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Записи с темой: дэвид боуи (список заголовков)
19:03 

Жизнь - это апельсин
Так, 19 ноября я иду на "Зигги Стардаста и пауков с Марса". Только что купила билет: karofilm.ru/art/film/1076 на сайте.
Субтитры. Сеанс удобный. От похода на "Лабиринт" удержала надпись: "Русский дубляж".






Это называется, я не планировал поездку в Москву. Придется вставать ни свет ни заря.
И еще - сбывается мечта посмотреть этот фильм-концерт в кинотеатре на большом экране. Мечте много-много лет и что она исполнится...
Народ! Спасибо за наводку!!!

@темы: Дэвид Боуи, События

23:04 

Жизнь - это апельсин
21.10.2016 в 21:01
Пишет Sabrie:

Фотографии из Labyrinth: The Ultimate Visual History :heart::heart:


URL записи



По ссылке - очень симпатичное место!
Там еще вот это было:

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@темы: Дэвид Боуи

02:47 

Жизнь - это апельсин
Отсюда: www.telegraph.co.uk/music/news/a-last-message-f...

The Telegraph
Culture Music

A last message from a lost icon: three more David Bowie tracks released – review
NEIL MCCORMICK
MUSIC CRITIC
14 OCTOBER 2016 • 12:01AM


The voice rises up like a ghost, racked and strained, calling out from an ethereal space. “Here, there’s no music here/ I’m lost in streams of sound,” comes the haunted cry of the lost Starman, calling out across the void. “Am I nowhere now?”

The final three completed recordings of the late, great David Bowie will be released next Friday (October 21) and they make for fascinating, moving and, as ever, wonderfully discombobulating listening.

No Plan, Killing a Little Time and When I Met You were all written by Bowie to fill narrative gaps in Lazarus, the experimental musical that ran off-Broadway from November 2015 until late January 2016, coinciding with the release of Bowie’s final album, Blackstar, and his death on January 10.

According to Bowie’s representatives, they were his last ever studio work, written, arranged, produced and mixed under the artist’s supervision before his death.

The tracks were laid down during the Blackstar sessions, with producer Tony Visconti and the same hand-picked musicians, and they share that album’s gauzy, shifting textures of avant-garde rock and free jazz.

It’s a kind of tumbling freefall sound, where guitars and saxophones merge and blend over strung out rhythms, Bowie’s wracked vocal fighting to the fore through an off-centre cascade of detuned backing vocals. It is music where songs emerge rather than imposes themselves, gradually revealing their strengths.

Each one is a little beauty that seems to cast penetrating light on Bowie’s state of mind as he neared the end of his life, although elusively fractured and refracted through his theatrical narrative of a stranded spaceman trying to return home.

No Plan is a gorgeous, slippery jazz ballad, sweet and sad, that sings out with an almost mystically prophetic quality, as if Bowie was reporting from beyond the grave: “All the things that are my life/ My moods/ My beliefs/ My desires/ Me alone/ Nothing to regret/ This is no place, but here I am.”

It is a song evoking the displacement of the production’s central character, Thomas Jerome Newton, The Man Who Fell to Earth, but the line between the alien Newton and Bowie’s alienation has been blurred since he starred in Nicholas Roeg’s 1976 film.

The musical (which transfers to London’s King Cross Theatre from November 8) was conceived and written by Bowie and playwright Enda Walsh during Bowie’s long, secret battle with cancer. With a soundtrack drawn mainly from Bowie’s back catalogue, it was surely always conceptually autobiographical, and these final three songs presumably reflect themes that he felt needed closer examination.


Killing A Little Time is a thrillingly chaotic rocker, unwinding from a long spiel of guitar feedback, rumbling bass and jerky drums, as Bowie’s strangulated vocal evokes fear and rage at his perilous state: “I’m falling man/ I’m choking man/ I’m fading man.”

As the track builds, the jazz sax gets dialled up amidst a cascade of woodwind, and the arrangement gets progressively looser and more disharmonic, whilst Bowie grapples with “this furious brain” evoking “This symphony/ This rage in me”, and proclaiming, “I’ve got a handful of songs to sing/ To stain the soul/ To f--- you over.” If ever there was a song raging against the dying of the light, this is surely it.

The final new song, When I Met You, comes from the end of the play, and offers a welcome sense of solace and relief. It is an off kilter pop ditty, the jaunty melody of a Sixties beat jingle run through a sonic wringer, a rising and descending bass figure and Bowie strumming an out-of-rhythm acoustic guitar.

The song is a loving dedication to someone who has saved the singer from himself: “I was the walking dead/ I was kicked in the head/ I was too insane/ Could not trust the game/ Before I met you.”

