https://www.youtube.com/watch?v=Playlist
We all have different ideas about when the 60s ended, not as a decade, but as a distinct cultural era. Some people have this notion of a “long 60s” that lasted into the 70s. If pressed about a specific final year, you could do worse than pointing to 1972, when David Bowie made his groundbreaking appearance on the BBC show as Ziggy Stardust with Spiders from Mars. Top of the Pops. That year was also the year they released the music video for their single “Space Oddity,” which gained fame after the 1969 moon landing. “Jean Genie” first single from Aladdin Sanean album inspired in part by the debauchery of the American Ziggy tour he undertook after his rise to stardom.
Struggling to find the right identity and audience in the ’60s, the young Bowie developed an unusually strong understanding not only of the music industry but of the culture itself. No one knew better than him that one era was passing into another. When those skinny figures with beards and denim and singing with ostentatious earnestness about love and freedom are gone, who will take their place?
In Bowie’s vision, the next step would be for clean-shaven, make-up and androgynous men in flashy designer costumes to tackle grand, sometimes sci-fi, often arcane themes that would shock concertgoers into a near-perfect theatrical experience, and he would be the first to do so.
In other words, Bowie made the ’70s his own, operating from his knowledge and instincts about that decade’s media environment and how images were created within it. By then, he had seen too many flashes in pop music to be happy about his own perseverance prospects. The reception of “Space Oddity” as a novelty song motivated him to come up with a bisexual alien rock star alter ego, and to end that persona on stage in 1973. A few years earlier, he had already sung the following song: The importance of changethis was the kind of manifesto that would guide his career throughout the remaining decades of his career. Bowie never stuck to a particular musical or aesthetic style for long, and that unchanging tendency is evident here. 50 music video playlists on his official YouTube channel.
Bowie’s experience releasing music videos in the ’70s, especially compared to other artists of his generation, allowed him to make his mark on MTV with stadium-ready hits in the ’80s. “Let’s Dance” The ’90s saw him take the form in new directions, such as the cinephilically sharp video for “Jump They Say” and bold action-free visual treatments of reflexiveness. “Thursday’s Child” (fromAlbum “Hours…”which began as a soundtrack for a computer game. Omicron: Nomad’s Soul). Apart from this playlist, his channel also includes music videos of his later songs from the 2000s to 2000s. “New Killer Star” To “The Stars (Are Out Tonight)” “Black Star” — the nature of stardom interested him from the beginning, even though he kept changing until the end.
Related content:
Watching David Bowie’s first starring role, “Short Horror Film” image (1967)
Watch David Bowie’s “Starman” performance top of the pops: Voted BBC Best Musical Performance of All Time (1972)
David Bowie performs “Life on Mars?” Johnny Carson’s “Ashes to Ashes” on “The Tonight Show” (1980)
David Bowie’s music video ‘Jump They Say’ pays homage to The Markers La JetéeGodard’s AlphavilleWells trial &Kubrick’s 2001
Watch David Bowie’s new video for ‘The Stars (Are Out Tonight)’ with Tilda Swinton
When Bowie & Jagger’s “Dancing in the Streets” music video becomes a silent film
Based in Seoul, Colin Mbemust write and broadcastIt’s about cities, languages and cultures. His projects include the Substack newsletter books about cities and a book Stateless City: A Stroll Through Los Angeles in the 21st Century. Follow him on the social network formerly known as Twitter. @Colinbemust.
Source: Open Culture – www.openculture.com
