[Login] or [Signup]
Login
Username:
Password:
[Signup]
[Recover Account]

Navigation

Poll


You must be logged in to view polls
Bowie General > Images Vol. 55

You are in:  Forums / Bowie General / Images Vol. 55
Locked
homebrewPosted at 2026-01-04 14:57:27(19 hrs ago) (Bowie General / Images Vol. 55)


Uploaded: 152.57 GB
Downloaded: 376.37 GB
Posts: 173

Ratio: 0.41
Location: United States of America


These articles appear just as they were posted in the Usenet group alt.fan.david-bowie by group member Jamie Soule aka AladINSAnE. I have made no attempt to alter the formatting, spelling, grammar or edit in any way.


IMAGES: PART 55  BOWIE - THE LUNACY YEARS
By: AlaDINsaNE


The REAL DAVID BOWIE CHARACTER was made, and now it was time to build
his world. Isolar was, more or less, was the command centre, everything
went through them. It was a massive effort, requiring contracting out
all of the work, and Isolar found those contractors. Bruce Dunbar serves
as Bowie's business representative, Gail Davis is his director of
creative services and Wayne Forte is Bowie's booking agent. It's pretty
straight forward  actually. Here is the recipe. Take ONE REAL DAVID
BOWIE, and book venues. You need: A band, a stage, lighting, costumes,
instruments, sound equipment, lighting system, trucks, customs
documents, and people to move it all to 90 gigs in 15 countries. Now,
you draw up a plan to move it all. Now, get a couple of hundred people,
and move them as well to 90 dates in 15 countries along with the
equipment. Airline tickets for all of them, one charted jet for Bowie,
passports, visas,  ground transportation, food, and a system to pay
them. You need counterfeit proof tickets printed for each gig,
counterfeit proof backstage passes, VIP and press lists drawn up, food
and beverages backstage, security and contact the police in each city so
they are aware of the event. The one to pay for all of this is Bill
Zysblat, who owns the accounting firm, Sound Advice. This was the world
to be built for the REAL DAVID BOWIE, and it had a name. It was called
Serious Moonlight, and everything had to be paid up front. Some things
could be done simultaneously, as they required time to construct, such
as the stage. The call Mark Ravitz received gave him one day's notice to
come and meet with David. Ravitz had made a name for himself as one of
the best, and most innovative, stage designers in the business. The
stage for the Serious Moonlight tour would not be indicative of his real
capabilities. The most elaborate stage set up ever to go on the road at
the time is though. That stage was the one used by Bowie in 1974, on the
Diamond Dogs tour. The stage "concept" was Bowie's, and several days
after the meeting Ravitz had a scale model built. Once the plans were
approved. they were sent to FM Productions in San Francisco, who built
the stage. The set was quite simple in design. It incorporated six
skirted clear columns, a moon, and a hand with a finger pointing. The
hand idea came from the logo for the most successful movie in history,
E.T. The machine was running, time now to put it into high gear.
They served brandy and champagne cocktails that day at the Claridge
Hotel in London. There were seventy five media representatives in the
room anxiously waiting for Bowie to arrive. They would have something to
write about soon. This was BIG NEWS, it was rumoured that David  Bowie
was going to announce his "return." Those people did not realize
however, that when the REAL DAVID BOWIE walked into that room, they had
all been witnesses to a miracle. He was only ten minutes late. Bowie
walked in, perched himself on a table and declared that he was going on
tour, playing dates in Germany, America, France, Britain, Holland,
naming off more of his schedule. "Fire away," was the invitation he gave
to the media to ask their usually brilliant questions like, "What's your
favourite Bowie album." It was due to the length of his absence that
made this announcement truly big news, four years between albums, almost
five between tours.  The attention by the press was incredible, "A
Cracked Actor Makes Repairs," read one headline.  It worked. It REALLY
REALLY WORKED this time. You can always trust the media to be stupid
enough to believe Bowie, even after  his bisexuality, retirements,
movies, plays films, autobiographies, political ambitions, marriages,
and whatever other "truths" he's told to the press. Do they smarten up?
Nope, they gobble it all up, and do it as fast and furious as garbage
cans gobble up that "87 THING" he assaulted us with. They had lots to
