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missizzy · 4 years

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New Fic: The StarkPhone(Guardians of the Galaxy/Avengers)

It’s not even the fanciest thing Pepper Potts-Stark gifted Peter with. But the laptop computer actually came with the StarkPhone, since for the moment he needs it to update the device’s contents, until they can figure out how to hook it up to the ship’s computer. Although Bruce Banner’s already done further work trying to get it to work as a proper communication device in space. Plenty of people, including Nebula, have told him that Tony Stark would’ve managed all that no problem. At least he did set it up to make charging both phone and laptop with a power cell very easy. Peter’s pretty sure once he gets it to Shurlee, the exotic devices specialist can figure out the rest.

Between them they’ve got some impressive programs and games, what’s state of the art for most of Earth besides Wakanda, which is apparently hopelessly more advanced over the rest of the planet. But of course the main purpose is the music. Peter’s going to keep the Zune as well, if only as a reminder of Yondu, but the sheer amount of stuff this device can hold means it has to be his primary music repository. And it’s got a lot on it already. Potts-Stark made sure of that before she gave it to him.

The playlists are numbered, putting the songs from his original tapes and the Zune on top of the screen. Right after them come the playlists put together by Earth’s various superheroes for the Guardians of the Galaxy to remember them by.

Except Tony Stark hadn’t lived to do his, of course, so his wife and old bodyguard had put it together. It’s mostly “classic rock,” loud rock music from roughly his mother’s era, the stuff he thinks she liked only in smaller amounts, if that. The sort of stuff Rocket loves, and this stuff he’s had time to hear, too. Groot will probably soon grow to love it too-that’s something he’s vaguely worried about.

Peter expected Steve Rogers’s playlist to be mostly from the 30s and 40s. And about half of it is. But the other half is more modern. Some of it was very obviously introduced to him by those born more recently. Including Rocket. It was probably him who introduced Steve to Madeleine Quill’s favorites, and “Ain’t No Mountain High Enough” and “Ooh Child” both made his list. It’s a strange, surreal feeling, imagining Captain America-heck, he was still wrapping his head around him having shown up in the modern day-listening to those songs and thinking of them as ones she’d loved first. As part of her, and as part of Peter himself.

Of course, his fondness for Marvin Gaye must have also come from Sam Wilson; the latter’s playlist is indication enough of that. Peter’s never much classified his home planet’s songs by their artists; even with the Zune, there were too many of them where he only had one song by them. But Sam’s one of those that favors enough particular names it makes Peter curious about them. He might even ask Nebula or Thor what they know about them.

It’s Bucky Barnes’ playlist that’s mostly music from the 40s. It’s one of the shorter ones. What modern music he has is mostly from Wakanda. That really is unlike anything else produced on Earth. Thor has pointed out some aspects of it that he’s heard in other pieces of music from Africa, but also sounds and effects made by technology the rest of the planet is still getting introduced to, and is only just now finding use in the music of other countries. Some of it reminds him of the overhead music in commercial complexes and seedy bars and occasionally markets out in space, even though it's not all that like it in tone or style, because he can't help but hear the technology. Peter’s not sure how he feels about that kind of music coming from Earth.

Thor, of course, brought all his favorite music on board himself. But he added a playlist to Peter’s phone too, with contributions from his various other friends. That one’s mostly extra-terrestrial, and the majority of it consists of albums of traditional Asgardian pieces, recorded by the surviving Asgardians to fund the building of New Asgard. Apparently those are still making them plenty of money. There’s a good chance Peter won’t ever listen to this playlist all the way through, honestly, at least not on his own. Thor will probably play it all on the ship’s system enough for anyone.

Natasha Romanov’s is the shortest. Her friends did the best they could, putting anything on it they knew she liked, but so much of even that died with her. It’s mostly classical music, plus recordings of the Russian songs Clint Barton heard her sing to his youngest kid. Also two pop hits from the last five years. They’re neither of them directly about what happened, but they’re both about loss.

Peter hasn’t fully looked through Barton’s playlist. He’s listened to a few songs unique to it, and that put him off the rest. His mother warned him off country.

The one playlist he has listened all the way through already is from the other Peter. Peter Parker is the one who at least knew what was hot five years ago, and in between their all coming back to life and the loading on this StarkPhone, he even had time to hear and approve of two more recent hits, both of them a bit more cheerful than Romanov’s. Probably much of it is what Madeleine Quill would’ve listened to and loved and shared with her son had she been born thirty years later. Except maybe Peter Quill is finally getting old and ornery, because a lot of it leaves him cold, and he’s not even sure why. It just doesn’t seem to have the soul that the older music does, or at least, he can’t feel it.

Stephen Strange’s playlist has the fewest songs on it, five fewer than Romanov’s. Timewise it’s much longer, though, because it’s entirely classical. With some instrumental Asian music, much of which is also on the long side. Peter has to wonder if it even truly reflects his musical tastes, or if he’s just posing. But at least Nebula likes the half she’s listened to so far.

Bruce Banner’s playlist starts with a song somebody recorded about him. It’s called “The Green Guy and the Sky” and it’s one of the weirdest things Peter’s ever heard, and he’s heard Brae’Taro Chant. The rest of it’s more varied, with some Indian/Bollywood stuff that’s great for dancing to. But there’s also a lot of “relaxing” music that Peter personally thinks “boring” would be a better term for.

James Rhodes’ playlist has a good deal of the exact kind of disco music his mother always spoke disparaging of. Luckily Peter himself really isn’t picky about good dance music. Some of Stark’s classic rock favorites as well. She really would cringe. But it’s also got no less than six of her own favorites as well. Also the Star Wars theme, which Peter would have loved him for in any case. And another piece from the prequels called “Duel of the Fates,” but that one is just making Peter dread his inevitable watching of said prequels. All the Star Wars movies which have been made so far are on the laptop, and he hasn’t watched the newer ones yet, but he knows he must sooner or later.

Carol Danvers’ playlist starts with “Off We Go Into the Wild Blue Yonder,” which makes Peter laugh. Especially since aside from that, and some 90s songs that Peter suspects were more the favorites of her adopted daughter/niece, and one song with Carlos Santana called “Maria Maria,” it’s actually mostly extra-terrestrial music. Some of which everyone who’s been in space has heard, and some of which doesn’t even seemed to be commercially released; there’s weird instrumental stuff that Peter suspects to be Skrull music.

Some of the playlists are joint playlists. One of those is Wanda Maximoff’s, with a note that it included what favorites Vision had as well. This one, too, is more recent pop music, in this case tending more towards the 1990s, and what Thor has identified as “Europop” and “Eurodance.” (Peter's not sure the Asgardian actually knows the difference.) In other words, obviously the stuff she listened to as a kid, before her parents got killed. Maybe with ones her brother liked mixed in. That’s really sad, if Peter thinks about it. So he doesn’t. He just dances, because the music begs for it.

T’Challa and Shuri also sent a joint playlist, which multiple people have told him was probably mostly her. It’s possible Okoye contributed as well. (“She’d never admit it, though,” Rocket noted.) Obviously that one’s heavily Wakanda, and Peter wonders if it’s more a cross-section of the country’s musical history. There’s also a selection of Kendrick Lamar. Apparently he put out an album a couple of years back that made heavy use of Wakandan music tropes and is generally considered to be the best job anyone outside of Wakanda has done with that so far. But the playlist has only one song from that, which of course the King and his sister would’ve only recently heard. The rest of it’s older. If Peter ever sees them again, he’s going to have to ask who was responsible for the Lamar. He’s not even sure why he’s so curious; he just is.

Rocket and Nebula also made a playlist for the phone, even though they too brought what music they’ve become fond of with them. As well as the classic rock Stark introduced him to, Rocket’s got the stuff he no doubt loves even more: the really hard rock, of the guys screaming into their microphones. Not stuff Peter finds at all appealing for the most part, though he’s developed a weird weak spot for the Beastie Boys’ “Intergalactic.” It’s got a good beat.

Still, he kind of really wishes he and Nebula had done separate playlists, to make it easy to listen to just hers. That the playlist is entirely Earth music doesn’t keep her selections (or at least the ones that definitely aren’t Rocket’s) from being the most broad and interesting. If there’s any specific preferences she shows, it may, oddly enough, be for Asian pop. He wonders how many of Earth’s languages she’s learned; he knows she learned Chinese. But there’s plenty of stuff in English too, some of it in genres Peter’s never heard of. He thinks he might like the song that describes itself as “dream pop” way more than makes sense for him.

Of course, that might be out of the feeling he has that Gamora would’ve liked it. Though the playlists by the various Avengers are followed by seven playlists, apparently compiled as a group effort with Thor’s spurring it on, because he wanted to give each of his new crewmates some music they’d like, and also his possible future crewmate-to be. Peter hasn’t listened through any of those. He especially doesn’t want to touch the one meant for Gamora.

He is, of course, an optimistic man. And because he’s an optimistic man, he is very confident that they will, sooner or later, find the Gamora now wandering around this universe, he is hopeful that she will ultimately decide to at least try the life the original version of her had been happy in for four years, and he is even thinking of ways to convince her to choose the same long-term booty call she had last time around, even if there is now an Asgardian available.

But he knows she won’t be who she was. She hasn’t had any of the experiences that helped reshape the Gamora he knew and loved, not even breaking out of the prison with them. And when it comes to finding her tastes in things like music again, she may not at all like the same music she did before.

He grieves for that Gamora, is sometimes still consumed by rage at her father for what he did to her, and at the universe for letting him, for being that devoid of justice that it would let that happen. Sometimes he thinks that when they find the new Gamora, he’ll suggest she listen through the songs; he thinks she might agree to, if only out of curiosity. Other times he can’t stand the thought of anyone listening through it, even her.

Of the others, only Mantis has listened through hers so far, sitting through the whole thing with a rather confused look on her face. Peter doesn’t expect Drax will ever listen to his, but he figures the others will sooner or later.

Himself included. They made the longest of all the playlists for him. He’s glanced over the songlist, which didn’t tell him as much as it might have had he lived on Earth more recently, but at least he knows all the artists that had a song in either the cassettes or the Zune. Some of them, he’s glad to have more of them. Others, not so much. He’s started to seriously wish he’d figured out how to delete that stupid song about the dragon.

Truth is, it still stuns him, that these people who don’t really know him, who probably got a less than flattering picture of him from Rocket, went to all this trouble. Hell, there’s an argument they should still be mad at him for losing his head the way he had on Titan. (His Gamora would’ve had some pretty choice words for him over that.) “It’s for a fellow Avenger,” Rocket explained to him when he said so. “They’ll adopt you into the group whether you even like it or not,” and Nebula nodded her agreement.

So even if he doesn’t like every song they’ve loaded onto that StarkPhone, Peter is still happy every time he looks at it. He’s always wanted to belong to groups more than he’d admit.

Besides, multiple playlists on it contain “Old Town Road.” Whatever he thinks about the pair of genres it belongs to in general, that’s definitely his new favorite song.

#Guardians of the Galaxy #Avengers #peter quill #endgame

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gethealthy18-blog · 5 years

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Dil Se, Dil Tak: 11 Bollywood Dialogues That Pulled At Our Heartstrings & Gave Us Life Lessons

New Post has been published on http://healingawerness.com/getting-healthy/getting-healthy-women/dil-se-dil-tak-11-bollywood-dialogues-that-pulled-at-our-heartstrings-gave-us-life-lessons/

Dil Se, Dil Tak: 11 Bollywood Dialogues That Pulled At Our Heartstrings & Gave Us Life Lessons

Chaitra Krishnan Hyderabd040-395603080 September 25, 2019

Bollywood is going through one of its worst times today — item dances and stardom are ruling over everything. In fact, there are only a few original scripts that are doing well at the box office. The rest of the stories come from regional and foreign movies or from real-life stories and biopics. It’s almost like Bollywood has lost all of its talented writers who once gave us strong and memorable scripts. No, we’re not talking about the black and white era or the 1990s. There are some good movies that were made in the past two decades that have cemented themselves in our hearts.

Each of these movies owe their success to a perfect combination of good direction, good acting, and good cinematography. But the star of the show was always the script. Movies without a good script are like empty vessels that are shiny only on the outside. To prove our point, we bring to you a few dialogues that touched our hearts and gave us major life lessons.

1. “Main apni favorite hoon”- Jab We Met

Yes, you should be your own favorite person and definitely love yourself. Geet did right in reminding us something that we all forget often!

2. “All Is Well”- 3 Idiots

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This movie told you that life is not going to be easy. It’s a mixture of ups and downs and you already know it. There will come a time when you feel that your whole world is crumbling and you don’t have a shoulder to cry on. This is when you should remind yourself that everything is going to be fine.

3. “Main udna chahta hoon, daudna chahta hoon, girna bhi chahta hoon, bas rukna nahi chahta” – Yeh Jawani Hai Deewani

Even though Bunny took it a little too far, his theory holds good (which he realizes later). While you dream and aspire to achieve goals, you are bound to fall at times. However, giving up should never be an option. No matter how bad you fail at something, you should always find it within yourself to move on. Because, life never stops — it keeps going.

4. “Ek baar ek hero tha, usne bahot padhai ki, engineering ki, aur phir usne naukri ki. Aur phir woh yun hi naukri karte karte marr gaya. Kya hua? Pasand nahi aayi ending? Toh badal do.”- Tamasha

Have you ever been forced to do something in life that you never wanted to do? Did you land up sacrificing a large chunk of your soul for that? If the answer is yes, then you’d connect with this dialogue. Ranbir Kapoor’s acting, in combination with this brilliant script, made this one of the best scenes Bollywood ever had.

5. “Vijay Nahi Toh Kya Vijaylakshmi Toh Hai”- Queen

Rani’s friend Vijaylakshmi reminds her that as long as you have friends, it’s okay to not have your boyfriend. This is one of the most heartwarming scenes of this movie and we love it! Don’t we all want a friend like Vijaylakshmi?

