Till Next Time...
“I don't know where I'm going from here, but I promise it won't be boring.” ~David Bowie
David Bowie, Pop Star Who Transcended Music, Art and Fashion, Dies at 69
By Jon Pareles, New York Times - JAN. 11, 2016
~David Bowie, the infinitely changeable, fiercely forward-looking songwriter who taught generations of musicians about the power of drama, images and personae, died on Sunday, two days after his 69th birthday.
Mr. Bowie’s death was confirmed by his publicist, Steve Martin, on Monday morning.
He died after an 18-month battle with cancer, according to a statement on Mr. Bowie’s social-media accounts.
“David Bowie died peacefully today surrounded by his family,” a post on his Facebook page read.
His last album, “Blackstar,” a collaboration with a jazz quintet that was typically enigmatic and exploratory, was released on Friday — on his birthday. He was to be honored with a concert at Carnegie Hall on March 31 featuring the Roots, Cyndi Lauper and the Mountain Goats.
He had also collaborated on an Off Broadway musical, “Lazarus,” that was a surreal sequel to his definitive 1976 film role, “The Man Who Fell to Earth.”
Mr. Bowie wrote songs, above all, about being an outsider: an alien, a misfit, a sexual adventurer, a faraway astronaut. His music was always a mutable blend: rock, cabaret, jazz and what he called “plastic soul,” but it was suffused with genuine soul. He also captured the drama and longing of everyday life, enough to give him No.1 pop hits like “Let’s Dance.”
If he had an anthem, it was “Changes,” from his 1971 album “Hunky Dory,” which proclaimed:
“Turn and face the strange / Ch-ch-changes / Oh look out now you rock and rollers / Pretty soon now you’re gonna get older.”
Mr. Bowie earned admiration and emulation across the musical spectrum: from rockers, balladeers, punks, hip-hop acts, creators of pop spectacles and even classical composers like Philip Glass, who based two symphonies on Mr. Bowie’s albums “Low” and “ ‘Heroes’.”
AsWithin
SoWithout
Mr. Bowie’s constant visual reinvention was a touchstone for performers like Madonna and Lady Gaga; his determination to stay contemporary introduced his fans to Philadelphia funk, Japanese fashion, German electronica and drum-and-bass dance music.
Nirvana chose to sing “The Man Who Sold the World,” the title song of Mr. Bowie’s 1970 album, in its brief set for the 1993 “MTV Unplugged in New York.”
“Under Pressure,” a collaboration with the glam-rock group Queen, supplied a bass line for the 1990 Vanilla Ice hit “Ice Ice Baby.”
Yet, throughout Mr. Bowie’s metamorphoses, he was always recognizable. His voice was widely imitated but always his own; his message was that there was always empathy beyond difference.
Born David Robert Jones on Jan. 8, 1947, Mr. Bowie constantly reinvented himself. He emerged in the late 1960s with the voice of a rock belter but with the sensibility of a cabaret singer, steeped in the dynamics of stage musicals. He was Major Tom, the lost astronaut in his career-making 1969 hit “Space Oddity.”
He was Ziggy Stardust, the otherworldly pop star at the center of his 1972 album “The Rise and Fall of Ziggy Stardust and the Spiders From Mars.”
He was the self-destructive Thin White Duke and the minimalist but heartfelt voice of the three albums he recorded in Berlin in the ’70s, often considered his greatest work: “Low,” “ ‘Heroes’ ” and “Lodger.”
The arrival of MTV in the 1980s was the perfect complement to Mr. Bowie’s sense of theatricality and fashion. “Ashes to Ashes,” his sequel to “Space Oddity” that revealed “we know Major Tom’s a junkie,” and “Let’s Dance,” which offered, “Put on your red shoes and dance the blues,” gave him worldwide popularity.
Mr. Bowie was his generation’s standard-bearer for rock as theater: something constructed and inflated yet sincere in its artifice, saying more than naturalism could. With a voice that dipped down to baritone and leaped into falsetto, he was complexly androgynous, an explorer of human impulses that could not be quantified.