report on, and therefore wrote pages and pages of articles about the
REAL DAVID BOWIE.  The articles basically all read the same, all of the
"masks" were gone, there were  no more "characters." All of the bullshit
was gone, this was David Bowie straight, this was the real David Bowie.
They were only partially right however. They were correct in the fact
that this was THE REAL DAVID BOWIE only, as everything else they
reported was incorrect. In my assessment the media are abnormally
stupid. I say this because if you look at the previous tour in 78, it
was advertised as presenting THE REAL DAVID BOWIE, as well.  I have
always wondered, out of the two of them, if the media could tell me
which  REAL DAVID BOWIE, is the real David Bowie? Once again, they
printed everything that they were told by the REAL DAVID BOWIE.
Unfortunately, the media was talking to a programmed piece of plastic.
Out of all the roles Bowie has assumed, this one was the ultimate
deception. This REAL DAVID BOWIE was pre planned, designed, and
manufactured to purposely deceive." The purpose was to break into the
"Pop" market, requiring a necessity to attract the "average" consumer.
To do so Bowie had to appear like your "average" entertainer, and
dispense with the "weirdness" he was associated with. So, to show the
world what he was really like behind the "masks," a REAL DAVID BOWIE was
fabricated.  This "CHARACTER" he assumed called "THE REAL DAVID BOWIE,"
worked on the "public," yet very few of his previous listeners were
fooled by it. This is due to being around him, and his work for awhile.
Looking at his past, and then looking at this REAL DAVID BOWIE, it
became quite clear that it was all fake. If looking at it didn't reveal
the extent of the illusion, then listening to it sure did. Bowie was
interviewed in a number of high profile magazines, and on prominent
radio stations, where he had an opportunity to project this image. The
image was that of an "all around normal person," and an international
entertainer. THE REAL DAVID BOWIE could be compared somewhat close as an
entertainer to Frank Sinatra.
Image consultants were hired to do some fine tuning to the REAL DAVID
BOWIE before it was unleashed on the public. "The days of drink and
drugs and kinky sex are past," said Bowie, "Now it's early to bed with a
good book, daily workouts on the punching bag, proper meals, and the
joys of single parenting." Yep, that's our Dave. Damn, what a clean
living  role model for any decent person. David Bowie's an idiot. I
mean, he missed the chance of a lifetime, think about it. He could have
capitalized BIG TIME on this REAL DAVID BOWIE LIFESTYLE. How? SELF HELP
BOOKS. Sure THE REAL DAVID BOWIE SYSTEM TO A HEALTHIER AND A HAPPIER
LIFE,  THE REAL DAVID BOWIE NUTRITIONAL GUIDE,  THE REAL DAVID BOWIE
EXERCISE VIDEO,  THE REAL DAVID BOWIE GUIDE TO WEALTH, that one would be
written AFTER the tour. Good idea, eh? He could have pitched the stuff
on Martha Stewart, Home Shopping Network, and later on Bowienet.
Now, what's this about he got up, early of course, and he worked out?
With what? A fucking
punching bag. A punching bag?  Exactly how the Hell did they think
anyone would swallow that. The Adrian Belew, David Byrne, Eddie Jobson
Children's Nursery Rhymes, Christmas With Iggy , Learn The Alphabet With
Klaus Nomi, The Sound Of Music -  Performed By The Cramps, are album
titles I would believe, long before I would believe Bowie slipped on a
pair of boxing gloves. Hold on though, I'm not saying that he couldn't
have used them, as his boxing career wasn't progressing well. Out of his
two professional fights he lost them both. In the first, George
Underwood kicked his ass. Then, The Thriller In Berlin, with Lou Reed
being the winner of that one. Word has it that Axyl Rose gave him a shot
in the head too. He looked healthy, the well tanned look, the tan coming
from an indoor sun lamp, is especially highlighted by the light blond
hair. The Bowie that appeared in official photographs was all the work
of image consultants. The pastel suits, bow tie, nice shoes were a
costume. It was staged, and every detail was looked after, right down to
removing Bowie's vice. Look at the photos from 83. Do you notice that
something is missing? No? I noticed it quite by accident. Cigarettes? I
may be wrong, but I have yet to see an official photo of THE REAL DAVID
BOWIE, that is really the chain smoking real David Bowie, with a
cigarette. On stage I only saw him light one once, and it was used as a
"prop" during China Girl.
If you notice all of a sudden in the first half of 83 David Bowie became