6. “Khuda ki raah mohabbat ki raah hai”- My Name is Khan

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Rizwan Khan, in My Name is Khan, says that the path shown by God is that of love and not of hatred and war. This dialogue fits in a scene where he prevents a group of Muslim youth from getting brainwashed by a respectable man (only on the outside) trying to provoke them in the name of religion. This is something that we need to remember — no religion preaches violence. God always wants you to love and be loved.

7. “Kyu sach ka sabak sikhaye, jab sach sunn bhi na paye. Sach koi bole toh tu niyam kanoon bataye.”- Rockstar

This is a line from sadda haq aithe rakh, one of the most popular songs in this movie. We’ve always been taught to learn, believe, and do right things. But when we grow up, we learn that it was mere preaching and all the society actually knows is faking words and making boundaries.

8. “Rona, gussa, nafrat, kuch bhi khulke express karne nahi diya. Ab pyaar kaise express karein?”- Dear Zindagi

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Dear Zindagi is a story of a troubled girl who finds her way to self-love. Kaira, the character played by Alia Bhatt, asks if nobody let you express your negative feelings since childhood, how would you ever know how to express love? Our life is a mixture of both negative and positive feelings, and we should learn to accept them as they are instead of living in denial.

9. “Ajeeb baat hai. Kidnap ho gayi, par wahan azaad thi”- Highway

This Imtiaz Ali movie teaches us the value of true freedom. Veera never felt safe in her own house where everyone was bothered only about their reputation, even when she was raped as a child. She goes on to discover real freedom and moves towards a meaningful life after she gets kidnapped by Mahabir.

10. “Barfi adhoora tha, par uska pyar poora tha”- Barfi!

Shruti’s mother talks her out of marrying Barfi, who was hearing- and speech- impaired. Later, she marries a wealthy man, only to regret leaving Barfi, who knew how to love unconditionally, unlike her husband.

11. “Kuch aur paane ki chaah, kuch aur behtar ki talaash … isi chakkar mein insaan apna sab kuch kho baithta hai joh uske paas hota hai … talaash kabhi khatam nahi hoti … waqt khatam ho jaata hai”- Life In A Metro

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We always run towards the things that we want to achieve, often forgetting what we have in our hands already and how precious they are. And by the time you realize their value, you would have run out of time, just like the character Amol, played by Dharmendra in this beautiful movie.

Sadly, we don’t get such dialogues and movies anymore (except for once in a blue moon). But let’s not give up our hopes. Which is your favorite Bollywood dialogue and why? Let us know in the comments below.

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Source: https://www.stylecraze.com/trending/bollywood-dialogues-that-pulled-heartstrings/

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bollywoodproduct · 2 years

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Lyrics Mujh Se Juda Ho Kar

Lyrics in English | Mujh Se Juda Ho Kar | Hum Aapke Hain koun (1994) | Salman Khan, Madhuri Dixit Mujh Se Juda Ho KarTumhe Door Jaana HaiMujh Se Juda Ho KarTumhe Door Jaana HaiPal Bhar Ki JudaayiPhir Laut Aana Hai SaathiyaanSang RahegaTera PyarSaathiyaanRang LaayegaIntzaarHey Hey Hey Hey (3)……….. Salman Khan and S P Balasubrahmanyam Songs Tum Se Juda Ho KarMujhe Door Jaana HaiTum Se Juda Ho…

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#1990s Evergreen Hindi Songs #1990s Unforgettable Hindi Romantic Songs #A to Z Bollywood Songs #A to Z Hindi Songs #A to Z Song Lyrics #A to Z Songs #All Time Best Songs of Salman Khan #Best 50 Songs of Salman Khan #Best Bollywood Soulful Songs of 1990s #Best Duet Songs of Lata Mangeshkar #Best of Lata Mangeshkar and S P Balasubrahmanyam Songs #Best of Raamlaxman and Dev Kohli #Best of Raamlaxman and Lata Mangeshkar #Best Romantic Songs of 1994 #Best Romantic Songs of 90s #Best Romantic Songs of Lata Mangeshkar #Best Romantic Songs of Madhuri Dixit #Best Romantic Songs of Salman Khan #Best Songs Composed by Raamlaxman #Best Songs of 1994 #Best Songs of 90s #Best Songs of Madhuri Dixit #Best Songs of Salman Khan #Best Songs Written by Dev Kohli #Blockbuster Songs of 90s #Bollywood Hindi Songs of 1994 #Hindi Song Lyrics Starting from M #Hum Aapke Hain Koun (1994) Songs Lyrics #Lata Mangeshkar Duet Songs #Lata Mangeshkar Songs

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celebsbooks · 6 years

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Sonu Nigam is an Indian Singer, Actor and TV Anchor. He was conceived on 30 July 1973 in Faridabad, Haryana, India. Sonu Nigam works in Bollywood Film Industry. He Has Also sung in Bengali, Gujarati, Telugu, Tamil, Marathi, Tulu, Assamese, Odia, Nepali, Maithili and different Indian Language film melodies. He built up himself as the main and Commercial effective Singer of India. Sonu Nigam Net Worth is $8 million and His Salary 7-8 Lakh Rupee for every melody. Sonu Nigam Film Song Debut Bewafa Sanam (1990, Bollywood) and Album Debut Rafi Ki Yaadein Vol 10-20 (1993). He made his on-screen lead part Hindi Movie Jaani Dushman: Ek Anokhi Kahani (2002).

Sonu Nigam

Sonu Nigam Age 45 Years Old, He conceived in Faridabad, Haryana, India. His Father is a Singer named, Agam Kumar Nigam and His mom Shobha Nigam. He has two more youthful sisters Meenal and Neekita. Sonu Nigam is moved on from University of Delhi, New Delhi. Sonu Nigam Married to Madhurima Nigam and they have one child Nevaan. He is Hindu by Religion, Sun Sign Leo and Nationality Indian. Nigam is a sub-position of Kayastha, an upper-level Shudra of North India.

Sonu Nigam Height 5 ft 7 in (170 cm) and Weight 65 Kg (143 lbs). His Body Measurements are 38-30-12 Inches. Sonu Nigam Chest Size 38 Inches, Waist Size 30 Inches and Biceps Size 12 Inches. He has Black Color Hair and Dark Brown Color Eye.

Sonu Nigam is an exceedingly acclaimed Indian playback vocalist whose melodies have been highlighted in various Bollywood and Kannada films. He has likewise discharged various Indi-pop collections and acted in a couple of Hindi component films. He as of late changed the spelling of his last name from 'Nigam' to 'Niigaam' as per numerology.

Early Years⤵

Sonu Nigam started his singing vocation at three years old when he joined his dad in front of an audience to sing Mohammad Rafi's "Kya Hua Tera Wada". At that point on, he went with his dad on his singing assignments at weddings and gatherings. He moved to Mumbai with his dad to start his Bollywood singing vocation at 18 years old.

His first film tune as a playback artist was in the motion picture, "Janum" (1990), which was never authoritatively discharged. He got a break as a playback vocalist in Gulshan Kumar's motion picture, "Aaja Meri Jaan". He at that point sang the melody, "Accha Sila Diya", for the collection, "Bewafa Sanam" (1995), which gave him the acknowledgment as a built-up playback artist.

Melodic Education⤵

It is said that music keeps running in the veins of certain fortunate people. That is by all accounts the case with Sonu Nigam also. Sonu's dad, Agam Kumar Nigam used to perform in arrange appears. Little Sonu used to go with his dad to his shows and his enthusiasm for music developed from that point. When he was four years of age, he had a fit in one of the shows saying that he needed to sing. He sang the superhit tune of Mohammed Rafi "Kya Hua Tera Wada" of the motion picture "Murmur Kisi Se Kum Nahi". That was the start of what has ended up being one extraordinary melodic trip.

Sonu's preparation started at home. He grew up taking in the subtleties of music from his dad. He took preparing of established music from Ustad Maha Kanjar Naveed in Delhi. His enthusiasm for music superseded each other intrigue and he sought after it with a resolute core interest. As a young person, he participated in various local and national music rivalries and won the vast majority of them. It was then that the possibility of turning into a popular playback vocalist in Bollywood jumped out at him. He chose to move to Mumbai when he was 18 and was joined by his dad. He proceeded with his melodic preparing while he was chasing for circumstances under the tutelage the amazing traditional music maestro Ustad Ghulam Mustafa Khan.

Music, Sonu says, is a ceaseless adventure. One needs to put in a ton of his spirit into it and learn constantly. Keeping up quietude and regard is a key part of being a decent education and concentrate the greatest learning

Profession⤵

Playback Singing⤵

Sonu got his first break for playback singing in a motion picture Janam in 1990 however shockingly the motion picture wasn't discharged. He put a considerable measure of confidence in the agreement from T-arrangement yet was disturbed when his tunes were dismissed for S. P. Balasubramaniam. Inspired by his ability, T-arrangement proprietor, Gulshan Kumar offered him a singing contract for his forthcoming venture 'Bewafa Sanam'. The tune 'Achha Sila Diya Tune' turned into a colossal hit and individuals began sitting up and pay heed to this skilled artist.

He battled amid his underlying days in Mumbai as he was not getting numerous playback openings. He did some radio plugs. His principle wellspring of salary was from organizing appears as a Mohammed Rafi voice twofold. He likewise did some forgettable playback work in films like 'Aaja Meri Jaan' (1992), 'Shabnam' (1993), 'Aag' (1994), 'Khuddar' (1994), 'Hulchul' (1994), 'Double' (1994) and 'Slam Jaane' (1995).

His profession took off when he sang consecutive hits like 'Sandese Aate Hain' in the 1997 film 'Outskirt' for which he won the Zee Cine Award. He rearranged among different melodic classes and styles with tunes like 'YehDil' in 'Pardes' (1999) toward one side and the title track of the 2004 film 'Kal Ho Na Ho' at the other. With time he turned into the most trial vocalist in Bollywood playback industry, taking up exceptional undertakings with all the best arrangers including A.R. Rahman in 'Sathiyaa'. Coordinated efforts with current arrangers like the Shankar-Ehsaan-Loy trio, for the melody 'Tanhayee' in the super fruitful 'Dil Chahta Hai', showed his stunning reach and adaptability. He caught the gathering of people's souls with his smooth sentimental versions of melodies like 'Suraj Hua Madhyam' from the motion picture 'Kabhi Khushi Kabhi Gham', or deep 'Dheere Jalna' from the film 'Paheli', both of which won him Zee Cine Awards for Best Playback Singer Male.

At a certain point around 2010-2011, consistently Bollywood motion picture tune was sung by Sonu Nigam. He has worked with legends of Indian music like Lata Mangeshkar and Khayyam. He has incredible regard for contemporary artists like Sunidhi Chauhan, Shaan, Shreya Ghoshal and Kailash Kher.

Aside from Hindi, he has had immense achievement in Kannada motion picture industry also. Till date, he has sung more than 600 melodies in the Kannada dialect. Tunes like 'Cheluve Yeke Bande' from 'Majnu', the title track from the film 'Monalisa' and 'Kannale' made by V. Ravichandran from the film 'Aham Premasmi', made much sensation and won him a few honors.

Music Albums⤵

In 1992, he discharged a collection 'Rafi Ki Yaadein' comprising of fronts of well known Mohammed Rafi melodies. In 2007 he discharged another accumulation of Rafi tunes titled 'Kal Aaj Aur Kal' with over a 100 melodies in a six circle design. He likewise discharged the collection titled 'Rafi Resurrected', a two-plate gathering of Rafi tunes, in 2008.

He discharged a few collections with unique melodies throughout the years. His collection titled 'Deewana' discharged in 1999 under T-arrangement's mark was an enormous achievement. His other unique collections like 'Jaan' and 'Chanda Ki Doli' were discharged in 2000 and 2005 individually.

His other essential music collections were 'Traditionally Mild' in 2008 and 'The Music Room' in 2014 as a team with percussionist Bickram Ghosh.

Author⤵

Sonu Nigam is moderately new in the part of a music author and has made music out of a few tracks in standard Bollywood films like, 'Singh Saab the Great' (2013), 'Jal' (2014), 'Glad Anniversary' (2016) and 'Tum Jo Mil Gaye Ho' (2016).

Joint efforts⤵

His ability has pulled in a few cooperative works with famous music identities from everywhere throughout the world. After the demise of the incredible artist Michael Jackson, Sonu contributed a tune in the tribute collection 'The Beat of Our Hearts' which highlighted vocalists like Judith Hill, Mike Thompson, and Quincy Patrick. He sang at the Inauguration Ceremony of Harvard University's 28th President with the Harvard College Sangeet. In 2008 he visited the United Kindom with the City of Birmingham Symphony Orchestra (CBSO), singing Mohammed Rafi melodies which were later changed over into the collection, Rafi Resurrected. Sonu worked together with Britney Spears in 2011 Nigam on a remix of her track 'I Wanna Go'. In 2012 he highlighted in the melody 'Indian Levels' in a collection delivered by DJ Avicii.

Acting⤵

Aside from a pleasant voice, Sonu is additionally honored with glorious great looks. He has included in films like 'Jaani Dushman: EkAnokhiKahani' (2002), 'Kash Aap Hamare Hote' (2003) and 'Love in Nepal' (2004). These films did not toll well in the cinema world and Sonu did not seek after acting further.

TV and Radio⤵

Toward the start of his vocation, Sonu facilitated the singing rivalry demonstrate 'Sa Re Ga Ma' in 1995 which made him an easily recognized name. From that point forward he has shown up in numerous unscripted tv appears as a judge. He has shown up in Indian Idol (seasons 1, 2, 3, 4 and 7), Amul STAR Voice of India (seasons 1 and 2), Chhote Ustaad and X – Factor India.

Sonu Nigam additionally showed up on a radio show on Radio City 91 FM, known as 'Life Ki Dhun'.