He also pushed the limits of “Fashion” and “Fame,” writing songs with those titles and also thinking deeply about the possibilities and strictures of pop renown.
Mr. Bowie was married for more than 20 years to the international model Iman, with whom he had a daughter, Alexandria Jones.
In a post on Twitter, the musician’s son from an earlier marriage, Duncan Jones, said, “Very sorry and sad to say it’s true. I’ll be offline for a while. Love to all.”
( ( ( Play At Full Volume ) ) )
http://www.nytimes.com/2016/01/12/arts/music/david-bowie-dies-at-69.html?_r=0
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The Prestige
Bowie as Tesla
Thank you, Stick, much appreaciated. I didnt know he was in that movie "Tesla", so that will be my viewing pleasure over the weekend, for sure.
Indeed, the song "Lazarus" is so heavy, as in "deep", that I wonder if some people actulaly get the depth of it, or whether they simply feel Bowie had just written some "arty" song, as if a numbskull reviewer from a trashy tabloid who missed the point would say something like:
"Bowies final offering is a kind of jazzy, low fi effort, but the subject matter escapes me, why he didnt release another "Lets Dance" escapes me!"
I still find his death very surreal. His parting gift to the world was nothing short of brilliant but without any kind of smiling, uplifting "aura" about it and in this respect, he nailed it to the bone. Imagine his final album littered with songs like "China Girl" or "Boys keep Swinging".. it wouldnt have worked. This was a man on his deathbed, not conent to dance his way merrily off the stage, smiling on his way out but to lay before us a very sober observation that facing death square in the eye is probibly not a laughing matter, and that the very final moments that he was to face alone, his last few seconds alive, may have given him cause to wonder, would it be frightening?
The more I listen to Blackstar, the more into I am getting. He wrote about death and as you say, the Abyss, where he rightfully didnt crack a smile, nor write a happy go lucky line. Every bit of "Lazarus" is "dead serious" indeed the whole album needs to be taken seriously. The entire theme of Blackstar appears dark, although its probibly not. For me, its his most profound piece of work, touching an area that we all must face, sooner or later. Bowie left us on a serious note. Most of his life was spent with a smile on his face, not so with his final offering. I think its fitting. I think he was right to end on something that dosent hold a happy tune, its like listening to something drug induced, as you slip into a dream, like Miles Davis on LSD, an expansive, mind bending but ultimately very sobering "full stop". If Bowie ever took drugs in the past, he sure didnt need them when he made this record. The line "Im so high, it makes my brain whirl" from "Lazarus" says it all. He had put his life into perspective, and this was his way of saying goodbye. "Blackstar" is a smack in the face in the cold light of day, it whispers to those who get it and screams at the X Factor generation who allow it to go in one ear and out the other.
Perhaps in his last days, Bowie gathered all the elements together, pulled the reigns in as he came face to face with his ultimate blind date, and for that, he needed to get serious. The end result is an album that serves as reality check and reality checks never bounce. What a truely gifted soul he was, to have had the oppurtunity in his lifetime to express himself as so few ever have, to grab the bull by the horns as he did, and shinned. Whats even more fitting, is that his funeral was a private affair, his burial place never to be shared but kept secret between his nearest and dearest. I find that both a brilliant move on his part but a haunting one. His body was cremated, apparently, without a single family member present, I find that intriguing. Bowie has disappeared off the face of the earth, quite literally ashes to ashes, his only remains, his music, his films and countless interviews. I cant help but think, I wonder where he is, right now, whether he is floating in his tin can, far above the moon thinking planet earth is blue and theres nothing he can do .. Lol ..
David Bowie is missed... but life goes on. Sorry for the ramble my friend, I guess his death came as a huge surprise, makes me re evaluate my own life, that I too may start getting ready, for my own exit from this mortal coil......
c'est la vie.......