the darling of the media. The coverage he got even BEFORE the tour
commenced was massive. Why? How? Four years, no album, no tour in nearly
five. Let me tell you how much interest there all of a sudden was. His
booking agent, Wayne Forte, went to set up the first three weeks of the
tour in Europe, and he described it as a "hard sell." He wanted outdoor
venues and the promoters would not budge, "Bowie," they said, was an
"indoor act. Reserved seating, for a older, well dressed audience." As
much as he tried, the promoters would not change their minds, indoors,
or NOTHING. Now, I believe the promoters had good prudent sound
reasoning on their side. Think about it, what guarantee did they have.
None. Look at the 78 tour and the average audience size. There was that,
plus Bowie, absent for five years, the fact is that there was NOTHING
Forte had to show these promoters that the attendance would be EVEN as
big as 78, let alone larger. I would have done the same in their
position, it was too big of a gamble, the risk was too high. The losses
would have been staggering, and all absorbed by the promoters. So,
indoor venues it was.  How big was Bowie? After the press conference was
held to announce the venues, Forte received 250,000 requests, for the
44,000 seats available. Bowie was going OUTSIDE, it was a Stadium Tour
now! The question is, "Where did all of these people come from?" They
weren't just his seventies fans, there were seats left in venues seating
16,000 on the 78 tour. Some crowds in 76 numbered three thousand. These
were "new" fans that filled in the gap, but how did they discover Bowie
in his five year absence between 1978 and 1983? From buying Scary
Monsters? Probably not, since it sold a staggering 347,000 copies. Maybe
from the single, Ashes To Ashes? It didn't sell enough to reach Gold, at
500,000 copies. Let's Dance? One album may get you the popularity to go
from playing dates in venues seating 16,000 to playing in  60,000 seat
stadiums in SOME countries, but NOT world wide. So, where did these fans
come from? Well, to put it plain and simple, they were "VICTIMIZED!"
These "new" fans were the victims of the New York based Rogers and Cowan
Corporation,  publicity, and public relations specialists. If you want
hype and image, or to create a fad, a trend, or even an "ICON,"  then
Rogers and Cowan will do it for you. They have a reputation world wide
as being the very best publicity and public relations consultants that
money can buy. Yep! Rogers and Cowan, now under contract with Isolar to
build a marketable icon called  "A REAL DAVID BOWIE." In reality, Bowie
took a pretty high risk not recording and being  absent from the stage
for so long. Had he not walked that fine line between media existence
and obscurity so well, by keeping his name out there "just enough,"
there was a good chance that he could have severely damaged his career
to the degree that making a comeback could have been a terribly long
arduous process, or even an impossible one. To illustrate my point, I'll
ask you this. Suppose Let's Dance failed, and Serious Moonlight became
an indoor 16,000 seat arena tour, with left over tickets for each date?
That is the other side of the coin. Rogers and Cowan, as well as the
image consultants who were hired, faced an enormous challenge. Bowie was
basically a "nobody" in America, not just that however, he was a "Faggot
with the red hair nobody."  They now had to take this "faggot with the
red hair nobody," who had disappeared for five years, and sell it to the
American mainstream conservative record buyer. You try that one. It was
marketing genius what they did to create "A REAL DAVID BOWIE" that was
sellable. The clothes and overall outward appearance of the REAL DAVID
BOWIE creature was one thing, but the way that Bowie's absence for five
years was used is quite another. Rather than look at Bowie's absence as
being a detriment, they used it as their greatest weapon. This absence,
first of all, had kept all the "Bowie is weird" editorials away from the
public, as well as there were no "new incidences" to report of " Orange
Hair Drug Crazed Alien Homosexual Creatures With Lipstick On Coming To
Earth And Making Bizarre Noises Called Low."  People forget a lot in
five years. A big plus, was that there would now be a whole "NEW
SEGMENT" of record buyers who did not know Bowie five years ago, because
they were too young  This segment would not know much of Bowie's past,
so they would believe what they were "TOLD."  This absence was used too
"erase" the past.
There is an old strategy. It's called,
"Lie, Lie. Lie, Lie, Lie, Lie. Lie, Lie, Lie, Lie.