Honors⤵

Till date, Sonu Nigam has had 29 designations of which he has won 15. He has packed away esteemed honors like Film Fare, Zee Cine Awards, and National Film Awards. He won the most extreme number of honors for Best Playback Singer Male for the title track of film 'Kal Ho Na Ho'. A rundown of his assignment and honors might be found in https://ift.tt/2Mfs0Qk.

Discussions⤵

He confronted colossal reaction from the Bollywood music industry for being vocal about issues like Singer's Right and Copyright Act. Gossipy tidbits about issues in marriage had surfaced in the media, in spite of the fact that Sonu and his significant other denied such assertions and are going solid.

Pop Albums And Concerts⤵

Sonu has discharged various pop collections, both in Hindi and in Punjabi. The "Traditionally Mild" collection is the best among all. He has likewise discharged a few collections of Mohammad Rafi's tunes and in addition reverential collections.

TV, Radio, And Acting⤵

Other than "Sa Re Ga Ma," Sonu Nigam has likewise facilitated the TV indicate Kisme Kitna Hai Dum and has been a judge on the show Indian Idol (disclosed on Sony Entertainment Television) seasons 1 and 2. Sonu came back to Indian Idol in its third and fourth seasons as a big name judge.

Individual Life⤵

Sonu was destined to Agam Kumar Nigam and Shobha Nigam on July 30, 1973, in Faridabad, Haryana, India. He went to the J.D. Tytler School. He has two sisters, Meenal and Neekita.

Sonu is near his folks. The two his dad and mom are great vocalists, and in 2005 and 2007 his dad discharged two profoundly well-known collections, "Bewafaai" and "Phir Bewafaai", individually.

Neekita is additionally an artist. She has sung a couple of playback tunes and showed up on a couple of stages appears with Sonu. Sonu wedded Madhurima on 15 February 2002. They have a child, Nevaan, conceived on July 25, 2007.

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pagalworldtop-blog · 7 years

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Listen To Evergreen Indian Music On Pagalworld

Bollywood music refers from Hindi languages songs which are featured in the films are formally known as Bollywood songs. Derived from the song and dance routine in Western film circles, Bollywood songs along with dance which are a characteristic motif of Hindi films that gives it enduring popular appeal, cultural value and context among the peoples of India and outside of the whole world.

The journey of Hindi languages songs was starred from 1931 in a film 'Alam Ara' by Ardeshir Irani. This film was the first sound film in the history of Bollywood music. On that time, listening music was not so easy as peoples of Asian continent was lagged behind from technologies than western countries. Also peoples of Indian subcontinent was back from education, and were lived under impoverished condition. On that time, radio was the only media for listening news or music from sources. Only few peoples had the ability to listen on that time. For this, Bollywood music was not became popular. After passing a long way, tackle with time, everything has been changed. Technology developed, peoples became modernized here.

After 1980's, music of Bollywood was entered into a new dimension. Era of Bollywood music has gained a special attention for their classical musical styles, romantic songs became loved by listeners. After then, in 1990, a musical album was made a hue among the people. 'Aashiqui' album was got a mad response by the peoples . This album music was composed by Nadeem–Shravan, was earned more than 20 crore on that time. Now, Bollywood music is the most popular and highest listening music beside western music.

In order to reach this level, it was not so easy. Contribution of many legendary person, hold many singers, musician's hands, slowly Bollywood music reached at the route to success. Many of them, Mohammad Rafi, Asha Bhosle, Lata Mangeshkar, Ustad Nusrat Fateh Ali Khan, Alka Yagnik, Udit Narayan, Kumar Sanu, Shaan, Rahat Fateh Ali Khan, Sunidhi Chauhan, etc and many others, Nadeem-Shravan, Jatin-Lalit, RD Burman, Himesh, A.R Rahman, Ramlaxman, Anand Raj Anand and many music directors has outstanding contribution for making Bollywood music great success. Many of them were leaved this world now, we wish may their soul live in peach. And whom are lives, we wish their long healthy life.

Now a days, it is more easy to listen music both online or offline. People can watch music videos on YouTube and other video sharing sites. Also, can listen mp3 music on Saavn, Gaana, Wynk music website, and also can download songs from many music providers like as pagalworld.com, mp3mad, downloadming etc sites.

All of free music provider sites, pagalworld is the best of them. visit now and get Indian music free online.

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stormyrecords-blog · 7 years

