later I met Ziggy Stardust, in the sense that the first shots of David Robert Jones on art Bowie were not those of the androgyne and sublime space spider complicated by language and suggestive, but the moon puppet Heroes, from the cover and essential retro, 40s. But enough: evoked Marlene Dietrich also did not know if it was the second album "Berlin trilogy". He arrived accompanied by a lot of noise, voices, rumors, rose classrooms in endless discussions about his records, smuggled (and with great difficulty, given the size) from a fellow who knew all his songs by heart. And that came just days after the previous LP, that Low the brazen orange cover and the title of which I am seduced by the sound, the brevity and untranslatability: an album in Italy could never be called Low or Deep . Low Low was just bright colors and undamped a cold climate, in fact, icy and ruthless; were Munch's brush, or Fauves, yet Low postponed well in something silky and smoke, fallen. In short, lukewarm. Celestial. And it was love for Sound and Vision , un'incompiutezza brilliant, from grammar, futurist, absolutely free of metrics, even though logic: introduction only, with the voice that looked timid and unpacking at the end, soffogata sounds (and visions). And apparently, entirely incidental, irrelevant. A triumph of technology, the absorption of man into the machine. Yet there throbbing tentacles of life compelling and powerful. Already developed by the monumental and "anonymous" Pink Floyd. Behind there was Eno and even then I was unaware of everything. I would racchiappato Eno, or rather devoured, only 16-17 years, who is also backwards: first My life in a bush of ghosts , the ripe fruit, then the roots, Before and after science , Another green world. But to return to Bowie, Ziggy appeared to me only later, and took the blaze for the studied sophistication of what I thought an aristocratic dandy and instead came from famiglia proletaria, con fratellastro pazzo, poi morto suicida. Ah, ecco, all'origine era rock'n'roll. E il rock'n'roll di Ziggy era davvero insuperabile. Una scatola visiva. Bowie era una proprio una macchina, una di quelle escavatrici - o centrifughe - che maciullano e condensano tutto. Ricco di citazioni e auto-citazioni. Da Lindsay Kemp (quello di Flowers , soprattutto, ma 
anche del sulfureo Sebastiane ) ai Who, e naturalmente a Lester Bowie da cui prese il nome. E qui, lungi dall'artificio e dalle glaciazioni, eravamo davvero al calor bianco. 1972: David Bowie/Ziggy, 64 anni oggi, in una tipica posa. In basso: the disk version of the Sound and Vision and the artist in an interpretation of recent Life on Mars.
The whole language of art and expression humanity is distorted and the boundaries exploded, then reinforcing a quirky mosaic unexpected and frightening. So it happened that the protagonist of Buddha of Suburbia by Hanif Kureishi you take a solemn capsizing the Nordic fluffy friend that occurred at his home with his legs on boots endless bloom. Not only adolescent thrills, but rather to awaken ancestral hunting, revenge of the colonized games with priceless prey instinct. Kureishi acknowledged much later that the figure was inspired by Bowie's friend.
too early player in the face for being a great film also, Bowie, in his greed so succulent, but retained a fund ( "low" , of \u200b\u200bcourse) too dark, sublime, Germany - Berlin - in order to shine at all. He was a gentleman, I would see him walking in the Riviera at the end of the nineteenth century with his wife (the first, Angie) and was a painter, he created exquisite paintings the colors reversed, but as an alien, still a few inches above the ground , soil Morning Italian and Catholic lands. I needed splendours, brotherhood and sadness, in which gently cradled.
(Also published by MenteCritica )
The disk version of Sound and Vision, and below it in a recent Bowie masterly interpretation of Life on Mars? , another historical piece.
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