I hear You... well said, Brother
AsAbove... SoBelow
AsWithin... SoWithout
“... And these children
that you spit on
as they try to change their worlds
are immune to your consultations.
They're quite aware
of what they're going through...”
~David Bowie
Bowie & the Outer Planets: The Astrology of Ziggy Stardust
by Michael Tucker
“One man in his time plays many parts.” ~William Shakespeare
On February 10, 1972. A pub in Southwest London. David Bowie played a gig that would go down in history. The musician did not perform as himself — he appeared as an alien garbed in a strikingly androgynous outfit, his hair dyed shockingly red. This was Bowie’s first public appearance as Ziggy Stardust with his band, The Spiders From Mars. It turned out to be a moment that would propel Bowie, who had previously released a few mildly successful albums, to super stardom and would ultimately revolutionize rock and roll, spawning countless new possibilities and genres in its wake.
On that historic night, Bowie incorporated elements of theatricality into his performance and made a post modern, ironic commentary on the distance between performer and audience that had never before been attempted — giving rock, which was becoming stale in its message-laden sincerity, a much needed shot of adrenalin. This was the first of numerous public alter egos through which Bowie would channel his heavily conceptual songs, albums, and public performances — blurring the lines between his art and his persona and casting shadows on the masks worn by public performers.
Part of the cultural significance of this wildly original moment of creative innovation is that it, along with the horrific Manson family murders and the ill fated, poorly organized free concert by the Rolling Stones at the Altamont Speedway which ended with a young black man being knifed to death by the Hell’s Angels in front of the stage as the Stones played “Sympathy For The Devil”, heralded the end of the idealstic 1960’s. Bowie’s Ziggy stage show would grow from here into a postmodern mythology which would include themes of aliens, futurism, salvation, fame, and apocolyptic catharsis — themes which are archetypally reflected by the three outermost planets in our solar system.
Bowie is an artist who has always understood and creatively utilized the current archetypal energies to great effect. As a student of Astrology, which has an association with these same energies, I became interested in studying the connections between the planets in the sky on the evening of Ziggy’s debut and the configuration of the planets at the moment David Bowie took his first breath. To phrase it differently, this is a look at the connections between the birth charts of Mr. Bowie and his creation, Ziggy Stardust.
Astrology is an ancient symbolic language which is based on the location of the planets in the sky at any given moment and on the angular and cyclical relationships those planets have with each other. The highly overused phrase “As above, so below” is a simple explanation of the concept that there is an unfolding of energies and events on our planet which can be symbolically decoded by examining the location and relationship of the celestial bodies in the sky as signified in an astrological chart. Much as musicians can translate notations on a sheet of music into various sounds, the astrologer can decode the glyphs in an astrological chart into a conversation with the Archetypal energies at any given moment in time. And just as each musician will have his or her own style of playing the notes on that page, so will each astrologer have his or her own style of interpreting the information in a horoscope.
As I will be looking at the transits, or location of the planets during a particular event in Bowie’s life in relation to his birth chart, I will focus mainly on the powerful and slow moving outer planets, Uranus, Neptune, and Pluto. These planets, named so aptly for the mythological gods and archetypes they represent , move very slowly through the zodiac making their presences very potent indeed. It is for this very reason that astrologers tend to look to connections being made by these powerful outer planets to planets or sensitive points in the birth chart during important events or periods in the life of an individual.
Uranus
Rewind. Almost 200 years before Ziggy. March 13, 1791. An Englishman is looking through his telescope and in one moment completely and forever disrupts the accepted classical view of the planets in our solar system. An old view is irrevocably shattered. Our solar system no longer ends with Saturn as was believed since ancient times. Unexpected, shocking new vistas and heretofore unimagined possiblities open up. Not coincidentally, this is the era of the American and French Revolutions and it is a time in which people are beginning to experiment with different methods of taking flight, leading eventually and ultimately to space travel. Sudden liberation from the old order, rebelliousness, innovation, disruption and disruptive events, electricity and lightning, wild creativity, high originality- these are some of the properties that Astrologers associate with Uranus. It’s not much of a stretch of the imagination to guess the reasoning here.