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GIANT new release list

stormy records13306 michigan avedearborn, mi 48126 313-581-9322 AMAZING week of new releases - we've got new works by old favorites (members of SCORN, PANASONIC), JOHN ZORN, EUGENE CHANDBOURNE, new music by COLLEEN, KING KRULE, DON CABALLERO, and hallowwen favorites including BOLLYWOOD BLOODBATH, GUNDELLA THE WITCH, and VINCENT PRICE!!!!!! so many great new tunes for your ears!!! new arrivals for 10-20-17 BULLY: "LOSING" (Sub Pop) LOSER EDITION COLOR VINYL LP - $19.99 / CD - $13.99 BRAND NEW FULL LENGTH! Free Poster & Sticker (while supplies last) WOLF PARADE: "CRY CRY CRY" (Sub Pop) LOSER EDITION COLOR VINYL Double LP - $24.99 / CD - $13.99 A couple of weeks late on this one, but we do have the Loser Editions! Free POSTER and STICKER while they last COLLEEN: "A FLAME, MY LOVE" LP - cd $16.99 lp $21.99A flame my love, a frequency marks another bold step in Colleen's evolution as an artist, as Schott set aside her signature instrument the viola da gamba for an entirely electronic setup, utilizing pocket synthesizers and Moog pedals. Like her move from instrumental music to vocally driven songs, or her move from guitar to cello to the viola da gamba, the keyboard melodies of the album captures Colleen's ability to adapt and grow with each release, while retaining her singular qualities as an artist. KING KRULE: "THE OOZ" Double LP $25.99 COURTNEY BARNETT & KURT VILE: LP - $19.99 / CD - $13.99 DESTROYER: "KEN" Color Vinyl LP w/ BONUS 7" - $26.99 / Black Vinyl LP - $19.99 / CD - $13.99 THE CLIENTELLE: "MUSIC FOR THE AGE OF MIRACLES" LP - $19.99 SPOON: "GA GA GA GA GA" Double LP - $29.99 10th Anniversary Re-issue. Remastered 180 gram. Download Included. Extra 12" includes previously unreleased songs. SUPERCHUNK: "SUPERCHUNK" LP - $19.99 Remastered Debut Album comes with a poster & an additional download of a 1990 NYC concert. WILLIAM TYLER: "DESERT CANNON" Double LP - $21.99 Double LP cut @ 45 rpm. USA Re-issue of this album originally an import only release from 2008 WILLIAM TYLER: "MODERN COUNTRY" LP - $19.99 Back In Stock! Outstanding recent release by this wonderful instrumental guitarist. A Stormy Records favorite! RADIOHEAD: "OK Computer OKNOTOK" Triple LP - $39.99 BLUE COLOR VINYL!!!! One Copy Back In Stock PAVEMENT: "CROOKED RAIN, CROOKED RAIN" LP - $20.99 Back In Stock after a long absence. THE NATIONAL: "SLEEP WELL BEAST" Double LP - $25.99 Blue Color Vinyl. 1st time in stock. JACKIE SHANE: "ANY OTHER WAY" (Numero) Double LP - $25.99 / Double CD - $21.99 Known by genre aficionados as one of the greatest singers and most riveting stage presences in soul music, Jackie Shane has remained largely unknown outside Toronto, where her career briefly flowered in the 1960s. Beyond her unmistakable gift of the gab, Shane is a pioneer of transgender rights, born in a male body but unabashedly living her entire life as a woman at a time when to do so seemed unthinkable. Any Other Way is the first artist-approved collection of Ms. Shane's work, collecting all six of her 45s and every highlight from the legendary 1967 live sessions at the Sapphire Tavern, including three mind blowing, previously-unreleased tracks. Rob Bowman's 20,000 word essay is Jackie's first communication with the public in nearly half a century, telling for the first time ever Jackie Shane's story in her own words. RITUAL HOWLS: "THEIR BODY" 5 song 12" EP - $14.99 Back in stock - brand new music! ALEX LAHEY: "I LOVE YOU LIKE A BROTHER" (Dead Oceans) LP - $17.99 Limited Edition OPAQUE YELLOW VINYL Pressing DON CABALLERO: "SINGLES BREAKING UP (Vol. 1)" LP - $21.99 13 song collection of singles from the 1990's. COLOR VINYL first edition - download included. HEADROOM: "HEAD IN THE CLOUDS" (Trouble In Mind) LP - $17.99 Color Vinyl 1st pressing. PASTOR T.L. BARRETT: "LIKE A SHIP...(Without A Sail)" (Numero) LP - $16.99 FINALLY BACK IN PRINT! JOHN CARPENTER: "LOST THEMES" (Sacred Bones) LP - $18.99 GREEN VINYL * Limited to only 500 copies JOHN CARPENTER: "ANTHOLOGY Movie Themes 1974-1998" (Sacred Bones) LP + 7" - $22.99 Limited Edition COLOR VINYL pressing - includes a bonus 7" CULTS: "OFFERING" LP - $21.99 Brand New Album REPTALIENS: "FM-2030" (Captured Tracks) LP - $18.99 "Full of lush melodies and catchy hooks, Reptaliens create psychedelic, chameleonic dreamscapes on their debut album" NHK YX KOYXEN: "EXIT ENTRANCE" (DFA) LP - $18.99 Exit Entrance is the Japanese techno artist’s first record for the veteran New York label. According to a press release, the album’s eight tracks cover “elegant arrangements and crisp drum breaks”. The album closes with ‘Outset’, a “somber hushed techno tune” dedicated to the late Mika Vainio, who collaborated with Matsunaga on several records over the years. SHIGETO: "THE NEW MONDAY" Double LP - $22.99 Brand New Release * COLOR VINYL and also comes with a SHIGETO button. MOGWAI: "EVERY COUNTRY'S SON" Triple LP Box Set - $52.99 third album in this limited edition Box Set includes demo versions. Also comes with the CD version and a set of photo prints. ASTON NEIGHBORHOOD PLEASURE CLUB featuring DAVID J - "HIS SIDE / HER SIDE" $9.99 BRAND NEW Clear Vinyl 7" Single released by HOLD FAST. Limited Numbered Edition of 500 copies HER DARK HOST - "CRIMSON QUEEN" / "LYCANIA" $6.99 Danzig / Blues Metal. Brand New Single released by HOLD FAST. Limited Numbered Edition of only 300 copies "THE ORBIT MAGAZINE ANTHOLOGY" 256 Page Book $35.00 die ANGEL: Entropien l LP $23.99Ilpo Väisänen (Pan Sonic) and Dirk Dresselhaus (Schneider TM) retitle themselves Die Angel for Entropien 1, their eighth LP of electro-acoustic music together, and the duo's debut for Shapednoise's Cosmo Rhythmic label. Accompanied by skilled improviser Oren Ambarchi on two tracks, Die Angel model a complex physicality through raw, elemental inputs, exploring a flux of reactive feedback processes and mutating, unstructured sonic states generated from crackling fusions of electronics, drums, electric guitar, and field recordings warped and riddled with FX. Taking its title from both the Finnish word and German plural for entropy -- in physics, the measure of thermodynamic disorder within a system -- Entropien 1 renders seven examples of their kinetic systems in elusive action, keening from arrhythmic mulch to sloshing Brownian motions and a brilliantly towering 15-minute exploration that tips into billowing, white hot feedback with scintillating effect. The amorphous results document and describe a freeness of energy travelling from body to machine and diffused across alternating acoustic environments. Each player works as controlled, external variables which act upon and interact with the different acoustic conditions to tempestuous impact, convulsing between squashed, recursive diffractions in "Roha", to the sublimated roil of jazz drums and electric guitar wail in "Terminen Kevät", before harnessing sloshing feedback chaos in the combustible, diaphanous two parts of "Entropia" -- both "North" and "South" -- which bring the LP to its logical, compelling conclusion. With the addition of Wold or KTL-like metal emulsification and lacquer-bubbling grain in "Kitka", and Ambarchi's plasmic overdubbing in the burning plasmic plong of "Silvaticum", the overall impression is like auditive DMT, dissolving the senses and the ego -- simultaneously theirs and the listeners -- to better snag the listener in the music's metastable potential and aid our unanchored exploration in those dimensions. Entropien 1 is dedicated to Mika Vainio. RIYL: Pan Sonic, Mika Vainio, KTL. Mastered and cut by Matt Colton at Alchemy. Sun Ra: Discipline 27-II CD $16.99Corbett Vs. Dempsey present a reissue of Sun Ra Discipline 27-II, originally released on El Saturn Records in 1973. Arguably the last great original-era Saturn LP to be reissued on CD, Discipline 27-II has long deserved to be more familiar to Sun Ra fans and layfolk alike. Recorded during the same sessions in 1972 at Chicago's Streeterville Studios that produced Ra's most popular and best-known record, Space Is The Place (1973), it's got much the same vibe, from the 24-minute four-part suite of the title track -- an important conducted piece that Ra performed frequently in these years -- to the opening cut, "Pan Afro", with John Gilmore's sensational tenor work. Sporting a percussion-rich 18-piece Arkestra, the music can be thick, voluble, and dense or it can winnow down to a small group, as on the delightful track "Neptune", a vehicle for June Tyson's singing and the site of the indelible Sun Ra space chant: "Have you heard the latest news from Neptune, Neptune, Neptune?" This marks the first time Discipline 27-II has been reissued on CD. It has been remastered from the original tapes, includes a never published period photo of Ra by Charles Shabacon, and ends with an explosive bonus track from the same session, showing quite a different side of the same ensemble. Personnel: Sun Ra - electronic keyboard space age instruments, Moog synthesizer, vocals; John Gilmore - tenor saxophone, percussion, vocals; Marshall Allen - alto saxophone, flute; Danny Davis - alto saxophone, flute; Pat Patrick - baritone saxophone, bass; Danny Thompson - baritone saxophone, flute; Eloe Omoe - bass clarinet, flute; Akh Tal Ebah - trumpet, flugelhorn, vocals; Lamont Kwamie McClamb - trumpet, percussion; Russell Branch - percussion, congas; Stanley Morgan - percussion, congas; with Alzo Wright, Harry Richards, Lex Humphries, Robert Underwood on drums and vocals by June Tyson, Cheryl Banks, Judith Holton, and Ruth Wright. Cover art by LeRoy Butler; cover design by Alton Abraham. Recorded by Ed Michel at Streeterville Studios, Chicago, October, 1972; LP produced by Alton Abraham for Infinity Inc. Chadbourne, Eugene: Lost Eddie Chatterbox Session CD $16.99Corbett Vs. Dempsey present The Lost Eddie Chatterbox Session, a reissue of Eugene Chadbourne's album, first released as a cassette on No Prestige Records in 1988. Dateline: Christmas Day, 1977, San Francisco. On an ailing quarter-track tape deck, in a marathon session, Eugene Chadbourne recorded a series of slide guitar solos playing compositions by the likes of Thelonious Monk, Charlie Parker, John Coltrane, and Ornette Coleman, along with a few standards and originals. Although the recording quality was imperfect, the playing was absolute genius -- enough so that Chadbourne was eventually convinced, a decade later, to issue it as a cassette tape, which he sold at concerts. Long pre-dating the slash-and-burn-and-reinvent approach to jazz songbooks now familiar from groups like News From Lulu, Chadbourne leapt into each short track with giddy abandon, introducing the piece with a nerdy credit line, then ripping and tearing at it adoringly, his improvisations forcing a new view of the familiar melodies. Anyone familiar with Chadbourne's wonderful duets with Frank Lowe on Don't Punk Out! (1979), waxed in the same period, has a general sense of his modus, but the complete commitment he gave to the project on The Lost Eddie Chatterbox Session makes it a special and wholly unique item in the manic master's chronicles. On this special CD reissue, the tracks have been tenderly but respectfully restored, eliminating some of the most distracting audio flaws but leaving the inconceivable artistry intact. Four unreleased tracks have been added to the jam-packed program, as well as the original cover photo and Chadbourne's unreadable track listing, which is carefully reproduced on the interior. Recorded December 25, 1977, in San Francisco John Zorn and Eugene Chadbourne: 77-81 LP+BK $44.99Song Cycle Records present a reissue of 1977-1981, a collection of rare free-jazz pieces performed by John Zorn and selected by the American guitarist and music critic Eugene Chadbourne originally released in 1998. Originally released to accompany the book release of Sonora: John Zorn (Materiali Sonori), the album is presented here for the first time in an exclusive release in limited edition on vinyl. This special issue includes the original book that features exclusive interviews, essays, and photos about the artist's entire oeuvre up to 1988. VA: Bollywood Bloodbath CD $17.99 VA: Bollywood Bloodbath 2LP $29.99restock on one of carl's essentail listening favorites!!black vinyl, 2 slabs of screams, sighs, shrieks and sitars!! songs from horror slasher bollywood films - makes great halloween listening!! Caretaker: Everywhere At The End Of Time 1-3 3CD set $29.99The first three stages in a series of six albums by The Caretaker, compiled here on a deluxe three CD collector's edition. Each album reveals new points of progression, loss and disintegration, progressively falling further and further towards the abyss of complete memory loss and nothingness... Embarking on the Caretaker's final journey with the familiar vernacular of abraded shellac 78s and their ghostly waltzes to emulate the entropic effect of a mind becoming detached from everyone else's sense of reality and coming to terms with their own, altered, and ever more elusive sense of ontology. The series aims to enlighten our understanding of dementia by breaking it down into a series of stages that provide a haunting guide to its progression, deterioration, and disintegration, and the way that people experience it according to a range of impending factors. In other words, Everywhere At The End Of Time probes some of the most important questions about modern music's place in a world that's increasingly haunted or even choked by the tightening noose of feedback loops of influence; perceptibly questioning the value of old memories as opposed to the creation of new ones, and, likewise the fidelity of those musical memories which remain, and whether we can properly recollect them from the mire of our faulty memory banks without the luxury of choice. It's highly encouraged that you join The Caretaker on this, his final journey through the endless haunted ballrooms and mazy corridors of his wasting mind... Features new and exclusive artwork by Ivan Seal on each panel -- made especially for this series. Housed in a deluxe eight-panel, triple digifile. Mastered and cut by Lupo. Fret: Over Depth 2LP $28.99 Mick Harris (Scorn, Quoit, Painkiller) returns after several years of hiatus with ten tracks of blasting landmine bass and interlocking shrapnel rhythms. Derek Szeto on the album: "... For someone with decades of releases over various solo projects, collaborations and pseudonyms, whether it's doing blast beats in the original Napalm Death to crushing techno brutality as Monrella, or savage drum & bass as Quoit. Then of course there's the mighty Scorn and his numerous collaborations with fellow luminaries such as John Zorn and Bill Laswell (in Painkiller). Rather than being tied to genres or scenes, Mick Harris is one of those producers who creates a whole sonic world uniquely of his own . . . Needless to say his work has influenced legions of producers like Surgeon, Regis, Ontal, Vatican Shadow/Prurient, Fausten, Shapednoise et al. . . . And yet after all this time, it is impressive that Harris still stands way above his successors and has never been surpassed in his own production/performance game. After a hiatus of several years, he is back with a new album under the guise of Fret. Working at a faster tempo than his Scorn material, the Fret project first surfaced years ago on the Downwards label, rooting it firmly in the dark, industrial and technoid world, and appeared more recently on Tresor (Kern mix by Objekt), maintaining the characteristic colossal bass-heaviness and textural depth. And now a full album on Karlrecords, Berlin. Harris fans will be delighted to know that despite the 130 bpm tempo, the newest Fret still resolutely avoids any straight four-on-the-floor kick drums; every track lurches, stumbles, staggers and charges forth with beats in beautifully broken asymmetry. We get ten tracks of crushing, percussive destroyers, each itself a storm of precision chaos, with colossal low-end frequencies that'll cause stampedes in the right circumstances. The classic Harris sound is there; searing waves of feedback distortion, intricate, interlocking rhythms and cold, abattoir atmospheres . . . The lazy-minded would probably lump it in with the term 'techno', but the disciplined brutality, blasting landmine bass and interlocking shrapnel rhythms are clearly Harris's own trademark style, sitting somewhere between Scorn and Quoit. The tracks appear deceptively chaotic on the surface, yet each is meticulously and masterfully composed with great attention to layering and detail." 180 gram vinyl; Includes download code. Outro Tempo: Electronic And Contemporary Music From Brazil, 1978-1992 double cd $22.99Double CD release of the outstanding compilation, Outro Tempo: Electronic And Contemporary Music From Brazil, 1978-1992. Contains three tracks not included on the double LP version (MFM 016LP). For their first multi-artist compilation, Music From Memory take a trip to the heart of the Amazon rainforest. Outro Tempo: Electronic And Contemporary Music From Brazil, 1978-1992 explores the outer reaches of Brazilian music, where indigenous rhythms mix with synthesizers and where MPB mingles with drum computers. As Brazil faced the last years of its military dictatorship and transition to democracy, a generation of forward-thinking musicians developed an alternative vision of Brazilian music and culture. They embraced traditionally shunned electronic production methods and infused their music with elements of ambient, jazz-fusion, and minimalism. At the same time they referenced the musical forms and spirituality of indigenous tribes from the Amazon. The music they produced was a complex and mesmerizing tapestry that vividly evoked Brazilian landscapes and simultaneously reached out to the world beyond its borders. Features: Piry Reis, Nando Carneiro, Cinema, João De Bruçó & R. H. Jackson, Os Mulheres Negras, Fernando Falcão, Anno Luz, Andréa Daltro, Bené Fonteles, Maria Rita, Carlinhos Santos, Bené Fonteles, Priscilla Ermel, Carioca, Marco Bosco, and Luhli E Lucina. Greiner, Svarte: Knive LP $23.99Miasmah present a reissue of Svarte Greiner's debut album Knive, originally released on Type in 2006. 11 years since its inception, the surreal and darkly romantic Knive still sounds like a mystery and something that's hard to pin down. Svarte Greiner's debut album feels like a trip into the forest at midnight, with all the sounds and impressions that comes with it. Spiritual, horrific, and fragile in essence, its melancholic core is hard to shake off, and feels as present today as it did back then. While starting off the sub-genre of "acoustic doom" back in 2006, it's difficult to say what else to name it now, with its inspiration and elements from countless genres. The record flows through the dissonant cellos and washed-out vocals of "Ocean Out Of Wood" past the introverted church organs of "The Black Dress", distorted guitars and wooden beats of "The Dining Table" to the operatic finale of "Final Sleep". Everything is scattered, with field recordings from crows, branches, walking, sleeping, rain, wind, and who-knows-what. Knive stands on many feet, wherever they may be. Erik K Skodvin's path as Svarte Greiner have since been dwelling more and more into this world, picking each element apart to focus on them, stretching them out or cutting them down, looping, experimenting, and flooding with reverb -- trying to make time stop and night fall. But for now a re-visit to where it all started seems appropriate. Includes download code; Full-tone color artwork; Edition of 500. Partch, Harry: And On The Seventh Day Petals Fell In Petaluma lp $26.99Performed by The Gate 5 Ensemble: Harry Partch (director), Danlee Mitchell, Harry Partch, Michael Ranta, Emil Richards, Wallace Snow, Stephen Tosh. Limited edition LP release (180 gram vinyl) with previously unpublished bonus tracks + free download card. "'In late 1962 Harry Partch returned to California and began a project that would not only become the bones of a masterwork, Delusion of the Fury, but have a life of its own. In a too-small space within an abandoned Petaluma chick hatchery, Partch gathered the instruments he had designed and built -- new and old -- eager to once again expand the boundaries of his compositional fabric. He learned each individual part as he composed, establishing that it could be played. And On The Seventh Day Petals Fell In Petaluma (1963-64, rev. 1966) was born of his exploration and assembled with that 'minimum of players' over a three-year period. In spite of rough conditions and meager resources Partch's dogged persistence, along with the efforts of his dedicated assistants, eventually succeeded in realizing the 34 verses of expanded duets. With this album we revisit an important work and turning-point, guided by the original 'Statement' Partch wrote for the first commercial release of the piece. Previously only excerpted, it is a voicing of his beliefs that transcends one project to illuminate an entire purpose. We also reprise exquisite notes by the late Bob Gilmore, who distills and explains the story of Petals so clearly and eloquently. No one wants a dead reissue, so by digging into the archives, I am pleased to offer hidden gems. First, The Petals Sessions is an aural glance into the cramped quarters of the recording space, as composer and players labor to bring new notes to life, Harry himself giving direction. The montage ends with a 'test take' by Danlee Mitchell and Michael Ranta that could have easily been a keeper! Finally, we present the original Verse 17. In 1964 Partch wrote two duets that used the Adapted Viola; by the time the piece was finished in 1967, he had excised them. The ending track -- never before released -- brings Harry back to life, playing and recording Adapted Viola for one of the last times. I was completely unaware of this recording until I examined the outtakes and it glows, fifty years on. That Petals ever came to be, like much of Partch's story, stands somewhere between determination and miracle.' --Jon Szanto, The Harry Partch Foundation" Price, Vincent: Hornbook for Witches CD $12.99Reissue of the ultra-rare 1976 vinyl, Vincent Price's A Hornbook For Witches, Stories And Poems For Halloween, on CD for the first time. Turn up the volume, and turn down the lights. Suspense-master Vincent Price presents a hair-raising, bone-chilling collection of classic horror tales featuring a ghastly brew of witches, ghosts, and goblins. Edgar Allan Poe's eerie Dreamland, John Collier's offbeat Thus I Refute Beezly, and Marias Leech's practical but frightful How To See Ghosts Or Surely Bring Them To You, are just a few of the tales stirring up fear in this chilling concoction of horror. These stories, sounds, spells, and incantations will send shivers up your spine. This is a truly amazing landmark recording from the good old days presented by one of the greatest voices of horror. Also features pieces written by Leah Bodine Drake, Charles Kingsley, and John Kendrick Bangs. Comes complete with all the original stunning album artwork. Digitally remastered. Gundella - The Hour Of The Witch LP $27.99 Make someone love you, discourage an unwanted suitor, and more - with the power of witchcraft! Finally, this obscure LP of spells reappears! A descendant of the green witches of Scotland, part of a Detroit area coven, and author of multiple books and a newspaper column helping solve everyday problems from the Wiccan perspective, Gundella helps you test your psychic powers, make ritualistic candles, and mold wax dolls. She’ll define witchcraft & magic, and teach you how to cast your own spells! Gundella’s arcane instructions are accompanied by a perfectly atmospheric and esoteric soundscape created by her son. All scribed into bewitching green vinyl or CD! Both including extensive notes by Gundella’s daughter! The LP features a 16 page portfolio of Witch Watch articles compiled by Gundella herself! Kelela - Take Me Apart black vinyl $24.99 Kelela - Take Me Apart (TRANSPARENT VINYL) $28.99With great anticipation, Kelela's debut album emerges as an epic portrait of an artist spanning the past and future of R&B. In her hands, however, the genre knows no boundaries and so Take Me Apart exists as an absolutely singular and fearless addition to a canon of recent classics. From her very earliest work, honesty and vulnerability have been cornerstones of Kelela's art - even when clad in the armor of the avant-garde electronics she so deftly inhabits - and Take Me Apart sees her double down on both the emotional intensity and resonance of her message as well as the sonic seeking she is renowned for. Single vinyl with printed inner and outer sleeves includes download code. Various Artists - Detroit Ghetto Blues 1948-1954 LP $20.99 Laraaji - Bring On The Sun + Sun Gong CD restock $17.99 Wolfe, Chelsea - Hiss Spun LP $26.99 While past albums operated on the intimacy of stripped-down folk music (The Grime and the Glow, Unknown Rooms), or the throbbing pulse of supplemental electronics (Pain Is Beauty, Abyss), Chelsea Wolfe’s sixth official album Hiss Spun wrings its exquisiteness out of a palette of groaning bass, pounding drums, and crunching distortion. Recorded by Kurt Ballou (Converge), the album was conceived as an emotional purge, a means of coming to terms with the tumult of the outside world by exploring the complexities of one’s inner unrest. “I’m at odds with myself,” she explains. “I got tired of trying to disappear. The record became very personal in that way. I wanted to open up more, but also create my own reality.” Hiss Spun features contributions by Aaron Turner (Old Man Gloom, SUMAC) and Troy Van Leeuwen (Queens of the Stone Age, Failure). Various Artists - Lake Michigan Blues 1934-1941 LP $20.99 MacKay, Bill and Ryley Walker - SpiderBeetleBee LP $22.99 Drag City presents the second volume of Bill MacKay and Ryley Walker's inspired collaboration. It's been nearly two years since their much-admired 2015 debut, Land of Plenty (Whistler Records), and SpiderBeetleBee more than makes up for lost time with rich, resonant performances that elevate the sound of the guitar duo as they work with an ever-widening panorama of styles. Their first album was developed over a month-long live residency at Chicago bar The Whistler, and reflected MacKay and Walker's shared joy in a new relationship with a kindred spirit, in playing that might wordlessly finish a phrase or suggest a direction, as they spoke through their guitars. SpiderBeetleBee continues fluidly down the path of their initial psych-folkblues-raga tandem, brewing further explorations in mixed-and-matchedidioms, turning composed melodies inside-out via improvisation, and finding in the blend a shared Walker/ MacKay pasture, serendipitously found somewhere between Appalachia and the Highlands. SpiderBeetleBee radiates forth with equal parts austerity and whimsy, opening with an almost-baroque dance before giving way to a Celtictheme, both featuring MacKay and Walker's acoustics in rambling conversation, picking through intricate passages as though they were exchanges, thoughts and afterthoughts. The second of these, Pretty Weeds Revisited is enhanced by sonorous statements from Dutch cellist Katinka Kleijn (a veteran of the CSO), showing a deep, instinctive feel for the Walker/MacKay sound. The album then takes an unexpected turn at midpoint, slowly melting down and drifting soulfully through the expansive space of Naturita. Side two picks up the tempo on 'I Heard ThemSinging,' with the aid of MacKay's requinto (a kind of 5-string Mexican guitar), Walker's rolling chords and the percolating tabla of Ryan Jewell, suggesting a hitherto unknown short-cut from Brazil to India. Drafts of slide guitar and bittersweet blues evocation illumine further fruitfultravels before Dragonfly, also featuring Ms. Kleijn's haunting cello, closes the cycle with a flourish. Adorned with Bill MacKay's colorful and wilfully primitive cover-art, SpiderBeetleBee wanders through styles, landmasses and hemispheres, capturing the further adventures of MacKay and Walker with spellbinding snapshots that only bloom Iggy & The Stooges - Raw Power limited RED VINYL lp $29.99 "Released less than a year after The Idiot, Lust For Life is a return to the sloppy, sleazy, blues-y, swagger of the Stooges. Though the record is, again produced by David Bowie, he takes much more of a back seat musically, allowing for Iggy Pop to take center stage in his return to form. His best solo album and an absolute classic from this legend. Limited edition of 1,000 on red vinyl." Upcoming events at Trinosophes Coming Soon:10/27: City of Djinn, Lime Rickey International 11/3: Embral, Devotional11/10: Circuits Des Yeux - $10 general admission $12 at the door. Advance tickets available at Trinosophes or by phone during business hours. 12/2: NOW! (Alex Harding, Vincent Chandler, Leonard King, Phil Hales)12/6: Larry Oches/Nels Cline/Gerald Cleaver Trio. Related10/26: Joel Peterson performs an original score to silent classic Der Golem at Toledo Museum of Art EL CLUB UPCOMING SHOWS (most shows all ages - ticket will say all ages or not)remember - tickets are cash only. this saves us all the service charges!! algiers fri oct 20th $13giraffage sun nov 5th $17kelela tues nov 7th $20parquet courts thurs nov 16th $17daniel ceasar sun nov 19th $15 MARBLE BAR (all shows 18 and over) cults sat oct 21st $19hoop sun oct 22nd $5bully wed nov 8th $15shy girls thur nov 9th $13cold specks wed nov 29th $10 ASSEMBLE SOUND (18 and over) the blow, ema fri nov 17th $13