Whether directed to his beloved wife Iman or Newton’s love interest in the Lazarus musical, the sentiment remains the same. It is a tribute to the power of love to save and heal yet delivered in a manner that evokes the very mad exuberance from which he needed saving, the track gaining impetus whilst simultaneously almost disintegrating into chaos. “It was such a time,” Bowie sings, contemplating his dizzy past. “Such a time.”

The recordings will be featured as an extra disc on the theatrical Lazarus Cast Album, released by ISO/RCA next Friday. Although producer Tony Visconti has suggested Bowie was working on further songs following the completion of Blackstar, those closest to him insist there are no known further recordings.

It should be noted, however, that Bowie has left so many demos and notebooks behind, spanning his entire career, that his office expect to spend at least another year cataloguing it all. For now, at least, these three strange, beguiling tracks represent a fascinating swan song, a last message from a lost icon.


*********************

Lazarus lyrics

"'Lazarus" from David Bowie's album Blackstar (2016)

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

Then I 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

@темы: Впечатления, Дэвид Боуи, События

20:41 

Жизнь - это апельсин

@темы: Дэвид Боуи

20:37 

David Bowie - Conversation Piece [Toy 2001]

Жизнь - это апельсин


Reedited version of his song "Conversation Piece" from unofficial album "Toy" (2001).

Lyrics:
I took this walk to ease my mind
To find out what's gnawing at me
Wouldn't think to look at me,
that I've spent a lot of time in education
It all seems so long ago
I'm a thinker, not a talker
I've no-one to talk to, anyway

I can't see the road
for the rain in my eyes
Ahhh ...

I live above the grocers store,
owned by an Austrian
He often calls me down to eat
And he jokes about his broken English,
tries to be a friend to me
But for all my years of reading conversation,
I stand without a word to say

I can't see the bridge
for the rain in my eyes
Ahhh...

And the world is full of life
Full of folk who don't know me
And they walk in twos or threes or more
While the light that shines above the grocer's store
Investigates my face so rudely
And my essays lying scattered on the floor
Fulfill their needs just by being there
And my hands shake, my head hurts,
my voice sticks inside my throat
I'm invisible and dumb,
And no-one will recall me

And I can't see the water
for the tears in my ey-y-yes


Content owner: Sony Music Entertainment

@темы: Дэвид Боуи

14:54 

8 LESSONS DAVID BOWIE TAUGHT US

Жизнь - это апельсин
Отсюда: www.leaguetrend.com/8-lessons-david-bowie-taugh...




League | September 29, 2016


It always used to be like this: if you couldn’t make up your mind about something, you’d ask yourself, “What would David Bowie do?”

How heartbreaking that we now need to ask, “What would David Bowie have done?” On 10 January, he died after an 18-month battle with cancer – just a few days after his 69th birthday and the release of a critically acclaimed 25th album, Blackstar.

His back catalogue, spanning half a century, is rivalled only by a handful (at best) of other pop and rock musicians. There’s much he taught us about creativity and longevity.

1. BELIEVE IN YOURSELF

It’s long been thought that record companies chase the fast buck in the 21st century, expecting artists to succeed straight off the bat. But that’s always been the case and who even needs record companies in 2016 to make an initial splash? That’s what social media is for.

Bowie was far from an overnight success, as this radio documentary on his early career reveals. His first single came out in 1964 and his self-titled 1967 debut album flopped. Speaking in 1969 about his breakthrough song, Space Oddity, he said: “It’s my only success to date!” In other words: if at first you don’t succeed, try, try, try again. It took Bowie five years to get noticed.

2. THINK OUTSIDE THE BOX

The Velvet Underground and Andy Warhol have long been de rigueur influences for artistically minded rock and pop musicians, but it wasn’t always thus. As Bowie says in this archive audio clip, “I was one of that tiny bastion of Velvet Underground fans in London at the time,” before talking about his confused first ‘meeting’ with Lou Reed. It didn’t go much better when he met Warhol either, but the point here is that Bowie always searched for original, unexpected muses and influences.

3. HAVE A SENSE OF ADVENTURE

The trio of albums Bowie (mostly) recorded in Berlin – Low, “Heroes” and Lodger – were among his best. Moving to Berlin was triggered by a desperate need to kick drugs – “I’d almost resigned myself to the fact that I’m going over the edge” – but there was much more to his Berlin adventure than just setting up shop in a different city. There, inspired by his surroundings and working with Brian Eno, his music became more sonically courageous, as Eno explains: “We’d both, quite separately, started to imagine this fusion of European electronica and funk, with a mood overlay, if you like. We were both thinking very cinematically.”