Lie, Lie. Lie, Lie, Lie, Lie. Lie, Lie, Lie, Lie.
Lie, Lie. Lie, Lie, Lie, Lie. Lie, Lie, Lie, Lie.
Lie, Lie. Lie, Lie, Lie, Lie. Lie, Lie, Lie, Lie.
Lie, Lie. Lie, Lie, Lie, Lie. Lie, Lie, Lie, Lie..
Lie, Lie. Lie, Lie, Lie, Lie. Lie, Lie, Lie, Lie.
Lie, Lie, Lie, Lie," and it works.
To help to change Bowie's reputation, and therefore the public's
perception of him, here is what you do. You lie, just lie about the past
by saying. "Well, I must be honest, I mean, I really made a big effort
to come down to Earth, so to speak for this tour. It's, I mean, I am a
good actor. And the characters I've presented in the past on-stage, they
worked. They worked a bit too bloody well," said Bowie. Regarding the
tour, "I won't be putting on any pose or stance. It will just be me." He
went on to say  how well it was all working, and had given him a whole
new audience. In terms of characters, THE REAL DAVID was the most
elaborate, this David Bowie was just your average person. All that
"other" stuff was an act. Sure, he didn't mean any of it at all, he was
acting. Hell, he couldn't believe it himself how good an acting job he
did, looking at all of the people who fell for it. This strategy worked
better than anyone ever could have dreamed possible. The image and the
interviews were successful in altering the public perception of Bowie,
the past was a "FAKE DAVID BOWIE," this was the "REAL DAVID BOWIE." The
truth is however, that this REAL DAVID BOWIE, was a false image,
contrived, designed by Bowie with the aid of marketing consultants with
the sole intention of creating a facade that would be palatable to
mainstream America. This character was the furthest thing from reality
that ever existed. His absence was played to the fullest. DAVID BOWIE
DIED, AND HE HAS RISEN. The hype was truly befitting the Second Coming
Of Jesus Christ. Most, knowing little about Bowie had no reason not to
believe the press releases. They touted him as the greatest entertainer
who ever lived. How was your average record buyer to know that his
albums did not sell in the past. The FIVE YEAR absence was made to seem
more like FIVE THOUSAND YEARS! He was made to appear as a BIG STAR
BEFORE HE LEFT, and as ROYALTY on his return. THE REAL DAVID BOWIE, a
world class international mainstream entertainer. Bowie as a single
parent was used to alter is reputation as well. Here was David, no
longer some weird space creature, but a loving and caring father. His
son's name  was reported now to be Joey instead of Zowie, Duncan in
reality and for the first time Bowie allowed them to be photographed
together. One stipulation though, Joey could only be photographed from
the back for security reasons. Joey's main caregiver was his nanny,
Marion, however David had been spending a lot of time with him in the
daddy role during this period. This role would continue as well, for as
much time as could be allocated to it, and it was a priority to David.
THREE YEARS IN THE MAKING, DAVID BOWIE'S NEW ALBUM!
It took eighteen days to make really.
HYPE! FIRST ALBUM IN THREE YEARS! HYPE! FIRST ALBUM IN THREE YEARS!
HYPE! FIRST ALBUM IN THREE YEARS! HYPE! FIRST ALBUM IN THREE YEARS!
HYPE! FIRST ALBUM IN THREE YEARS! HYPE! FIRST ALBUM IN THREE YEARS!
HYPE! FIRST ALBUM IN THREE YEARS! HYPE! FIRST ALBUM IN THREE YEARS!
HYPE! HYPE! HYPE! HYPE! HYPE! HYPE! HYPE! HYPE! HYPE! HYPE! HYPE! HYPE!
HYPE! HYPE! HYPE! HYPE! HYPE! HYPE! HYPE! HYPE! HYPE! HYPE! HYPE! HYPE!
HYPE! HYPE! HYPE! HYPE! HYPE! HYPE! HYPE! HYPE! HYPE! HYPE! HYPE! HYPE!
HYPE! HYPE! HYPE! HYPE! HYPE! HYPE! HYPE! HYPE! HYPE! HYPE! HYPE! HYPE!
HYPE! HYPE! HYPE! HYPE! HYPE! HYPE! HYPE! HYPE! HYPE! HYPE! HYPE! HYPE!
HYPE! HYPE! HYPE! HYPE!
Did it work?
Albums are never released world wide, they have a North American release
date, a European release date, and so forth.  Why? Well, you release the
album in one market first and you watch the reception to it. If it does
not meet expectations, then you can alter your marketing strategy before
you release any further copies, and before entering another market.
Also, if you think about it, the standard is that you put out a new
album FIRST, then you announce a tour. EMI's marketing department, along
with publicity agents Rogers And Cowan, decided on a different approach.
The tour was announced FIRST, on March 16, and the opening date
scheduled for May 18. The RETURN OF BOWIE, this got the ball rolling.
The whole marketing scheme was orchestrated with brilliantly. You see,
if you got the people clamouring for tickets to see the SECOND COMING,
it was only natural that they would snap up the new album. If you were