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whenthatchermeetsbowie-blog · 8 years

Photo

Background

Timeline

1947 David Robert Hayward-Jones was born. 1953 Familie moved to ‘Bromley’. 1959 David received his first saxophone for Christmas. 1962 First band ‘The Konrads’. Beaten on his eye that creates color difference in his eye. 1966 Changed his name to David Bowie. 1967 First album: David Bowie. 1969 Album ‘Space Oddity’ inspired by the movie ‘A Space Odyssey’. He met Angie Barnett. 1970 3th album ‘The Man Who Sold The World’. David Bowie takes an androgyne look. 1971 Album ‘Hunky Dory’. Married Angie, son Zowie was born. 1972 Rock/alien alter ego ‘Ziggy Stardust’ was born. Explained he’s bisexual in magazine Melody Maker'. Album ‘The Rise And Fall Of Ziggy Stardust And The Spiders From Mars’. 1973 David Bowie stops with Ziggy Stardust. Album ‘Aladdinsane’ & ‘Pin Ups’. 1974 Album ‘Diamond Dogs’. 1975 Glamrock alter ego has gone, new way to soul and R&B. Album ‘Young Americans’. 1976 Film ‘The Man Who Fell To Earth (David Bowie leads). Saturn award for best actor. New Identity/alter ego ‘Thin White Duke’. Album ‘Station to station’. 1977 Collaboration with John Lennon. Album ‘Heroe’s’. 1979 Album ‘Lodger’. 1980 Album ‘Scary Monsters And Super Creeps’. David Bowie and Angie divorced. 1983 David Bowie reached the ‘mainstream’ public. Top hits: Modern love & China girl. Post-Disco album ‘Let’s Dance’. 1984 Album ‘Tonight’. Hit ‘Blue Jean’, David Bowie is known for his combinations in music/film/theater. Film ‘Merry Christmas Mr. Lawrence’. 1986 Film ‘Absolute Beginners’. Film ‘Labyrinth’. 1987 Album ‘Never Let Me Down’. 1989 Album & collaboration ‘Tin Machine’. 1990 Sound and vision tour. 1992 Married model/man Abdulmajid. 1993 Album ‘Black Tie White Noise’. 1995 Album ‘Outside’. 1997 David Bowie turned 50. Album ‘Earthling’. David Bowie gets a star on the ‘Walk Of Fame’. 1999 Album ‘Hours’. 2000 Birth of his daughter Alexandra 2003 Top albums ‘Reality’ & ‘Heathen’. 2013 Song ‘Stars Are Out Tonight’. Onverwacht album ‘The Next Day’. 2014 Wint Brit award for ‘best male’. 2016 Album ‘Blackstar’. On 10 January died.

Source: stylebook research Marileen Bouman

General information

Born in Brixton (London) on januari 8 in 1947. His family moved to Bromley when he was six years old. He is an English musician, artist and actor. He changed his name to David Bowie in 1966 because he didn't want people to compare him with Davy Jones from the band 'The Monkies'. When David was in the mand 'The King-Bees' he named himself David Jones.

In 1972 he broke through for the first time with the album 'The rise and fall of Ziggy Stardust and the spiders from Mars'. He created an alter ego named Ziggy Stardust. A androgynous, colorful and unusual appearance. Ziggy Stardust was the beginning of the glam-rock scene.

When Ziggy Stardust stopped Bowie created a new alterego as countermovement. Thin White Duke; skinny, smooth, stylish and more casual. This look went along with the album 'Station to Station' in 1976.

David Bowie is famous for continue changing his style. He also adds several disciplines such as music, fashion, theater and film toghether which always creates something unique. He can analyse trends and dictate them. This has resulted in many top albums, movies, art and theaterplays. He was a big influence in the 70s till now, even after his dead.

Relationships

After different short relationships David met Angie (Angela Barnett) in 1969. They had an open relationship. After a year they got married and in 1971 they had a son named Zowie. Later he changed his name to Jones. The marriage was still 'open' and had a lot of ups and downs. Angie was very depressed and once tried to commit suicide. This let to a divorce in 1980 and David got the custody of Zowie. David had after Angie different short relationships. He met a model in 1990 (Iman Abdulmajid) who he married two years later. In august 2000 they had a daughter named Alexandria.

Family

David Bowie was the son of John and Peggy. His father died in 1969 days after he won the award for best produced record for 'When i live my dream'. David his breakthroguh still had to come but his parents were really proud of him.

David had a half-brother; Terry Burns. They were really close. Terry joined the army in 1956. When he came back he inspired David with different kinds of music and let David see the life outside Bromley (jazz and r&b). At the age of 29 Terry had symptomps of the disease schizophrenia, a disease very common in the family. He was admitted to an institution and tried to commit suicide several times. He succeeded in januari 1985. David was broken about it and later on he wrote a song about it; 'Jump they sey'.

Source: http://www.bbc.com/news/entertainment-arts-20944291

PERSONALITY

For the personality research we looked at the different characters he has made through the years. After that we will make a conclusion of his personality also in mind that he changes himself all the time.

Man Who Sold The World

Much of The Man Who Sold the World had a distinct heavy metal edge that distinguishes it from Bowie's other releases, and has been compared to contemporary acts such as Led Zeppelin and Black Sabbath. Source: http://ziggy.mybluemix.net/static/personality.html?persona=Man%20Who%20Sold%20The%20World

Lyrics song ‘Man Who Sold The World’.

We passed upon the stair, we spoke of was and when Although I wasn't there, he said I was his friend Which came as some surprise I spoke into his eyes I thought you died alone, a long long time ago Oh no, not me I never lost control You're face to face With The Man Who Sold The World I laughed and shook his hand, and made my way back home I searched for form and land, for years and years I roamed I gazed a gazely stare at all the millions here We must have died alone, a long long time ago Who knows? not me We never lost control You're face to face With the Man who Sold the World

Source: http://www.azlyrics.com/lyrics/davidbowie/themanwhosoldtheworld.html

It was his third album "The Man Who Sold The World" that characterised a wholly different sound for him. The heavy rock sound was a marked departure from his folksy overtones and saw him promote the album extensively. It was during these promotions that Bowie’s androgynous appearance was first capitalised upon. The original British cover saw Bowie in a dress, one that he often sported during promotional interviews. His androgynous avatar was hugely popularised and Bowie went on to tease his fans about his perceived bisexuality. Reams have been written back in the day of his sexual preferences, quotes that he himself has later debunked. I never could quite get my head around why he’d do that but it set the notion that if anyone could promote androgyny with such sass, it had to be Bowie. Source: http://www.firstpost.com/bollywood/remembering-remembering-david-bowie-the-man-who-sold-the-world-the-finest-saddest-strangest-and-most-beautiful-freak-show-itll-ever-see-bowie-a-man-whose-music-was-as-metaphorically-schizophrenic-2578976.html

The third studio album by Bowie (in England only in 1971 appeared to meet an alternative hoes, Taking full use is made of the androgynous appearance of the singer - see above) is regarded as an early example of glam rock. The Man Who Sold The World was a Pretty dark plate, which alone was evident in the lyrics. So All The Madmen treats a theme that's coming back more often in his songs: insanity. Bowie GAF later than ook toe HE THAT song was written more than are tragic half-brother Terry Burns, die suffered from schizophrenia and himself 25 years later in life deprived door himself door to let a train run over. Source: http://classicrockmag.nl/classicrockfacts/45-jaar-tmwstw/

1971: Bowie's Three Musketeers Phase

David Bowie is noted for being one of the most sexually open and promiscuous stars ever on-stage. Bowie sampled everyone: his managers, assistants, groupies, other musicians, stars, models, you name it. He and his first wife Angie Bowie had an open relationship and a penchant for throwing orgies at their house on Oakley Street in London that still shocks the neighborhood decades later. Source: http://allday.com/post/909-the-many-faces-of-david-bowie/

The world stood still when David Bowie died on January 10th. Bowie is considered a musical genius, especially since he reinvented himself time and again. He switched regularly by genre, by immersing themselves in it thoroughly and give a complete twist. Creative as he was, he stretched himself in every new musical period a totally new alter ego. Include name, clothing, way of talking and moving. Anyone else would be of acute schizophrenic, but David Bowie was a way to express how versatile he was. Are anything but mainstream characters fell in and worked very refreshing among all the other artists. The best known is probably Ziggy Stardust from the early 70s, a man / alien with bright red hair. Thereafter, among others followed the androgynous Aladdin Sane, the timeless dandy The Thin Duke and Bowie in tight suit "Lets dance" a megahit sang in the eighties. All of these transformations had a large influence. On the fashion world and on society. Were his alter egos and are inspiring for major designers. Miu Miu, Jean Paul Gaultier, Christian Dior, Paul Smith; all of them came in the last few years with a collection that was inspired by one of his characters. He has his androgynous characters as early as the seventies opened doors for transgenders. Without David Bowie no Caitlyn Jenner, we want to say. Source: Viva 26 January 2016

Androgen (no gender)

Long flowing locks, high cheekbones and soft lines; These were the elements that David Bowie his androgynous look was complete for the release of his third album, The Man Who Sold The World. For the British album cover he put on a dress, which he later did wear during interviews and in public. It earned him mixed reactions. His early glam rock and gender-bending style during his Hunky Dory album (think bell-bottom jeans and fur) underlying his alter ego Ziggy Stardust in 1972.