Fast Forward. Ziggy’s debut. While not nearly as paradigm shifting as the discovery of the first outer planet, the young singer, tongue planted in his Promethean cheekiness, would discover new horizons and revolutionize rock music in true Uranian fashion. Transiting Uranus was in the sign of Libra in February 1972 and was making a soft 120 degree angle (an exact trine) with Bowie’s natal Uranus in Gemini signifying a highly compatible and easy flow of energies. Uranus is acting in this case as Awakener — electrifying Bowie’s artistic potential, activating an inner process of ever shifting curiosity, versatility and ambiguity, all qualities assocaited with the Gemini archetype: an internal dialogue at the deepest core of Bowie’s being which “Changes,” just like his famous song, with each passing intellectual idea that grabs his attention. We have the airy flow back and forth from Gemini and Libra of idea or thought into aesthetic ideal/art (Libran qualities) in a highly innovative, future oriented (Uranus) manner.
To add another layer here, Bowie’s natal Uranus placement is very close to being located at the same degree of the zodiac (conjunct, in astrological terminology) as his North Node of the Moon. The Lunar Nodes are highly important points in the chart which signify directions of evolutionary development or stagnation and lessons. The North Node signifies that which we need to grow towards; the South Node usually signifies that which we need to leave behind. With Uranus so close to the North Node in Gemini, we can see that the properties and expression of this planet are highly important for Bowie’s growth as a soul and as an artist.
As Bowie grew into his Uranian potential, so many of the songs that he would write (Gemini) would carry Uranian titles — a few examples are “Rebel, Rebel, ” “Loving the Alien,” and “Aladdin Sane.” David’s next album cover would bear the image of him as an androgynous character (Gemini) with a lightning bolt (Uranus) painted on his face. I think it’s also worth noting that Bowie’s Aquarian Ascendant (the sign rising on the eastern horizon at the birth moment which signifies our approach to life) is ruled by the planet Uranus — yet another clue to the importance of this planetary “sky god” to his life and art.
Transiting Uranus in Libra is also forming a nearly perfect square (a hard and challenging 90 degree angle) with Bowie’s natal Sun/Mars conjunction in Capricorn. Bowie’s natal Mercury, which is the ruling planet of the North Node in Gemini, is widely conjunct his Sun and Mars so it gets pulled in as well. Uranus in Libra: A shocking revolutionary expression of the alien (Uranus) and the culturally acceptable, including gender bending androgyny, and mock ritualized sexual acts performed on stage through fashion and artifice (Libra) challenging (the square aspect) the traditional (Capricorn ) male identity (Mars/Sun).
I think it’s worth mentioning that Bowie (whose real name is David Jones) named himself after the Bowie knife — a neat Sun/Mars reference of finding an identity (Sun) in a knife (Mars) and perhaps a foreshadowing of having alternate stage identities. I wonder if it is Bowie’s Sun/Mars conjunction in the twelfth house which gives him the strength of identity and strong psychic boundaries (a specialty of Capricorn) to give form to various characters from the collective unconscious without losing himself totally in the process.
Mercury in Capricorn is the perfect placement with which to give structure and voice within the medium of popular songwriting to these highly original Uranian themes. On a final Uranian note, the transiting North Node in Aquarius had recently crossed Bowie’s Ascendant, perhaps allowing his appearance and approach to life to reflect these Uranian group evolutionary themes while the transiting South Node in Leo was conjunct Bowie’s natal Moon/Saturn conjunction, which makes a statement about his pride and responsibility as an artist.
The Leo/Aquarius themes of the alien and the adored, of the performer and the audience and of authentic expression from the heart and detachment are at play here. It’s ironic in light of Moon/Saturn in Leo that Bowie would later have a hugely popular tour named”Serious Moonlight” and that he made an album titled “Low” during his Saturn return over his natal moon.
Neptune
Oh Neptune. Boundless and oceanic, named after the god of the seas. It was discovered in 1846 — an era marked by an interest in spiritulaism, utopian ideas, and the Califonia gold rush — a quest to get rich quick by way of ever elusive glittering treasure. It is said that Neptune flickered and faded in and out of view in the lens of the telescope as it was being discovered. Now you see it, now you don’t. It’s archetypal properties include fantasy, illusion, delusion, salvation, dissolution, enchantments, stardom, glamour and transcendence. Why not Stardust and Glitter too?
Neptune was an important player in the sky that night in London in 1972. It was making some key aspects to points in Bowie’s natal chart. It was in the sign of Sagittarius, which is associated with sincerity, travel, religion/philosophy, the priest and the sage and conjunct the highest point in Bowie’s chart which is called the Midheaven along with Bowie’s natal Venus. The Midheaven denotes one’s career or public identity and Venus relates to beauty, values, and relationships. Bowie masterfully used the glamour and illusion of Neptune (along with the Venusian make up, hair dye, and fashion) to construct the public identity within his career as a musician (the Midheaven) of an alien preaching a fiery message (Sagittarius) of stardust and glitter (Neptune) and rock and roll salvation (Neptune again).
The conceptual story behind Bowie’s elaborate alter ego had a basis in mythology and religion and majorly expanded Bowie’s popularity and success leading to a worldwide tour. Transiting Neptune is also conjunct Bowie’s South Node in Sagittarius: Here we have the dissolution (Neptune)of the public identity (Midheaven) of the earnest and sincere folk troubador (Sagittarian South Node) who sang songs about the philosophy of Nietzsche with heavily occult themes (ruling planet Jupiter is in the sign of Scorpio which can relate to the occult) to be replaced with an exploration (Sagittarius) of alternate realities and imaginary characters (Neptune). This was a glittering coming out party for the first in a long line of crafted personas for Bowie and the end of the faux preachy uber-sincerity of the sixties.
Pluto
And last, but never least is the big gun in the sky. The one they say is no longer a planet. The one that corresponds with themes we like to repress or deny altogether as a culture. Death/rebirth, intensity, the underworld, deep transformative processes, volcanic eruptions, all things taboo, and the soul itself are but a few of the archetypal associations here. Pluto was discovered in 1930 in the era of the rise of fascism and at the discovery of nuclear power through splitting the atom. It is of note that transiting Pluto in Libra is square (that hard 90 degree apsect which represents a challenge or conflict) Bowie’s natal Mercury in Capricorn emphasizing communication (Mercury) of powerful taboo subjects (Pluto) through art and fashion (Libra). Bowie’s Sun and Mars get pulled in here as well — artistic transformation (Pluto again) of the traditional male image. Another possibility is that the artist’s penetrating mind (Mercury) was up to the challenge (the square aspect) of tapping into the psychic undercurrents (Pluto) which lie beneath polite society (Libra) in his heavily conceptual work to powerful effect.
These are the key outer planetary transits that tell the story of Bowie’s first appearance as “not himself “on stage. On the night of Ziggy’s debut, the planets, Neptune, Uranus and Pluto were hurling glittering lightning bolts of illusion, fantasy, glamour, rebellion, futurism, gender taboos and transformation into Bowie’s ingenious realization of the curious messenger genius chameleon(Gemini and Uranus ) who innovates by communicating his fluidly shifting ideas by shape-shifting into the masks and mouthpieces of various characters — and at the same time allowing this sense of duality (Gemini) to keep his innermost being safe and protected in the manner of a more outgoing twin.
http://realitysandwich.com/217822/bowie-and-the-astrology-of-ziggy-...
Hi Stick, very interesting read my friend, I will probibly need to read it again to allow it to fully intergrate. I must admit, I found Bowies death very surreal, almost like a collective dream that everyone is having at the same time. I cant quite wrap my head around the fact that he died, it just seems so weird, so strange and of course its sad too. The same thing happened when Michael Jackson died, the world was stunned. With David Bowies passing, once again the world is united in some kind of mourning, although unlike Diana"s death, there isnt so much an outpouring of grief towards Bowie, more like a sense of shock and disbelief, as though, nobody can really fathom it, but of course, like any celebritty death, it will eventually sink in and through the passage of time, the sense of shock and awe will be replaced with acceptance and celebration of his life. I still find it weird though, and I was not even a hard core fan of Bowie. I loved a lot of his songs, I liked the man himself as a person, as an artist who did much to change the way people thought about music, fashion, and indeed gender "misconception" for want of another word. Bowie re wrote the rule book and for that he was brave. Anyone who stands up in this world and makes a statement, depending on what the statement is about, is either brave of stupid, because they instantly turn everyones attention onto themselves. In Bowies case, he was brave. He was a man who challenged the norm, who wasnt afraid to speak his mind and sing his heart out for the for the sole reason of uplifting others. If he was some mad, crazy gun wielding dictator, then his passing would have been a welcome relief and people would have been glad that he kicked the bucket, hoping that he burns in hell, instead, his death stunned the world and now we are left with his legacy, an ongoing inspiration and as clichéd as it sounds, he will continue to live on in his songs. His final album "Blackstar", is littered with clues to his impending death, and although I havent heard it in its entirety, what I have heard of it is errily haunting.
The album "Blackstar" is David Bowies swan song, he knew he was about to die and I go along with the view that, like his life was about art, he created art out of his death. The title track "Blackstar" and its subsequent video is a ten minuite odyssey spliced into three vignettes, which I still cant fully understand. As for the video itself, I dont know what he was trying to convey, all that dark imagery, the diamond encrusted skull, crucified scarecrows and weird, girating body movements among the extras. To my understanding from what I gather in his lyrics, Bowie didnt want to let go of his life (who does?) and maybe he felt a sense of impending doom, knowing that trying to keep the grim reaper at bay was a hopeless situation and having to accept the fact that he was going to die any day. The second single off that record, "Lazarus" only appears to nail this theory on the head. In it we see a dying man in a hospital bed, his eyes covered in linen with mocking "buttons" for eyes, as he sings the line
"Look up here, I"m in Heaven" and "Look up here, man, I’m in danger, I’ve got nothing left to lose..... "Oh I’ll be free Just like that bluebird, Oh I’ll be free"
Bowie knew he was about to meet his maker. Weird, I still think he was onto something with his final parting gift to the world, not least the fact that he knew he had liver cancer and that his body was shutting down, but like some kind of prophet warning the world that something wicked is about to unfold. Perhaps the "Blackstar" he refers to is some kind of self-fulfilling prophecy, as though he knew things may get worse before they get better, maybe in his final year his own thoughts were somewhat fear based, knowing he was about to breath his last and not knowing where he was heading towards. Maybe his final writings were all about art, as he said goodbye to the world, as being an artist was in his bones, in his life blood and therefore he transfered that art onto his death bed. I think he was clever in that respect, it cant be easy to face a painfull death from cancer and still manage to create a piece of art out of it, for the benifit of his legions of fans. I guess the reason I am getting so into this subject, is because the subject of death has been passing through my own mind lately. We just dont know how long we have left or how we are going to go out and although I am aware that death is just a transition, I still dont know how ready I am for it. I am reaching the grand age where I will be half a century old in the spring of this year, and the years just seem to get shorter. Nobody wants to die young, but nobody relishes the thought of getting older either, yet there is nothing any of us can do about it. For me, I dont really mind when its my time to go, I just feel sad for those I will leave behind. My own father died of cancer, I guess thats why David Bowies cause of death rings bells in my head. Lemmy (Motorhead) checked out from cancer, just weeks before the thin white duke made his exit from the world stage, a mere one year older than Bowie. Its strange, but ten years fly by quickly, and if I am still around in another ten, I will be at the begining of my old age, if I am not reaching that mark already. I know we have all lived before and died countless times, I just hope, that I wont have to repeat the same or simelar patterns in "future" lifetimes, because the one I am currenty in, is far from what may be called a bed of roses. Life is strange, isnt it? Death, or what comes after it, is unknown but Its a relief to know, that nobody ever dies anyway. My humble apologies for the ramble, but the passage of time has me contemplating such stuff, I guess I am at a point whereby I am comming to terms with my own exit from this crazy station, and making my peace with myself, and with those around me in the process, I may have another thirty years in which to live, maybe only another thirty days, who knows? One thing I know for certain, I will be glad when all of this is over.