going to see Bowie, you were going to buy his album. So, they kept Let's
Dance in the can for almost a month after the tour was announced. There
was NO LIMITED RELEASE. The bomb was dropped everywhere at once on April
11, 1983, the day EMI released Let's Dance WORLD WIDE. To tell you how
effective the pre release hype was, here is a little known fact. Due to
advance orders EMI recouped ALL of the estimated $17 t0 $22 million they
paid to sign Bowie BEFORE LET'S DANCE WAS RELEASED. There you have it,
Bowie didn't cost EMI America one cent. The brilliant minds over at
Rogers And Cowan made Bowie the hottest item in town LONG BEFORE Let's
Dance ever hit the shelves, and long before one date was ever played on
the 83 tour. Oh, I forgot. The band. Bowie needed a band. This is a
story and a half.
Bowie needed to assemble a backing band to accompany him on the Serious
Moonlight tour, but there was a problem, and it had to do with
musicians.. It was in fact becoming difficult for him to find musicians.
Why? Well, there were many who refused to tour with him because of the
pay. Several musicians from the 78 tour, Belew for one, were invited to
by Bowie to join the 83 tour. Now, on the 78 Heroes tour the musicians
were paid $2,000.00 each per week, plus expenses. They were offered
$1,000.00 per week, plus expenses and bonus, to join the Serious
Moonlight tour.  So, as you can see, Bowie was gracious enough to offer
those musicians from the 78 tour, a nice FIFTY PERCENT PAY CUT, to come
along in 83. On the Serious Moonlight tour did you see anyone from the
band in 78? No? Now you know why. Bowie wanted experience on the tour,
so he turned first to Carlos Alomar, his band leader. Alomar first
played live with Bowie on the second leg of the  Diamond Dogs tour, from
September to December 1974. He accompanied Bowie on the Station To
Station tour in 76, and again on the Heroes tour in 78. You can bet your
ass however, that Alomar, as band leader, fared better in pay, or, like
the offer to play on Let's Dance, if the money was too low, he too would
have refused the offer to tour. Some of the session musicians who played
on Let's Dance were approached for the tour, and also turned down the
offer because of money. There were others who did not. With Alomar were
Steve Elson, Stan Harrison, Larry Pickett (saxophones),  Dave LeBolt
(keyboards)  Carmine Rojas (bass)  George Simms (backing vocals)  Frank
Simms (backing vocals) and Tony Thompson (drums). There was supposed to
be a Stevie Ray Vaughn in there someplace as well.
Asked at a press conference
Question: "Who is the band?
Bowie:  I've got Carlos Alomar on guitar- on rhythm guitar. Tony
Thompson from Chic on drums, a guitarist from Texas called Stevie Ray
Vaughan. If you think Jimmy Page is modern, he stopped at about Albert
King."
Question: Why did you sign with EMI?
Bowie: "Because I don't like RCA. And they didn't like me! I think I
released several very interesting, intelligent and important albums on
RCA which they didn't seem to have much time for. 'Lodger' was very much
one of them, yeah. 'Low' and 'Heroes' were two others. I just thought it
was time to move on, and I forgot about it."
The second question I threw in for fun.
So, what happened to Vaughn? Well, "the young Mr. Stevie Ray Vaughn and
his career," according to Bowie. "That was most unbecoming to all of us.
That was quite a shock. I was absolutely - God, I was so pissed off
about it. That really pissed me off. It's not Stevie's fault. I think
he's got a manager problem. What an extraordinary man his manager was. I
couldn't believe him. He was a cartoon of a manager. I mean, he really
was something else. I thought it was a cheap trick he tried to pull on
us, and I just wasn't gonna stand for it. There was no way I was I was
gonna be kind of - almost blackmailed into that kind of situation. I
thought that was a very desperate thing to do." There you go. An EVIL,
KNIFING, UNSCRUPULOUS, UNDERHANDED, GREEDY manager, who attempted to use
dirty tricks and BLACKMAIL David Bowie was the problem. As expected,
Bowie was aghast that someone could stoop so low, and to do this to such
a fair minded person as himself. I mean, just the thought. Do you have
any idea what this HORRIBLE MANAGER did? He told Bowie that there was no
way that Stevie Ray Vaughn was going on that tour, and be paid MINIMUM
WAGE according to the Musician's Union scale. That BLACKMAILER had the
nerve to actually represent his client. That "cartoon of a manager"
pulled a "cheap trick," and turned down Bowie's more than generous
MINIMUM wage offer. How underhanded, eh? As Bowie said, "he really was
