By Simon Critchley
Simon Critchley first encountered David Bowie within the early seventies, whilst the singer seemed on Britain’s most-watched song express, most sensible of the Pops. His functionality of “Starman” mesmerized Critchley: it was once “so sexual, so realizing, so strange.” days later Critchley’s mum obtained a duplicate of the one; she loved either the tune and the performer’s vivid orange hair (she had formerly been a hairdresser). The seed of a lifelong love affair used to be therefore planted within the brain of her son, elderly 12.
In this concise and interesting day trip in the course of the songs of 1 of the world’s maximum pop stars, Critchley, whose writings on philosophy have garnered common compliment, melds own narratives of ways Bowie lit up his boring lifestyles in southern England’s suburbs with philosophical forays into the best way suggestions of authenticity and identification are became inside of out in Bowie’s paintings. the result's approximately as provocative and mind-expanding because the artist it portrays.
"The strongest and provocative thinker now writing …" —Cornel West
"Critchley lovingly finds profoundly deep cuts from each Bowie period in a quick sharp publication necessary of its topic. Miraculously doubles up as an creation to philosophy." —Gruff Rhys, member of great hairy Animals
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Extra info for Bowie
27 • BERG’S WORLDS Contradiction and paradox are central ingredients of Berg’s persona and of his music. He was a man of open amiability and of many secrets; a faithful friend and an eager consumer of malicious gossip; a composer of fierce modernism who courted popular appeal. The elusive qualities of his character make it easy to be sucked into a vortex of eternal regress and self-absorption. Berg, the man, we follow at our peril. Berg, the composer, however, transformed the spinning vortex of his unknowable self into extraordinary music that reaches beyond the self toward a common understanding of the human condition.
Soma Morgenstern, “Im Trauerhaus,“ 23: Eine Wiener Musikzeitschrift 24/25 (1 February 1936): 16. See Mark DeVoto’s translation, “In the House of Mourning,” part of “Alban Berg zum Gedenken,” in this volume. 3. Heinrich Jalowetz, “Abschied von Alban Berg,” 23: Eine Wiener Musikzeitschrift 24/25 (1 February 1936): 12–15, 14. Translated by Mark DeVoto in “Alban Berg zum Gedenken,” in this volume. 4. Theodor W. Adorno, Alban Berg, trans. Juliane Brand and Christopher Hailey (Cambridge: Cambridge University Press, 1991), 13.
And even reversible. Adorno made much of Berg as the composer of music forever in transition but whose changes were incremental and might be reduced to a single, insignificant link, be it a gesture or a note from which all else flows. One might take this link to be the core, but it was something that Berg sought in vain to find within himself. • 27 • BERG’S WORLDS Contradiction and paradox are central ingredients of Berg’s persona and of his music. He was a man of open amiability and of many secrets; a faithful friend and an eager consumer of malicious gossip; a composer of fierce modernism who courted popular appeal.