~Powerful observations & insights, brother Luke... thank you for sharing your experience. I resonate with what you wrote, & indeed, for me as well, Bowie's passing has capped off a very surreal & profound year when it comes to processing the sudden loss of loved one's. Still trying to put it all in perspective... in focus, so I can fully integrate the lessons learned by so many cherished, fellow Tribesman & women, who have departed the Gaian-Matrix in the last twelve months. Also loving what I've heard of Bowies new album... so haunting... hard hitting in it's courageous look into the abyss... into the unknown. The song Lazarus absolutely blows me away. The video is almost too much (I'll post the lyrics version instead)... so sad, so fu@#ing intense! Got to blare the track on a high level system the other night with eyes closed... took it in... felt it... focused on a future chapter of the illusory story when we will inevitably see those we have lost, yet again. ~InLight555
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Bowie - Our Greatest Personification of the Androgyne and the Singularity Archetype
by Jonathan Zap
More than any other figure in popular culture, David Bowie embodied and personified androgyny* and the “Singularity Archetype** (see definitions of these terms below).” Androgyny is about far more than a gender ambiguous appearance, It is an emergent, evolutionary theme which I explore in my book and other writings about the “Singularity Archetype.” David Bowie mixed androgyny, with sci-fi motifs and themes in his music and some of his film roles, especially The Man who Fell to Earth.
Sci-fi books, movies, graphic novels, etc. are the richest source of contemporary mythology and emergent archetypes that reveal transformative forces at work in the collective unconscious of the species. A key motif in sci-fi is the androgynous, parapsychologically potent matrix-shifting mutant. Another aspect of the androgyne that David Bowie embodied was the shape-shifter.
As Bowie morphed from glam harlequin personas to the White Duke, etc. he personified the theme of a shape-shifting appearance with high ideoplasticitiy—an ability to wear inner psychic content on the outside of the body— an explosively emergent theme in the human collective with many evolutionary implications.
Instead of diluting and diminishing his archetypal role by doing a lot of interviews or otherwise being visible in public not in persona, he chose to be a bit secretive allowing the various fantasy roles he assumed, and the archetypal themes they embodied, to predominate in our imagination…
*My definition of: Androgyny, Androgynous, Androgyne Androgyny refers to the integration of archetypal Masculine and Feminine qualities within a single individual. It is the sacred inner marriage or union of opposites, of yin and yang also known as the hieros gamos. Androgyny is an intrapsychic orientation and not necessarily related to physical appearance, gender preference and other attributes with which it is often confused. An androgynous person could look distinctly male or female, while an androgynous-looking person may not be androgynous. Similarly, bisexuality, an interpersonal orientation, is not necessarily a sign of androgyny. The androgyne represents a conscious fusion of archetypal masculine and feminine qualities, while the “hermaphrodite,” as Singer adapts the term, is a person where masculine and feminine are merely confused. Many people who are costumed in an androgynous way are actually hermaphrodites. In The Gnostic Gospel According to Thomas, Jesus defines androgynous wholeness: .”Jesus said to them: When you make the two one, and when you make the inner as the outer and the outer as the inner and the above as the below, and when you make the male and the female into as single one, so that the male will not be male and the female (not) be female…then shall you enter (the Kingdom).”
*read entire article at: http://realitysandwich.com/319404/bowie-our-greatest-personificatio...
My favorite part of the movie love it
this is lovely...
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