something else."  The negotiations did not end there however, as the
BEAST still tried to reach an agreement with Bowie.
The rehearsals for the tour started in a small studio in Manhattan, and
Vaughn was among the musicians present. The band then moved to a
communications complex in Las Colinas, Texas,  located between Dallas
and Fort Worth. The complex was designed to serve as a movie studio, and
therefore housed several sound stages. Using one of these sound stages
they erected the entire working set for the tour so they could conduct
full dress rehearsals. When we attend a Bowie gig, few of us give much
thought to what is "REALLY HAPPENING" on the stage we're looking at,
we're just enjoying what we see and hear. Happy just to be there. It is
a much different situation ON STAGE than you imagine however. We like to
think that the musicians can relax, have fun, let loose, and it's not
really hard work on stage. This is not true however, it is in fact the
complete opposite. Do you know what Carlos Alomar hears on stage? Well?
"All I can hear is Tony's drums, and Carmine's bass, some of the horns,
and a bit of keyboards." This is why the rehearsals are at first done in
stages. The first to rehearse are the rhythm section, bass, drums,
rhythm guitar and percussion. After the rhythm section has the timing
perfected, keyboards are added, and then lead guitar. Even in rehearsal
the lead guitar and keyboard can't hear each other. Then the horns and
vocalists figure out where they fit in. While this is happening the
computerized lighting system is being programmed. I will say that the
accuracy, and split second timing of the lighting effects in 83 were
MAGNIFICENT! I was really impressed. Anyway, if no one can hear each
other on stage, how do the songs get performed with such
professionalism? What ties it all together? There is one answer to that
question, and it all comes down to ONE THING. David Bowie. There is your
answer. Although YOU do not see it sitting in the audience, Bowie holds
everything on stage together, and it works by using him as a focal point
to co co-ordinated what is happening on stage to make everything
cohesive. There is an ongoing dialogue between Bowie and Alomar on stage
that you will never see, and also a continuing one  between Alomar and
the band. This "secret communication system" is how everything is co
co-ordinated, and how instructions are passed along. If a problem arises
on stage, YOU will rarely notice it, however all who are on stage are
informed of it. Do you want to know how it's done? Okay. Listen to
Carlos Alomar, he will explain it to you.
Now, according to Alomar, Bowie is used for timing. "Just looking at
David, and keying in on him, that's about it," he said, and, "When I'm
doing a show, I'm wide awake, looking at David's lips all the time,
reading his lips, because I can't hear him at all." Alomar is
responsible for the band as well so he has "to look back and forth at
the other guys to make sure they're not having any problems." This is
done sometimes by watching which chords are played. Alomar explains that
if, " the drummer drops a beat, and they go out on a B chord and he
drops a B, it might be because he broke a drumstick, or broke a snare,
or his foot pedal broke and a roadie's fighting to get it back before
the next beat." Bowie's instructions are communicated in normal
gestures, and that way they appear as part of the show. If Bowie drops
his hand, blinks, or moves his head a certain way, then you think
nothing of it. Quite often in fact, these are signals, the movements
actually "MEAN" something, and are Bowie's way of passing along
instructions to Alomar, who then passes them along to the band. How does
Alomar manage to "talk" to the band, considering the noise, and the fact
that he has a guitar in his hand and happens to be playing as well? Put
it this way, that guitar does a lot more in Alomars hand than just make
sound. He explains, " The cues I give back are with the neck of my
guitar. I pull it up, I pull it back, or down. Tempo back, tempo down.
Everybody is grooving off the rhythm section. But they watch me. If I
pull my guitar neck to the left, that means cut it off before time.  If
I pull the neck down, that means cut it off." I am getting ahead of
myself here, but I want to say this before I forget. Fuck I forget.
Give me a minute....................................
Just a minute, it'll come.................................
What was I talking about again?
Where was I.................................?
AladINsaNE
More to come, if I remember that is.