4. TAKE RISKS

It seems absurd to imagine it now, but Bowie working on the Let’s Dance album with producer Nile Rodgers – who went on to rule the 80s, and beyond – was a huge gamble . Rodgers, then best-known as the leader of Chic, had fallen on hard times as tastes had moved on from disco and Bowie himself was hardly flavour of the month in the early 80s when Let’s Dance was recorded. But, as this clip reveals, they had hit it off after meeting in a bar and, as we know, Bowie never played it safe. Their collaboration resulted in extraordinary success, saving both of their careers.

5. STEAL FURIOUSLY

Bowie wasn’t just a genius at picking people to work with, he was a master assimilator of influences – superb at taking odds and sods from elsewhere and reimagining them in his music and personas. In this wonderful interview with Mary Anne Hobbs, he spoke about how a one-time Elvis impersonator called Vince Taylor became a role models for his Ziggy Stardust character. “I pieced together bits and pieces of other artists and they all became this rather grand, stylish lad, Ziggy.”

He also explained how, when he first went to America, he became obsessed with soul music, which he incorporated into his own sound, then later the same happened with drum ‘n’ bass.

6. STAY IN CONTROL

In the clip above with Nile Rodgers, Bowie spoke of his love for musical accidents. But he didn’t leave much to chance when it came to his career. In this 2013 interview, photographer Mick Rock (from 3:50) recalls how Bowie used a single image from a show that Rock shot at Oxford Town Hall in the 70s to reinvent himself as an artist. “David is very bright, very aware,” says Rock.

7. BE SUBVERSIVE

Here, a Bowie fan remembers how seeing The Spiders From Mars perform Starman on Top of the Pops in 1972 changed his life – and freaked his parents out, who said: “Who is this pervert!?”

Bowie always said that becoming a musician when he did was a subversive act and perhaps he would have taken a different path if he’d been born a generation or two later, after rock ‘n’ roll had gone mainstream. In a telling 2000 interview with Newsnight’s Jeremy Paxman, he bemoaned music becoming a “career opportunity”, adding: “The internet now carries the flag of being subversive and possibly rebellious – chaotic and nihilistic.”

8. KEEP EVERYONE GUESSING

In 2013, author Simon Goddard told 6 Music’s Shaun Keaveny about his book Ziggyology (above) just at the time that Bowie surprised his fans with a new single, Where Are We Now?, that was taken from a then-forthcoming new album, The Next Day – his first in 10 years. His return was exquisitely orchestrated – everyone was blindsided – and, as a move, it was pure Bowie. Throughout his career, we expected only the unexpected. As his friend and producerTony Visconti said when he died: “He always did what he wanted to do. And he wanted to do it his way and he wanted to do it the best way. His death was no different from his life – a work of art. He made Blackstar for us, his parting gift.”

@темы: Дэвид Боуи

09:51 

Жизнь - это апельсин
Отсюда: www.facebook.com/tony.visconti1?hc_ref=NEWSFEED...

Tony Visconti
2 ч ·


September 10th, 2001. Spent a perfect day in Allaire studios high in the Catskill Mountains. David Bowie, Matt Chamberlain and I recorded two backing tracks earlier in the day. The album we were making (Heathen) was sounding like no other we had ever done before. The studio was a quarter of a mile high in altitude and eagles soared in the skies over the 25 mile long Shokan reservoir. We were on Cloud 9! After a few overdubs we all retired to our bedrooms, satisfied and anxious to continue the next day, September 11th.
Shortly after 8 AM in the morning, David called my bedroom and said I should come to his immediately. He had the only television. I hurried there and when the door opened he looked ashen and shaken. I saw one of the towers burning on his TV. He asked me if I had anyone living close to the Twin Towers and I said, yes, Morgan my son. It was a freak accident, a jet lost control and crashed into one of the towers. A minute later we saw the second jet hit the other tower and...
Two days earlier Iman and Lexi left for Manhattan after a two week stay. Now they were unreachable by landline or cellphone. Morgan was unreachable too. Eventually David got through to learn Iman and Lexi wisely left the area and stayed with friends further north. I managed to contact Morgan on an instant chat app on my laptop. He was flying back to New York but his plane was forced down in Chicago. David and I didn't lose anyone near and dear. We were lucky on that very tragic day. We actually tried to record but the gut wrenching grief was too strong. Denial didn't work. We just had to accept feeling horrible. For most of the day we were expecting more attacks, the beginning of a new type of life in an uncertain world.





И отсюда: www.facebook.com/iman/?hc_ref=NEWSFEED&fref=nf

Iman
1 ч


My NYC Skyline tonight out of my window at 12:01am Sept 11th, 2016 #MYNYC #Sept11th #NYCForever




P.S. Обе фотографии по клику открываются до полного размера.



