Anyone with half a brain and slight knowledge of the occult can see
Bowie was heavily influenced by occultism. But how deep into it all was
he. Take a step back and analyze different aspects of what his career
was communicating to get an accurate picture of what he was all about.
I
realize his death was on the 10th, the source IMDB I was going from
says the 11th, I thought it was maybe really early morning. Sorry for
the mistake.
The Fanch : +FreeRadioRevolution Classics! Weird stuff, isn't it?
Whatever your faith is, if you have your heart at the right place, you
feel something is not right here. It's dark, creepy and can I say...
insane looking?!
Nightmarish visions which can also be found in Rihanna's crap and
others'.
A dead astronaut (but where? is this the Moon or Earth?) under a black
sun, then some kinda possession rituals, the scarecrow, etc.
And this man is supposed to have throw off this thing because he was
afraid of dying or something? Maybe he was possessed; maybe for quite a
time. Who knows? Even Anton Lavey (former master of the US Satanic
Church) said on his dying bed that he was sorry for all the evil he did
and pledged forgiveness to God (whatever that is, it's life and love I'm
talking about here). But the nice and elegant David Bowie, as a
testament, gave us one of the the eeriest and darkest and more
not-at-easing music video ever. Thank you David. Godspeed. Faster,
please.
And for those of us who want to stay "realistic" about this occult
stuff, just take a look at what symbolism means and has meant throughout
our world's history. Drawn from behind the curtains.
It's always pretty much about powerful people (wealthy but weak in all
else) who are putting a malevolent encasing intent into a specific form
or geometric structure. It goes right to the subconscious mind of the
unwarned victim, to control or influence his or her behaviour.
Or to show to other power clans what can be found within such decorated
walls. Triangles, pyramids, circles, wings, pineapples, etc. can be
found almost everywhere in architecture, culture, constitutions,
sciences, justice, logos, ... in France, the US, the UK, Switzerland,
Germany, Italy, etc.
By essence, this use of sigil magic is opposite to the way this harmonic
universes works, opposite to our nature. Just writing. :O)
I'm an absolute Bowie Fan and found some interest in this very well
written article though I doubt seriously the motivations behind it !!! I
leave it 2 U 2 make up your mind. jbTrendy
The Secret Jewish History of David Bowie
Seth RogovoyApr 16, 2013(Updated Jan 11, 2016)Image: Getty Images
David Bowie died of cancer on Sunday after a glittering
five-decade career in pop music. The rocker won millions of fans across
several generations by constantly reinventing himself, but who knew he
had such a strong link to the Tribe?
Madonna had nothing on David Bowie when she came out as a devotee of
Kabbalah in 1998. British rock star Bowie, who is much in the news right
now for his terrific “comeback” album, “The Next Day” (Columbia/ISO) — his first new recording in a decade, widely and justifiably hailed as his best work since 1980’s “Scary Monsters,” — beat Madonna by 20 years or so when he sang about the sefirot, the mystical vessels of divine energy, in the title track of his 1976 album, “Station to Station.”
Image: Getty Images Loving the Alien:
David Bowie is one of few major international rock stars ? especially English ones, who have performed in Israel.
Really? Yes. Sure enough, Bowie sings, “Here are we, one magical
movement from Kether to Malkuth” in “Station to Station,” perhaps the
only usage of kabbalistic terminology in Hebrew ever by a major
international pop singer. The lyrics refer to the divine emanations of
the infinite: Kether, or “the crown,” said to be the divine will or pure light, and Malkhuth,
or kingship, the nurturing receptacle of that light. Bowie was pictured
on the back of the album, drawing a diagram of the 10 Sefirot, an
activity he purportedly engaged in with some frequency while recording
the album in Los Angeles — a time during which he was supposedly bombed
out of his mind on cocaine.
Bowie’s immersion in Kabbalah was part of an overarching spiritual
quest that took him from Tibetan Buddhism (he almost joined a monastery
in the late 1960s, until his teacher told him that he’d make a better
musician than monk) to Christian mysticism, occult worship and a
flirtation with neo-Nazi imagery that nearly derailed his career when it
was discovered that he collected Nazi memorabilia and that he seemingly
made a “Heil Hitler” salute upon arriving, in 1976, in an
open-top Mercedes convertible, waving to a crowd gathered at London’s
Victoria Station.
Today that unfortunate dalliance is blamed widely on Bowie’s drug
issues; in any case, Bowie has been married for the past twenty years to
Somali supermodel Iman, with whom he has a daughter. He put that
unfortunate incident behind him long ago, and his previous and
subsequent life and career suggest that he is anything but a Nazi
sympathizer.
False information floating around the Internet claims that Bowie’s
mother, the very Irish Peggy Burns, was part Jewish, undoubtedly owing
to the fact that Bowie’s older half-brother, