Ode To Bowie

These past weeks have proved fatal for some of the most iconic figures in Rock & Roll history. Adoring fans have been saying tearful goodbyes to both Ian “Lemmy” Kilmister of Motörhead, and Glenn Frey of the Eagles, but perhaps the most notable passing is that of David Bowie. A profoundly influential singer, songwriter, stylist, activist, and trend-setter, Bowie refused to be pigeon-holed into any one descriptor. In fact, the only adjective that may not suit his hallowed name is “normal”. People from all walks of life have spent decades unified in awe after just one gaze this genius’ multi-colored eyes, and one listen to his infectiously inspiring music.

The second half of the 20th century saw an influx of new music styles, few of which were not advanced, or even created by Bowie. Starting his illustrious career in the late 60s under the much beloved persona, “Ziggy Stardust,” Bowie used clever and captivating rock songs to give himself a standing in the music world. Instantly-recognizable hits such as “Suffragette City,” “Moonage Daydream,” and “Space Oddity” were among the many masterpieces spawned by Bowie during this era. Here he perfected the art of popular songwriting, and easily could have sank comfortably into complacency. However, Bowie was not one for mindless consistency; he bravely pushed through the 70s, all the while exploring new facets of his creativity. This musical mastermind used his ever-growing popularity as a platform to expose the world to a wide range of stylings with a common thread of universal lovability. Among the most notable of his creations was the sub-genre, “Glam Rock”- characterized by boisterous personalities and unapologetically fun songs. By 1980, Bowie had begun experimenting with a more dance-oriented and electronic-driven sound, releasing club anthems like, “Let’s Dance.” He continued the successful pursuit of relevancy through the 90s and 2000s, broaching cutting-edge styles such as Punk and New Wave. No matter what musical, or physical persona this visionary tackled, he did so with a unique thoroughness and integrity that will preserve his work for ages to come. Bowie truly earns his reputation as a “musical chameleon” by never failing to keep one dedicated ear on his work, and one open to interpret the musical world surrounding him.

An key and often overlooked component of this man’s enormous character was his ability to transcend the confines of mere manhood, and touch the hearts of those without a place in an exclusive society. While his music stands alone as brilliant, it was always backed up by a poignant permutation of the person inadequately referred to as “David Bowie.” For virtually all of his numerous albums, Bowie chose a new side of himself to expose to the world. His self-proclaimed bisexuality, obscure name changes, stylistic developments, and infatuation with cross-dressing all liberated and called attention to demographics that had been living in the shadows. Who could poke fun at homosexuality when an outwardly gay man was producing such incredible music? Under Bowie’s musical reign, countless individuals felt free to act as just that- an individual, and such a movement was truly ahead of its time.

As the world reeled at the news of this icon’s shocking passing, attentions turned to the album that was released just two days prior, Blackstar. Already a much anticipated work which received rave reviews at the moment of its release, Blackstar is given a whole new life in context as a final farewell. Bowie knew that he would not be long for the world following its release, but his fans did not. He wanted his last project to stand alone without the crutch of sympathy listens, so news of his 18-month battle with cancer was only announced after his death. As for the album itself- it is a masterpiece, and a true testament to Bowie’s relentless hunger for creative innovation. Tracks such as “Sue (Or in a Season of Crime),” “Girl Loves Me,” and “‘Tis a Pity She was a Whore” give insight into the music direction that Bowie was interested in during his final months- a surprisingly gritty, fast-paced, and driven tone with a distinctly modern edge. All musicians performing on this album were acquired in a refreshingly natural way; Bowie would attend local jazz clubs alone until he saw a performer he liked, so that he could give an opportunity at stardom to undiscovered faces. This theme of handing off to the next generation can be heard throughout the most nostalgic songs, “Blackstar,” “Lazarus,” “Dollar Days’” and “I Can’t Give Everything Away.” Each of these not only serves as a chilling lyrical goodbye, but also a musical replica of the highlights of a monumentally broad career. Despite the bitter sadness of such a genius’ death, a certain embrace can be felt while listening to “Lazarus,” as Bowie promises, “You know, I’ll be free; just like that bluebird; now ain’t that just like me?’

A look at this hero’s 69-year life is a true testament to the power that one man’s art can have on those with open ears, and open eyes. Although the English language mandates that he must now be referred to in the past-tense, David Bowie’s spirit will have an undying relevancy as long as the world continues to create art.