesses of both.
Not having seen videos like “Boys Keep Swinging” and “D.J.” until the early ’80s on MTV, I can’t say firsthand what kind of stir they caused in the late ’70s, but they certainly caused a stirring within me.
Floria Sigismondi, who directed “The Stars (Come Out Tonight),” also helmed “The Next Day” video and it’s not dissimilar to a Caravaggio painting come to life, with a bit of Ken Russell for good measure.
I’d also argue that Sigismondi got more than a little inspiration from the 1970 Czech film Valerie and Her Week of Wonders, which I’ve not been lucky enough to see, but which I’ve certainly enjoyed through numerous images online.
In “The Next Day” we have Gary Oldman as a lusty priest with a ducktail haircut and Marion Cotillard as a quasi-Mary Magdalene character in a bustier. One might consider Bowie and his linen smock and glittery scarf to be Jesus. From Pontius Pilate to Jesus: what a career!
The nightclub in which this takes place is The Decameron, either a reference to Boccaccio’s medieval allegory, the 1971 Pasolini film based on the allegory, or both. St. Lucy makes an appearance and so does Joan of Arc.
It’s gory, gorgeous, and decidedly not safe for work. Enjoy.
Melvins—the “the” is silent—are one of those bands who are permanently on the list of bands I’ve been meaning to get into. Everything of theirs I’ve heard I’ve enjoyed and I’ve seen them live twice (both times were outstanding). I even have a few of their albums. But I’ve never crossed over into the “must own everything” level of fandom. Although Everybody Loves Sausages is an album of cover songs, it may have finally pushed me over that precipice.
Cover songs are tricky. Why bother covering something unless you’re going to make it better or add something special? There is a third reason, though it’s not the most popular: introduce people to bands that they’ve never heard before. As an album, Everybody Loves Sausages hits all those marks.