Source: https://fashionunited.nl/nieuws/mensen/david-bowie-de-dood-van-een-mode-icoon/2016011125349

Conclusion: This period relates to his album ‘Man Who Sold The World’. With every new music album he switched style, name, way of talking and moving. He creates a new personality with every new album. Long hair, high cheekbones and soft lines, these were elements for his androgynous look for this album.

What do people think about him? It was new, something they didn’t seen before. What inspired him? Miu Miu, Jean Paul Gaultier, Christian Dior and Paul Smith.

What are the characteristics of this personality? Long hair, high cheekbones and soft lines.

Ziggy Stardust (1972)

The most famous and complete concept that David Bowie created. With this look he was one of the founders of the glam-rock scene. The album is a story about an alien (Ziggy) who in human form the message of hope brings. Ziggy stands for the definition rockstar, sexual promiscuous and wildly on drugs but with a message of peace and love.

'They were different, they were weird' – someone talking about David Bowie and his band.

The idea for the 'look' came from an fascination and an interest in music and theater. The songs came from Bowie's brain, obsessed with space, Japanese culture and fame. He wasn't shy to talk about his inspiration.

'I'm a collector and I collect personalities and ideas'. – David Bowie

He wanted to change the music industry because he thought it was boring.

It took months to develop each members image. People really thought Bowie and his band came from Mars. It was fantasy.

Bowie was going trough a spiritual awakening but was acting it out through the medium of Ziggy. People didn't want to interview Bowie but Ziggy. He was an actor.

'He created a monster and had to kill it, he couldn't be Ziggy Stardust for the rest of his life' – someone talking about Bowie killing Ziggy.

What are the characteristics of his personality? Androgyne – Weird – Open – Imaginative

What inspired him? Fascination and interest in music and theatre, obsessed with space, Japanese culture and fame.

What do people think about him? A weird rockstar

What is his vision here? Be weird, the music industry is boring.

Aladdin sane

Rest in peace, Ziggy Stardust – long live Aladdin Sane. Just a year after seducing the world with the saga of Ziggy, Bowie killed him off to invent a new glam character – a much darker one, with a new hairstyle and a lightning bolt painted over his face. "There was a point in '73 where I knew it was all over," Bowie said. "I didn't want to be trapped in this Ziggy character all my life. And I guess what I was doing on Aladdin Sane, I was trying to move into the next area – but using a rather pale imitation of Ziggy as a secondary device. In my mind, it was Ziggy Goes to Washington: Ziggy under the influence of America.”

Aladdin Sane is a harder, nastier, gaudier album than Ziggy Stardust, written on the road and immersed in the decadence and sleaze of American culture. Each song on the LP is listed with the place that supposedly inspired it: "Watch That Man" in New York, "Drive-In Saturday" in Seattle and Phoenix, "Cracked Actor" in L.A., "Lady Grinning Soul" back in London. But everywhere he goes, he sees cheap sex and cheaper drugs. Now that he'd hustled his way into the American limelight, he wasn't sure he liked it.

Aladdin Sane is the sixth studio album by English musician David Bowie, released by RCA Records on 13 April 1973. The follow-up to his breakthrough The Rise and Fall of Ziggy Stardust and the Spiders from Mars, it was the first album he wrote and released from a position of stardom.

What inspired him? After his Ziggy Stardust character he inspired himself to invent a new darker glam character. He was also inspired by the dirty American culture

What are the characteristics of this personality? Gloomy, Uncertain

BRON 1: http://www.rollingstone.com/music/news/how-america-inspired-david-bowie-to-kill-ziggy-stardust-with-aladdin-sane-20160413

BRON 2: https://en.wikipedia.org/wiki/Aladdin_Sane

Thin White Duke

Wiki https://nl.wikipedia.org/wiki/The_Thin_White_Duke

The Thin White Duke was David Bowie's persona and character, primarily identified with his album Station to Station and mentioned by name in the title track, although Bowie had begun to adopt the 'Duke' persona during the preceding Young Americans tour and promotion. The persona's look and character are somewhat based on Thomas Jerome Newton, the titular humanoid alien played by Bowie in the 1976 film The Man Who Fell to Earth.

At first glance, the Thin White Duke appeared more "normal" than Bowie's previously flamboyant glam incarnations. Wearing a simple and impeccably stylish, cabaret-style wardrobe consisting of a white shirt, black trousers, and a waistcoat, the Duke was a hollow man who sang songs of romance with an agonised intensity while feeling nothing, "ice masquerading as fire".[1] The persona has been described as "a mad aristocrat",[2]”an amoral zombie",[3] and "an emotionless Aryan superman". Bowie himself described the character as "A very Aryan, fascist type; a would-be romantic with absolutely no emotion at all but who spouted a lot of neo-romance."

The Thin White Duke was a controversial figure. While being interviewed in the persona in 1975 and 1976, Bowie made statements about Adolf Hitler and fascism that some interpreted as being positive or even pro-fascist. The controversy deepened in May 1976 when, while acknowledging a group of fans outside of London Victoria station, he was photographed making what some alleged to be a Nazi salute. Bowie denied this, saying that he was simply waving and the photographer captured his image mid-wave. As early as 1976, Bowie began disavowing his allegedly pro-Fascist comments and said that he was misunderstood. In an interview that year in the Daily Express, he explained that while performing in his various characters, "I'm Pierrot. I'm Everyman. What I'm doing is theatre, and only theatre... What you see on stage isn't sinister. It's pure clown. I'm using myself as a canvas and trying to paint the truth of our time on it. The white face, the baggy pants - they're Pierrot, the eternal clown putting over the great sadness."In 1977 (after retiring the persona), Bowie stated that "I have made my two or three glib, theatrical observations on English society and the only thing I can now counter with is to state that I am NOT a Fascist".

In later years, Bowie called the period from late 1974 until early 1977 which culminated in his Thin White Duke persona "the darkest days of my life" due to his "astronomical" cocaine usage. He blamed his erratic behaviour and fascination with Nazi and occult symbols during that time on his precarious drug-addled mental state, and he claimed that he did not even remember recording Station to Station in 1976."I was out of my mind, totally crazed."As his drug habit ate away at his physical and mental health, Bowie attempted to reduce his cocaine intake and phase out the Thin White Duke persona, whom he had come to see as "a nasty character indeed", and later, "an ogre". He left Los Angeles and settled in West Berlin in late 1976. He would live there for almost two years, moving on from the Thin White Duke era both musically and personally with his "Berlin Trilogy" albums (Low, "Heroes", and Lodger) in collaboration with Brian Eno and Tony Visconti. >

Book: David Bowie Style

> Chapter 4: Diamond Dog to Thin White Duke

If Ziggy was about the blaze of a new star and Aladdin Sane his fall from the heights, the Thin White Duke represented the emptied shell of the man left in the aftermath.

Still this was a period where he became very famous hanging with people like John Lennon and Elizabeth Taylor.

The Duke was a man struggling to experience his own emotions, existing in an amoral zone of numbed feeling. Once more, the boundary between the artist and his creation became unstable, with Bowie's drug consumption and minimal food intake a recipe likely to send any individual into fraught mental state. His Restricted diet also meant that Bowie appeared skeletal – spectral almost – with translucent skin stretched over razor-sharp cheekbones and deep-set eyes.

Like a torch singer lit by a dying candle, the Duke was, in Bowie's own words very 'Berlin-esque', conjuring up elements of the underground nightclubs that had existed in the city during the 20s and 30s. Like Berlin at that time, the Duke was a character on the edge of catastrophe. Bowie's dark aesthetic during this incarnation reflected both that previous era and the 70s, when economic stagnation in the west was rife and civil unrest seemed to be inevitable. The colorful blaze of Ziggy's rise was now brought fully back to earth and the Thin White Duke embodied the dark trauma of a burnt-out star.

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What do people think about him?

David Bowie was very populair and tried to make it in America. With friends like John Lennon and interesting music he became very populair. But because he made pro-fascist statements linked with persons like Hitler people became very critical on him. Later he explained that he was mentally ill and this was actually the worst time of his life because of drug problems. This period was a very dark period in his life and this character is kind of the translation of this. The opposite of the colorful Ziggy Stardust. “Thin White Duke embodied the dark trauma of a bunt-out star”.

What inspired him?

Thomas Jerome Newton, a character that he played in the movie: The man who fell to earth. This movie was also an inspiration for him because he always had a link with the unknown and alien things.

He also was using a lot of drugs and later even claimed that he did not know anything of the recordings anymore.

What was his vision here?

I don't think he really had a vision in this period of his life. He made different statements that people called 'Fascistic' but he said later that he is not and that he was using so much drugs that he didn't think clearly. But because it was a very dark period I am sure he had dark thoughts about life but there are no facts about that.

What are the characteristics of this personality?

Fascist/ Controversial/ Numbed emotions/ Emotionless/ Unstable/ Empty/ Lonely/ Depressed

Top 3: Emotionless/ Depressed/ Unstable

Berlin Bowie moved to Switzerland in 1976, purchasing a chalet in the hills to the north of Lake Geneva. In the new environment, his cocaine use decreased and he found time for other pursuits outside his musical career. He devoted more time to his painting, and produced a number of post-modernist pieces. When on tour, he took to sketching in a notebook, and photographing scenes for later reference. Visiting galleries in Geneva and the Brücke Museum in Berlin, Bowie became, in the words of biographer Christopher Sandford, "a prolific producer and collector of contemporary art. Not only did he become a well-known patron of expressionist art: locked in Clos des Mésanges he began an intensive self-improvement course in classical music and literature, and started work on an autobiography.”

Source: https://en.wikipedia.org/wiki/David_Bowie#1976.E2.80.931979:_Berlin_era

When Bowie moved from Los Angeles to Berlin in late 1976, he’d been on the edge of physical and mental collapse. At first, he fell back on old habits, cruising around the divided city with flatmate Iggy Pop, drinking KöPi at Joe’s Beer House, stumbling into gutters and transvestite bars, clubbing at the Dschungel and the Unlimited. One night, Iggy sat in the passenger seat as Bowie rammed their dealer’s car again and again, for five crazed minutes. He then drove around their hotel’s underground car park, pushing 70mph, screaming above the screech of the tyres that he wanted to end it all by driving into a concrete wall. Until his car ran out of fuel and the two friends collapsed in hysterics. He realised his goal was not simply to find a new way of making music, but rather to reinvent – or to come back to – himself. He no longer needed to adopt characters to sing his songs. He found the courage to throw away the props, costumes and stage sets. By the summer of 1977, Bowie was on a creative high. With producer Tony Visconti and friend Brian Eno, he began to make a new album. Over long sessions in the studio, he ate almost nothing, sailing home to Hauptstraße with Eno at dawn, breaking a raw egg into his mouth, and sleeping a few hours before returning to the studio. Source: https://www.theguardian.com/music/2016/jan/13/david-bowie-berlin-years-heroes-just-a-gigolo

Interview with David Bowie about his time in Berlin.

Many reasons have been suggested for moving to Berlin: the local art and music scene, to escape superstardom, for spiritual and physical detox - plus the creative stimulation of being in an isolated, edgy, divided city. Are these theories accurate? Can you remember why the city appealed?

db: Life in LA had left me with an overwhelming sense of foreboding. I had approached the brink of drug induced calamity one too many times and it was essential to take some kind of positive action. For many years Berlin had appealed to me as a sort of sanctuary like situation. It was one of the few cities where I could move around in virtual anonymity. I was going broke; it was cheap to live. For some reason, Berliners just didn't care. Well, not about an English rock singer anyway.

Since my teenage years I had obsessed on the angst ridden, emotional work of the expressionists, both artists and film makers, and Berlin had been their spiritual home. This was the nub of Die Brucke movement, Max Rheinhardt, Brecht and where Metropolis and Caligari had originated. It was an art form that mirrored life not by event but by mood. This was where I felt my work was going. My attention had been swung back to Europe with the release of Kraftwerk's Autobahn in 1974. The preponderance of electronic instruments convinced me that this was an area that I had to investigate a little further.

Source: http://www.bowiewonderworld.com/features/dbuncut.html

David Bowie: The Berlin Briefings is a collection of resurfaced interviews, featuring guest appearances from friends, producers, and his then-roommate, Iggy Pop. Bowie talks candidly about living with Pop in Berlin in the late ’70s, and what ended up being an incredibly refreshing, productive era for both of them. Their time in Germany was a mental and creative vacation, the chance for them to get away from a heavy drug scene and the weight of being famous in America. This is when Bowie created what is referred to as his “Berlin Trilogy”: Low (1977), “Heroes” (1977), and Lodger (1979). Meanwhile, Pop churned out two iconic albums of his own in 1977: Lust for Life and The Idiot. “I knew I had to get to an environment that was totally different to Los Angeles, so I thought of the most arduous city that I could think of,” Bowie said in his 1977 interview with the CBC. “And it was West Berlin.” Source: http://www.spin.com/2016/06/daily-deal-rare-collection-of-interviews-with-david-bowie-and-iggy-pop/

Conclusion: In Berlin David Bowie learned a lot about himself. He moved to Berlin because of different reasons but the main reason was to kick off from drugs (cocaine). He said Berlin was a creative vacation, the change for him to get away from a heavy drug scene and the weight of being famous in America. He realised his goal was not simply to find a new way of making music, but rather to reinvent himself. He no longer needed to adopt characters to sing his songs. He lived in Berlin for 3 years and beside music he started painting.Wa

Pierrot (1980)

Also known as the Blue Clown (cover of the Scary Monsters album). David wanted to be the most beautiful clown of the circus.

'I'm Pierrot, I'm everyman, what I'm doing is theatre, it's pure clown. I'm using myself as a canvas and trying to paint the truth of our time'. – David Bowie.

Bowie studied theatre and mime and played a role in a theatre production Pierrot in Turquise. He turned into Pierrot in his music video Ashes to Ashes.

The song is about his past with drugs. In the song he says that if you want to accomplish something you have to say away from drugs. The struggle with his past, dark side, lonely and lost.