David Bowie sings America and Heroes at The Concert for New York City October 20, 2001 at Madison Square Garden

@темы: События, ОЧЕНЬ ЛИЧНОЕ, Дэвид Боуи

00:01 

Жизнь - это апельсин

@темы: Дэвид Боуи

01:58 

Жизнь - это апельсин

David Bowie - The Drowned Girl

"This song was written in 1929 by Kurt Weill and Bertolt Brecht. It's part of "The Berlin Requiem". Bowie loved Brecht and Weill. " - сказано в одном из комментариев под этим видео.


На видео навела лента Фейсбука. Увидела кадр, знакомый по Wild Is The Wind. Оказалось, что в этой же эстетике сделана еще одна вещь. Запустила просмотр... Прихлопнуло.

И Wild Is The Wind:

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@темы: Дэвид Боуи

22:44 

Жизнь - это апельсин
18.08.2016 в 22:17
Пишет blueZ-kate:



а вот это вот отлично.
побольше бы таких трибьютов, празднующих в первую очередь творчество

посмотреть в кинотеатрах Англии, вестимо, не случится, но вот пересмотреть в улучшенном качестве очень можно. Боуи здесь невероятно красив.

URL записи

@темы: События, Дэвид Боуи

15:33 

Жизнь - это апельсин
Как же я люблю варианты...
Сначала увидела клип Slow Burn таким: sholay.diary.ru/p208790475.htm , а сейчас он явился с другим эмоциональным решением. Когда смотришь подряд, разница бросается в глаза еще сильнее.


David Bowie - Slow Burn (unreleased official full video)

Нравятся оба. Выбрать, какой из них больше, не могу.

@темы: Дэвид Боуи

14:44 

Жизнь - это апельсин
30.07.2016 в 11:55
Пишет nashbrik:

И о погоде
Добро пожаловать на Землю, Стэнтон Дэвид Джонс! :pozdr: И пожалуйста, будь счастлив!

URL записи

@темы: Дэвид Боуи, События

17:10 

lock Доступ к записи ограничен

Жизнь - это апельсин
Закрытая запись, не предназначенная для публичного просмотра

URL
22:39 

Жизнь - это апельсин

@темы: Дэвид Боуи

16:18 

lock Доступ к записи ограничен

Жизнь - это апельсин
Закрытая запись, не предназначенная для публичного просмотра

URL
23:22 

Жизнь - это апельсин
Отсюда: popvinyl.net/news/labyrinth-pop-vinyl-figures-a...




Там еще фигурки других персонажей, но Джарет... Хочу-у-уууу... хочу-хочу-хочу.

@темы: Фигурки и куклы, Дэвид Боуи

23:41 

"Лабиринту" - 30 лет

Жизнь - это апельсин
18:55 

Жизнь - это апельсин
Принесло через Фейсбук

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@темы: Дэвид Боуи

23:33 

Жизнь - это апельсин

@темы: Дэвид Боуи

16:46 

Жизнь - это апельсин
11.06.2016 в 13:00
Пишет nashbrik:

Дом с привидениями
Глава 4. продолжение

[в котором мы узнаем точный день рождения глэм рока ]



Незадолго до Рождества 1969 года мы с Лиз уехали из Лексхэм Гарденс и отправились на юг. Ведомые идеей «а давайте организуем творческую коммуну и будем жить все вместе», Анжела и Дэвид предложили присоединиться к общей аренде в Бекенхэме, Кент. Они нашли огромную квартиру в Хэддон Холле — большом викторианском особняке на Саузенд Роад. Он находился в 10 минутах ходьбы от станции, откуда до Лондона можно было добраться за 45 минут. Входная дверь этого красивого старого здания вела прямо в обширный зал, в дальней части которого находилась лестница, ведущая на галерею второго этажа. Дверные проёмы галереи вели к спальным комнатам семьи, которая здесь проживала в те времена, когда дом только построили. Всё это было перестроено в семь раздельных квартир. Справа от входа находилась маленькая кухня и ванная комната. Чуть дальше располагалась комната Дэвида и Анжелы, мы с Лиз заняли дальнюю комнату. Слева была наша скудно меблированная общая гостиная - нам всегда не хватало мебели. Вскоре после того, как мы въехали, Анжела улетела на Кипр, чтобы провести отпуск с родителями. Было довольно холодно, центрального отопления не было, и мы кучковались вокруг большого камина в холле. Владелец жилья мистер Хайс, очаровательный семидесятилетний старик, позволил нам оборудовать студию в подвале. Несмотря на то, что это было роскошное место для коммуны, нас не покидало ощущение, что там водились привидения. И они там правда водились. читать дальше

URL записи

@темы: Дэвид Боуи

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