EACH BEAT IS AS IT IS

AND THE MORE IS A POLITICAL ACT

Davide C. Crimi*

If we deal with David Bowie, it is certainly not to associate us with the fans
online, from which we detach with dissent. We are interested in the political and
ideological dimension of a character that the charming Nico of the Velvet
Underground, the epic years of that court of miracles that it was the “Factory” by
Andy Warhol, called it “the most superficial of all, to the point that not even know
what music do, and did not even decided whether to be male or female. ” This
judgment is sharp all the way to an area that is icing on an abyss. [​Warning: this
essay is written in an open language, which is a mix of magical-alchemical
nature, much more than regular grammar and sintaxys, to generate a
troubadoric nuova koiné of understanding.]

The best artistic expressions of David Robert Jones are those where comes to
transfer a symbolic context into its opposite, operating a reversal of values ​which always has the effect of generating
awe and reflection. A clear example of this method will be found observing the video that accompanies “Let’s Dance”,
a song seemingly techno-pop aligned on the most bland disco and that instead, with its theme of red shoes like the
Western consumerism emblem imposed on the countries of Latin America, become fully political, ending with an
image – that of the white glove – which is a very obvious complaint and that, to preserve effective, must not be
explained but only indicated.

About gloves and aprons, discussions on whether or not the M .: of our D. (R.), J., And this element, with no claim to
know everything (because it is on the border between public and private notation) , there is not one of the available
documents. It can be answered rather with what is known documented with certainty, namely membership in
“border” bodies like the O.T.O. and even before, and as the original shock, the Golden Dawn. References to this
magical and esoteric context (indeed much more in line with the character compared to the anxieties of “regular”
Masonic) appear with full evidence in his lyrics, including “Station to Station”, with bright reference to Sephiroth with
known passage: “Here are we, one magical movement from Kether to Malkuth” and, especially, the controversial
verses in Quicksand (Quicksand) with dual reference to Aleister Crowley and Heinrich Himmler. The interested
reader, if you would easily find the text.

What is relevant here is, once again, the overturning of meanings which is the signature style of Bowie, and that will
lead to a political reading at all naive, oxymoronic pro-aristocratic and Promethean of his thought. Start by saying
that Aleister Crowley, after an initial phase of fascination nitzscheiana and panic of fascism, actually right by
Mussolini was expelled from Italy (in 1923, by the mystical-magical community had turned in Cefalu and of which we
are advocates for a restoration project which will be discussed elsewhere). With regard to Himmler, the alleged leader
of the Thule Gesellschaft, the priest of the magical part of the Nazis, the reference is rather grotesque, as are
photographs of David’s son, Duncan Jones, photographed at the age of about two years by Mussolini dress and even
with a mustache, Hitler. These pictures run on the Internet and are easily found; even Duncan (which deals with war
simulation games) still holds the pride in the repertoire of his twitter profile.

We could forgive all that, by charging to a moment of loss, due to cocaine excesses that have never been a mystery in
the life of the mysterious David, who also has his name in a six-pointed star. And thus we could scroll through the
aesthetically and charismatically stunning images of his career, which is developed under the sign of Saturn
Devouring His Son, as well as David feeds of his characters and kills them symbolically on the scene: “Ziggy Stardust”,
the first creature , is destroyed to make way for “Aladdin Sane”, this for “Jareth the Goblin King”, then “The Thin
White Duke”, to the point that some suspect that those who died is not that “Bowie”, nothing but one of the characters
from DRJ.

In reaching the conclusion of this short article (which is part of a more extensive written that the author of this text
will present at the conference at the June European Beat Studies Network session as part of an essay on the rock
influences on the communications system and mass persuasion), we can report a possibility that is agitated by some
commentators on the international art scene.

*Davide C. Crimi is on the EBSN panel in Manchester with the cortometraggio “Phoné, Porneia and 528 Beats”
Before considering the merits, however, it requires a methodological clarification general, interesting and valid for all
subjects of the border and designed to dispel any suspicion of “conspiracy” that always is upon those who try to shed
more light.