What are the characteristics of his personality?

Realistic – strong

What inspired him?

His past with druguse, things his mother once said to him.

What do people think about him?

Fairytalelike

What is his vision here?

Be realistic, tell the truth, no more hiding.

Modern Love

"Modern Love" is a song written and recorded by David Bowie. It was the opening track to his fifteenth studio album Let's Dance. It was issued as the third single from the album in 1983.

Bowie claimed the song was inspired by Little Richard, and it maintains the album's theme of a struggle between God and man. The line "Get me to the church on time" from the lyrics is the title of the same-named tune from My Fair Lady. By the time "Modern Love" was issued and edited as a single, Bowie's Serious Moonlight Tour was underway. The single reached No. 2 in the UK, and No. 14 on the US Billboard Hot 100.

As a video, “Modern Love” is as straightforward as it gets, especially compared to the others Bowie did that year, “China Girl” and “Let’s Dance.” That could be because Yukich, even though he was Capitol/EMI’s in-house director at the time, was still a newcomer to directing music videos, but it more likely reflects the sudden success of “Modern Love.”

It has less to do with the video and more to do with the song: As art-damaged as Bowie liked to be, he could sling straight-forward rave-ups with the best of ’em, and “Modern Love” is basically one long hook, which perhaps obscures the anxiety about faith—in both the almighty and relationships—at the song’s core. Few pop songs can pull off sing-alongs to the lyrics “God and man, no religion.”

What inspired him?

The song was inspired by Little Richard and the head theme of the whole album was the struggle between God and man.

What are the characteristics of this personality?

Enchanting,

BRON 1: https://en.wikipedia.org/wiki/Modern_Love_(song)

BRON 2: http://www.avclub.com/article/modern-love-david-bowie-mixed-modern-timeless-230645

Earthling (1992)

Is the name of the album strongly affected by electronic music and inspired by the industrial- drum and bass culture of the 90s. Intensity of agression. The album was an attempt to producte some really dynamic aggressive soundings. A texture diary of the earlier years.

'balance, mental, with the way I live and my downfall' – David Bowie

Embrace his outsider-status. The music matters the most.

The real Bowie came forward in the 90s

What are the characteristics of his personality?

Calm – Creative – Spiritual

What inspired him?

The electronic music and drum and bass culture of the 90s

What do people think about him?

Reborn, the real Bowie is coming foward.

What is his vision here?

Music matters the most. BRON ziggy stardust http://www.nme.com/blogs/nme-blogs/star-man-the-story-of-bowies-ziggy-stardust-763290

BRON ziggy stardust https://en.wikipedia.org/wiki/The_Rise_and_Fall_of_Ziggy_Stardust_and_the_Spiders_from_Mars

BRON pierrot http://dangerousminds.net/comments/pierrot_in_turquoise_david_bowies_little-known_first_theatrical_appearance_

BRON pierrot http://culturedarm.com/pierrot/

Lazarus

Lazarus is a character and single of David Bowie's last album 'Blackstar'. In the clip of the single you can see him with a mask in a hospital bed. The single opens with the lyrics: 'Look up here, I am in heaven'. A lot of discussion started when he died, did he organize the album around his death? The answer is probably yes.

Research

Wiki

https://en.wikipedia.org/wiki/Lazarus_(David_Bowie_song)

"Lazarus" is a song by English rock musician David Bowie. It was released on 17 December 2015 as a digital download, making it the second single from his twenty-fifth studio album, Blackstar (2016), as well as Bowie's last single released before his death on 10 January 2016. The single received its world premiere on BBC Radio 6 Music’s Steve Lamacq on the day of its release as a single. In addition to its release on Blackstar, the track is used in Bowie's off-Broadway musical of the same name. The official music video, directed by Johan Renck, was released on 7 January 2016, three days before Bowie's death.

The video was directed by Johan Renck (who also directed the music video for Bowie's previous single, "Blackstar") in November 2015; during the week of shooting, doctors reportedly informed Bowie the cancer was terminal and that they were ending treatment. The filming location was a studio in the New York City borough of Brooklyn. The video is shown in a 1:1 aspect ratio and prominently features Bowie, appearing with a bandage and buttons sewn over his eyes as in the "Blackstar" video, lying on a deathbed.

Telegraph UK

http://www.telegraph.co.uk/news/2016/03/16/david-bowies-last-release-lazarus-was-parting-gift-for-fans-in-c/

“David Bowie's final record was a carefully-orchestrated farewell to his fans, his producer has confirmed.”

“Tony Visconti, the producer who worked with Bowie to complete his final album, has released a statement saying it was deliberately created and timed as a "parting gift" for his fans.”

"His death was no different from his life - a work of Art.”

Wiki 2

https://en.wikipedia.org/wiki/Death_of_David_Bowie

Bowie's final album, Blackstar—styled as ★ on the cover—was heavily analysed following his death, and numerous supposed clues about Bowie's fate were discussed. The album's second single "Lazarus" includes the lyrics "Look up here, I'm in heaven/I've got scars that can't be seen", which appeared in numerous news publications after his death. The album's title was also believed to have symbolised death; it is the name given to a cancerous lesion, as well as the term for the transitional state between a collapsed star and a singularity. It is also reminiscent of the name of a little-known song about death by one of Bowie's musical idols, Elvis Presley, which features the lyrics "When a man sees his flaming star, he knows his time has come". A tumblr account which seemingly included images replicated in the yet-to-be-released video for "Lazarus" was speculated to have been created by Bowie, and these images—Bowie retreating into a wooden cupboard, and writing with a skull on his desk—seemed to many to symbolise Bowie's imminent death.

Other lyrics were also scrutinised; the track "Dollar Days", for example, featured the line, "Don't believe for just one second I'm forgetting you/I'm trying to/I'm dying to". The title and refrain of the album's final track, "I Can’t Give Everything Away", was believed by some commentators to refer to Bowie keeping his imminent fate private whilst hinting at it throughout the album, while its use of the harmonica solo from "A New Career In A New Town"—an instrumental track on Bowie’s 1977 album Low which refers to his move to Berlin—was considered a reference to Bowie beginning another new phase of his life. The track "Girl Loves Me", another example, features the line, "Where the fuck did Monday go?", which some listeners believe eerily predicted the death of Bowie on Sunday, therefore missing Monday.

Lyrics Lazarus

Look up here, I'm in heaven

I've got scars that can't be seen

I've got drama, can't be stolen

Everybody knows me now

Look up here, man, I'm in danger

I've got nothing left to lose

I'm so high it makes my brain whirl

Dropped my cell phone down below

Ain't that just like me?

By the time I got to New York

I was living like a king

There I'd used up all my money

I was looking for your ass

This way or no way

You know, I'll be free

Just like that bluebird

Now, ain't that just like me?

Oh, I'll be free

Just like that bluebird

Oh, I'll be free

Ain't that just like me?

> The lyrics shows a lot of this last period of his life. He is talking about his death, what he accomplished and a dark time in his life. He also makes clear that this was his way of ending his life, with a last album, he is free!

Billboard

http://www.billboard.com/articles/review/6836029/david-bowie-blackstar-album-review

Blackstar is its own strange, perverse thing, the latest move in a boundlessly unpredictable career. Bowie turns 69 on its release date, Jan. 8, yet he remains as committed to novelty as anyone in pop. He also remains a powerful and effective singer, displaying the full range of his tricks on Blackstar -- whispering, warbling, shrieking and dropping into his most romantic baritone-Bowie croon to deliver lyrics like "I want eagles in my daydreams and diamonds in my eyes." That line is one of the more hopeful on a discomfiting record, an album that keeps you riveted even when -- especially when -- it creeps you out

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What do people think about him?

After this album and his death Bowie became a real legend. People had a lot of respect for his way of handling his death and said that he was a real artist that kept singing and working until the end. He also became more famous then he already was, who didn't know him yet know him now because social media exploded after he died. He has so many skills. Singing/ acting etc., he uses it all to express himself.

What inspired him?

Because this was the last period of his life I think he was mainly inspired by death, everything he did and was always inspired of, like space and the alien. I think he also wanted to make a last statement, that he is a blackstar, scared but in peace.

What was his vision here?

I think that his vision also links with death. He has peace with it and believes he is in heaven.

What are the characteristics of this personality?

Peacefull/ Satisfied/ Strong

> Important is that he really wanted to show that he was a star. He made a statement with his death, he surprised everyone, again.

Conclusion personality

What we particularly noticed that he actually is a kind of all-rounder, which changed constantly. Adjusts how he feels at certain moments, which were created different characters. Who are seen as characters but David Bowie sees itself as part of what he is. He pushes the boundaries, he is always looking for innovation. He has known a lot of emotion swings during his characters.

VALUES + BELIEVE

Quotes Bowie:

“I don’t know where I’m going but I promise it won’t be boring”

“I always had the repulsive need to be something more than human”

Interview

https://www.youtube.com/watch?v=zri74q3HDDY

David Bowie: “I was just always looking for expending.. I didn't really know what, but experience new things”.

“Being characterized is like being trapped for me .. Nothing in this world is a real reality, it's not something you can hold on to”.

Values:

Individualistic

Innovative

Experimental

MUSIC

What genre is David Bowies music?

While many late rock stars are rightly saluted for their influence and impact, Bowie

occupies a higher historical tier entirely. He's not just an influential rocker. He's not merely one of the most influential rockers. Among rock stars, Bowie influenced more musical genres than anyone else, living or dead. He is, in that respect, the most influential rock star.

Let's run through this. Obviously, no one is going to question how essential he was to glam rock. While The Rise and Fall of Ziggy Stardust and the Spiders From Mars and Aladdin Sane ensured his long-term career and infamy, glam rock as a genre owes him just as much. If Bowie hadn't gone glam, history would remember it as a goofy, cute curiosity -- a sub-genre full of wacky fashion and frothy pop songs, but producing no serious content (apart from one or two T. Rex albums, depending on your taste). Most glam rockers are remembered as that -- glam rockers. Bowie, however, produced two albums squarely within the style while simultaneously transcending it. The aforementioned titles aren't simply glam classics -- they're rock classics. They're singer-songwriter classics. They are, simply put, works of art.

In the industrial rock realm, Bowie's impact can't be underplayed: It's impossible to imagine Trent Reznor or Marilyn Manson having substantial careers without Bowie paving the way for them. And when grunge replaced pop-metal as the go-to genre for rebellious teenagers, Bowie was once again a touchstone.

Bowie's various personas have had an impossible-to-overstate influence on teenage minds since the early '70s -- and he will probably continue to inspire personal artistry and nonconformity until long after all of us are dead. Even the idea that one person can have multiple personas and creative identities --- and still remain authentic with all of them -- is something Bowie pioneered. So in that way, Bowie truly is and will remain a peerless rock star -- someone whose music, style and outlook impacted the world in ways no one else did.

Most important genres:

- Glam rock

- Art rock

- Pop rock

Most important features:

- Musical cameleon

- Big influence on multiple genres

When did Bowies music became iconic?

Bowies first attempt at being a solo artist failed miserably. A big amount of singles, including his debut album, became a flop. However, with the single Space Oddity he broke through. This song about walking in space was right in time, since in the same year (1969) mankind set foot on the moon for the first time.

After that Bowie made the alter ego Ziggi Stardust, in which he played with an androgynous appearance. He looked like an alien that could have been either man or woman. He and Marc Bolan were the inventors of Glam Rock.

Is his work a representation of the zeitgeist?

When more and more artist got a look like he did, Bowie decided to let his persona die. He moved to the VS to record a soule number (Young Americans). Bowie has always been a true musical cameleon. He never kept only one music genre and went on with the time spirit. He also did a lot of collaborations with different artist which already were famous or became famous because of him. Rather than as a musician, it’s in Bowie wholly embodying the idea that creativity is an art that must be done with an unwavering devotion to an ultra-aware introspection, and that your spiritual essence is the canvas upon which your best work deserves to be shown is what makes him impressive. Even further, I’d venture to say that this is what allows him to stand as one of the most dominant and zeitgeist controlling creative masters across all mediums of art, ever.

What were his inspirations? Terry Burns, his half-brother, introduced him to modern jazz, his enthusiasm for players like Charles Mingus and John Coltrane led his mother to give him a plastic alto saxophone in 1961; he was soon receiving lessons from a local musician. If you look at the early songs from Bowie's hands, you will see "Song for Bob Dylan" from Hunky Dory (this song is a play on words – Dylan wrote a song to his source of inspiration: "Song for Woody Guthrie"!). Also note the reference to John Lennon in "Life On Mars" from the same album. Later, on the Young Americans album, Bowie duetted with Lennon on "Fame".

David Bowie also liked Bruce Springsteen's work – and this dates back to before Springsteen became a superstar. He covered "Growin' Up" and "It's Hard To Be A Saint In The City" – both songs are from Springsteen's debut album Greetings From Asbury Park. See the article Bowie meets Springsteen for the story of how the two singers eventually met. Roy Bittan from the E Street Band ended up playng piano on several of Bowie's albums.

David Bowie was also openly inspired by Iggy & The Stooges and by The Velvet Underground. Not surprisingly, David Bowie and Iggy Pop became friends – and Bowie produced Lou Reed's Transformer.

CONCLUSIE

- Most important genres:

- Glam rock

- Art rock

- Pop rock

- Musical cameleon

- Big influence on multiple (rock and pop) genres

- He smartly combined the lyrics of his songs with social events (For example the song Space Oddity. First men on the moon in that same year).

- He was one of the most dominant and zeitgeist controlling creative masters across all mediums of art(music), ever. - Inspired by people more than materials

- All of his albums tell a different story(concepts, new identity) - Experimental - Lyrics were personal

Art

David Bowie had studied art and started collecting paintings very early on. Art was the only thing he ever wanted to own. He had to wait till the mid 90’s to get recognition for his own paintings. This because of his fear for failure and thus postponing the public outing of his paintings. 1. What art movement dit David Bowie belong to?