""I don't begrudge any artist for finding an audience"
- David Bowie abt. 1987
Report This Post Go to the top of the page
 

<< Prev  1   Next >>

Locked
You are not permitted to post in this forum.

Latest Forum Posts
Latest Topic TitleRepliesViewsAuthorLast Post
Final act documentary3152Ballhausby alikzubr
2026-01-04 21:36:07
DONATIONS [Bump]19146490Steveboyby kbrubaker
2026-01-04 17:23:05
Images Vol. 55039homebrewby homebrew
2026-01-04 14:57:27
Savage Jaw background info203485homebrewby dragpeace
2025-12-31 17:55:03
Clear out of all me uploads and down loads from 2006 onwards0243Quicksandby Quicksand
2025-12-30 14:32:49
Bowie talks to Robert Smith of The Cure in 199524072MossGardenby MossGarden
2025-12-27 21:44:25
Images Vol. 541248homebrewby dag97
2025-12-27 15:34:55
Have these appeared anywhere?2388Rael076by MaddHattering
2025-12-27 00:22:56
Rocky Horror Documentary8934homebrewby homebrew
2025-12-25 15:55:55
Christmas Blackstar1405steve23yhby professormouse
2025-12-22 00:34:29
Images Vol. 530308homebrewby homebrew
2025-12-20 14:16:39
Images Vol. 520415homebrewby homebrew
2025-12-13 13:50:08
Bowie: Leaked Songs That Have Never Been Officially Released?236143EarlMahagersby professormouse
2025-12-10 01:29:24
Images Vol. 511402homebrewby homebrew
2025-12-06 14:43:11


Online Users

Newest Members
Modified by JanErik |- Page Generated In 0.069461 secs.
-|- RSS Feed -|- Feed Info
Theme Base By: Nikkbu | Modified by: paperdragon | Graphics by: MossGarden
Email: bowiestation(AT)bowiestation.com