The scientific point of view is not to establish a truth. Truth can safely leave the dogmatic and other species of
fanatics. The modern condition allows us to base our epistemologically, that the scientific method, not necessarily
having to believe what we report, which is nothing but the projection of various theses on the interpretation of reality.
The example of the landing on the moon (which Bowie is indeed quite solid because of his claims about his “Major
Tom” with “Space Oddity” by Stanley Kubrick and the countless and uncontrollable voices on “moon hoax” of which
we will speak elsewhere) is perfect: here we have an official version (the landing on the moon was the case with the
Apollo 11 mission July 12, 1969 and the first astronaut to walk on the lunar surface was Neil Armstrong) as opposed to
a minority theses (the film was made in a wide military zone - the Nellis Air Force Base, known as area 51), 26,000
km2, located about 150 miles from Las Vegas in the south of the US state of Nevada. to realize the movie would have
been the same Stanley Kubrick, for propaganda purposes to counter the space achievements of Russia and justify the
huge costs in the face of American taxpayers.

I hope this example is clear, to show that the position of those who writes here is not to support an opposing truth to
another, but to make it known and to reflect that in addition to an official truth there is one, otherwise, the minority,
which is not necessarily unreliable and on which everyone may make his deductions and evaluations, because they
indicate the sources.

Similarly we could also interpret “Blackstar”, the last album, concluding, Bowie, as a farewell work: “the gift he has
given us for the time of his departure” as he brilliantly told his second wife, Iman Abdulmajid (and already in having
married a black woman will find another lovely contradiction). Or, we could interpret it as a spy, a LED that makes us
understand something of the great projects that capitalism has in Serbia for the future of humanity.

After all, you will have to remember that at first, to embody the singer-dictator of “The Wall”, before the part was
given to Bob Geldof, was right in David Bowie and Roger Waters had thought that it was inspired: the perfect
embodiment of the Orwellian system (after all, “the Wall” is but a transposition of “1984”), the Newspeak in which
freedom turns nimbly in domain through brainwashing operated by the media, the destruction of critical sense ,
corruption of public systems, the dismantling of the school and education for all.

If we give credence to the hypothesis that circulating these days, ephemeral and fun, we can bring many articles that
dying was not David Robert Jones, but only one of his characters: David Bowie. (Do not give in to conspiracy in these
last lines: we know that there are still people who says he met Jim Morrison, Jimi Hendrix, and so on: but it is a fact
that there are rumors – and video – so our David you grant luxury to intervene in television programs retrospective
on his career, under the name of Jack Stevens).

To consider the possibility of an allegorical reading, we will have to better investigate the frames in “Lazarus” and in
“Blackstar”. If we do, we can write down for example, and at a glance: 1) when “Lazarus” rises from his deathbed, it
can be seen wearing the same dress that scene, “Bowie” was wearing in “Station to Station” in 1976 to represent the
change of status through the astral travel; 2) that “Blackstar” is a real ritual (although described elliptically, blurring
the hieratic and dissolving part in choreography).

If all this were true, then a not inconsiderable part of the artistic message of Bowie would be a substantial (and
alarming) indication of the modern situation of eugenics, which allows you to live (through transplants and
transfusions, a bit ‘as it happens to the vampire ” the Hunger “, films in which he starred with Catherine Deneuve and
perhaps the peak of his film experience), according to current estimates, around 150 years. The assumption that is
made is that Bowie has made use of this opportunity that contains the border between the possible and the
impossible, well-seasoned and washed down with formidable financial resources and willing to cross the frontier ethic
of a new humanity of slaves to be used as “spare parts” and subjects everything to that already in the album of 1976
“Station to Station” defined as a project to set up the ‘Homo Superior. All this could be nothing more than artistic
allegory, which may or may not like depending on the aesthetic sensibility, and that’s that. Or, it could be the story of
that part of society (the neo-aristocracy) concerned and supporter of eugenics Homo Superior project, which Bowie,
playing with its esoteric content, has leaked something.

If this were the project would certainly not particularly sensitive to the noble concepts of freedom and emancipation,
civil rights, human rights. But, fortunately, we are talking only of representations:​They’re the start of a coming race /
The earth is a bitch / We’ve finished our news.

*Davide C. Crimi is on the EBSN panel in Manchester with the cortometraggio “Phoné, Porneia and 528 Beats”