Neo-Expressionism

from 1970

subjects in an almost raw and brutish manner

with the aim to shock people

highly textural

expressive brushwork

intense colors

strong emotions

eclecticism

large canvases

autobiographical elements

political statements

subcultures (graffiti, ethnic art) as an influence

truth > beauty

2. What are the subjects of his paintings?

(self) portraits

scenes from everyday life

personal experiences from traveling

his style:

expressive

emotional

raw

dark

experimental

3. Is his work a representation of the zeitgeist?

The 70’s and 80’s were dominated by artistic forms derived from postmodernism. These movements could be described as an ironic and playful treatment of a fragmented subject, the breakdown of high and low culture hierarchies, the undermining of concepts of authenticity and originality, and an emphasis on image and spectacle. In the eyes of neo-expressionist painters, such as David Bowie, these art forms were very superficial. David Bowie went against postmodernism and created stories through expressive art in which he portrayed his personal feelings and thoughts.

4. What were his inspirations?

David Bowie was a collector of art. He mostly collected paintings from expressionist and surrealist painters such as Frank Auerbach, David Bomberg, Francis Bacon, Francis Picabia, Erich Heckel and Damien Hirst. These painters were also the inspirations for his own work. Their paintings were emotional, subjective and showed dark emotions such as fear and anger.

album covers:

Many of Bowie’s album covers were inspired by different artists such as Erich Heckel and Gilbert & George. The latter being an artist duo creating brightly colored and bold conceptual art.

Conclusion:

Art as an emotional outlet

Not afraid to show emotion and political engagement

Lets himself be carried away by emotion

Has a dark side

Very open minded (especially about inspiration from other artists)

Strong, expressive creativity

Chooses authenticity and truth over perfection and shallowness

Contrast: insecure (inside) - daring (outside)

Sources:

http://www.vogue.com/13458171/homes-david-bowie-art-collection-sothebys-auction/

http://www.theartstory.org/definition-postmodernism.htm

http://bigthink.com/laurie-vazquez/what-made-david-bowie-so-creative-his-obsession-with-art

http://www.kunstkennis.nl/kunstgeschiedenis/moderne%20kunst/neo-expressionisme.htm

http://kunstvannu.blogspot.nl/p/neo-expressionisme.html

http://www.bbc.com/news/entertainment-arts-37845306

https://www.yahoo.com/news/david-bowie-striking-legacy-painter-003551444/photo-ancestor-ii-1995-1998-1452561082366.html

https://sl4artglobal.wordpress.com/2014/07/08/bowie-in-berlin-between-expressionism-and-nightlife/

http://www.bbc.co.uk/programmes/articles/5X5G3tWTJzk9fQbp1x65zXY/pop-art-why-david-bowie-loved-these-five-paintings

Film & Theater

In welk filmgenre speelde David Bowie en wat zijn hier de kenmerken van?

Voor welke filmgenres produceerde hij zelf?

Wat zijn de onderwerpen van zijn films? (als acteur en filmmaker)

Sluit zijn werk aan op de zeitgeist of gaat hij hier juist tegenin?

Wat zijn zijn inspiraties? Bowies love for acting started at a very young age. In the years between his first few singles and the fame that came with Space Oddity, Bowie studied dance and mime under Lindsay Kemp.

THEATER

The Elephant Man

The acting debut on the American stage of rock singer David Bowie was greeted by a standing ovation in Denver when the singer, noted for his flamboyant musical style, took on the role of physically misshapen John Merrick, the human monster with a liking for culture.

Bowie claims his interest for this performance was based on the outrageous and distorted elements that his character was based on. (Could have something to do with the schizophrenia in his family.)

FILMS

Along the way, he only had a handful of leading roles; most of the time, he was part of the supporting cast or had a cameo. Sometimes he even played himself, putting a twist on his public image. A David Bowie appearance might not have always guaranteed critical acclaim, but – as you’ll see in our comprehensive look back – it was usually a sign that the work would be creative and imaginative.

Labyrinth (1986) Musical, Adventure, Fantasy

Where everything seems possible and nothing is what it seems.

Bowie playing an evil goblin king as an oddly maternal, glam rocker. We don’t imagine the part required much real acting, but it surely showed us a goofier, more playful side of Bowie.

The man who fell of the earth (1976) Sci-Fi, Drama

You have to believe it to see it.

Nicolas Roeg’s The Man Who Fell to Earth finds the man who was, only a few years earlier, Ziggy Stardust playing an alien who has come to Earth to find water to his drought-stricken home. At the height of his mid-’70s drug excess, Bowie appears pale, painfully thin, and often nervous — making him the perfect extraterrestrial.

The Hunger (1983) Horror

Nothing Human Loves Forever

Growing old and dying have always been preoccupations for Bowie, and we imagine that’s what makes his turn as a rapidly aging vampire so memorable.

Bowie always excelled at playing the magic freak: the world-weary, otherworldly outsider who is both adored and condemned for his destabilizing mojo. And because Bowie's insuperable Bowie-ness glitters too brightly for him to vanish into any one part, a close look at his film and theater roles is a case study in the merits of stunt casting.

He chose his roles so selectively and with such idiosyncratic, yet strangely consistent taste, that almost incidentally to the main narrative of his extraordinary life, he amassed an enviable onscreen filmography.

VIDEOCLIPS

A year before MTV went on the air, Bowie released the video Ashes to Ashes. (1980) Which Bowie directed together with David Mallet. It cost £250,000 to produce, making it the most expensive music video ever made at the time.

Ashes to Ashes

The music video for "Ashes to Ashes" features Bowie dressed as Pierrot in a variety of bizarre situations. Steve Strange of the New Wave band, Visage, cameos. Bowie has said the shot of himself and other characters marching towards the camera in front of a bulldozer symbolizes "oncoming violence." During this scene, the characters behind Bowie are not bowing, but simply trying to pull their gowns away from the bulldozer so they don't get stuck! This, and many other images in the video suggest that Bowie may be trying to bury the various personas he developed.

The clip was shot during the New Romantics Culture. The fantasy & Escapism of the clip suit to this period of time.

David used his alter ego’s during his performances as an actor as well as the other way around.

SPIRIT OF THE TIME

New Romantics Culture New Romanticism can be seen as a reaction to punk,[3] and was heavily influenced by former glam rock stars of the 1970s such as David Bowie and Roxy Music.[4] In terms of style it rejected the austerity and anti-fashion stance of punk.[5] Both sexes often dressed in counter-sexual or androgynous clothing and wore cosmetics such as eyeliner and lipstick, partly derived from earlier punk fashions.[6] This "gender bending" was particularly evident in figures such as Boy George of Culture Club and Marilyn (Peter Robinson).[3]

INSPIRATION

Since he has had such a long and varied career, David Bowie is very much an artist influenced by his peers. As Hans Hyttel points out he wrote songs about Bob Dylan and John Lennon (also Andy Warhol) and you can see the influence of them in his music and art. He also hung around with Lou Reed and Iggy Pop for a time and they three had great influence on each other. He also collaborates a lot with Brian Eno and you could say Eno crafted much of the sound that we identify as "Bowie" as he produced many of Bowie's most famous albums.

The later phases of his career he delved heavily into German synth and electro pop, even re-recording a few of his songs in German and releasing whole albums of very German inspired music.

As to what inspired him initially to produce music. well his wiki article states "Terry Burns, his half-brother, introduced him to modern jazz, his enthusiasm for players like Charles Mingus and John Coltrane led his mother to give him a plastic alto saxophone in 1961; he was soon receiving lessons from a local musician." - (Read more: David Bowie)

CONCLUSIONS

· Bowie studied dance and mime under Lindsay Kemp.

· Acting debut: The Elephant Man

· Handful of leading roles; most of the time, he was part of the supporting cast or had a cameo.

Labyrinth (Fantasy)

The man who fell of the earth (Sci-Fi)

The hunger (Surreal Horror)

· Bowie always excelled at playing the magic freak: the world-weary, otherworldly outsider who is both adored and condemned for his destabilizing mojo

· The music video Ashes to Ashes. (1980) It cost £250,000 to produce, making it the most expensive music video ever made at the time.

· The clip was shot during the New Romantics Culture. The fantasy & Escapism of the clip suit to this period of time.

· New Romantics: In terms of style it rejected the austerity and anti-fashion stance of punk.[5] Both sexes often dressed in counter-sexual or androgynous clothing and wore cosmetics such as eyeliner and lipstick, partly derived from earlier punk fashions

· Inspirations: He was inspired by Bob Dylan, John Lennon and Andy Warhol which influence you can recognize in his music and art.

During a later phase of his career he was inspired by German synth and electro pop.

His half-brother Terry Burns and musicians Charles Mingus and John Coltrane introduced him to modern-jazz music when he was younger.

Sources:

https://www.quora.com/Who-inspired-David-Bowie

http://soul-psychics.com/blog/the-spirit-of-david-bowie/

http://www.imdb.com/name/nm0000309/bio?ref_=nm_ov_bio_sm http://www.davidbowie.com/bio

http://www.billboard.com/articles/columns/rock/6836438/david-bowie-music-videos-best

http://www.billboard.com/articles/columns/rock/6836438/david-bowie-music-videos-best http://www.rollingstone.com/music/lists/readers-poll-the-10-best-david-bowie-music-videos-20160120 http://www.slate.com/articles/arts/dvdextras/2010/10/cracked_actor.html

http://www.indiewire.com/2016/01/the-8-essential-movie-performances-of-david-bowie-91853/

http://www.bowiegoldenyears.com/1979.html

http://www.telegraph.co.uk/music/artists/david-bowie-11-surprising-facts-about-the-king-of-glam-rock/

http://www.slate.com/blogs/browbeat/2017/01/09/twin_peaks_will_return_on_may_21_with_a_two_hour_premiere.html

https://www.timeout.com/newyork/movies/david-bowie-movies-that-define-his-film-career

http://www.imdb.com/title/tt0085701/?ref_=nm_knf_i3

http://www.imdb.com/title/tt0115632/?ref_=nm_knf_i2

http://www.imdb.com/title/tt0074851/?ref_=nm_knf_i4

https://www.youtube.com/watch?v=cPithDmHrd0

Other

CAREER SWITCH

In 1998 David told the New York Times that by creating visual art it him helped to create better music. He said that if he had a creative obstacle in the music that he was working on, it would often revert to painting or drawing it out. In the painting or in the drawing arised a structure of the music what he was working on and this would produce a breakthrough.

SUPPORTED CHARITIES

In 1984 David participated in the English charity band Band Aid. The band was aimed to raise money to fight the famine in Ethiopia. Together with other famous English singers they recorded the song Do They Know It’s Christmas. It was a number one hit in multiple countries and raised a lot of money.

In 1985 Bob Geldof (co-founder of the band) organized the charity concert Live Aid. It was a 16 hour during concert and there were contemporaneous performances in various countries such as the US, the UK and The Hague. David Bowie performed in the Wembley Stadium in London. The event was broadcasted live in many countries and became one of the world’s biggest media spectacles ever watched. It was so successful that 245,4 million dollars was raised that evening also for the famine in Ethiopia.

David has also supported a lot of charities. The charities support the causes of abuse, AIDS & HIV, At-Risk/Disadvantaged Youths, children, disaster relief, economic/business support, education, family/parent support, health, human rights, hunger, miscellaneous, peace, poverty, weapons reduction, women rights.

The charities that he supported were:

21st Century Leaders

Every Mother Counts

Food Bank For New York City

Keep A Child Alive

Mines Advisory Group

Save The Children

The Lunchbox Fund

War Child

Whatever It Takes

WhyHunger

Witness

Sources

https://nl.wikipedia.org/wiki/David_Bowie

http://bigthink.com/laurie-vazquez/what-made-david-bowie-so-creative-his-obsession-with-art

http://liveaid.free.fr

https://www.looktothestars.org/celebrity/david-bowie#charities

CONCLUSION

David cares for the world and the people living on it. By creating visual art it him helped to create better music

He blurred gender lines with ultra-glam, over-the-top androgynous looks in his “Ziggy Stardust” days and later adopted a sharp, buttoned-up persona that was anything but stuffy. The ‘80s were filled with vibrant coloured suits, printed overcoats, and flashy accessories. And let’s not forget his ever-changing hair. One word: magical. Even with the release of his most recent album “Blackstar,” just four days ago, the legend was still serving style supremacy.

http://www.huffingtonpost.com/entry/david-bowie-fashion-icon-photos_us_5693c3d6e4b0a2b6fb70ce1b

Why Did You Call The Exhibition David Bowie Is?

“The title is both a statement and an unfinished sentence, and poses the question David Bowie is – what? Our approach was to leave that question open, and to highlight the fact that there is no single answer.”

https://www.mrporter.com/daily/why-mr-david-bowie-is-still-a-cultural-icon/1107

Bowie’s sartorial legacy has inspired generations of designers, from tailoring don Giorgio Armani to Belgium’s more avant garde Dries Van Noten. For his spring/summer collection this year Jean Paul Gaultier sent Bowie lookalikes down the runway, telling reporters he found the V&A show “absolutely incredible… You see how clever he is in all his projects, and how he connected to art.”

http://www.bbc.com/culture/story/20131004-ch-ch-anges-bowies-many-looks

‘’ I’m a collector, I collect personalities and ideas.’’ - Bowie

‘’A tiger that is captured is wilder than a tiger in the wild.’’ - Bowie?

The inimitable, genre-defying musician produced a staggering 26 studio albums in his lifetime, resulting in scores of hits across half a century — from 1969’s “Space Oddity” to 1973’s “Life On Mars” to 1974’s “Rebel Rebel” to 1975’s “Fame” to 1977’s “Heroes” to 1983’s “Let’s Dance” to 1987’s “Dancing In The Street” with Mick Jagger — all the way up to 2016’s Blackstar, his latest studio album, which was released just a few days ago on January 8.

http://popcrush.com/david-bowie-dead-obit/?trackback=tsmclip

#research

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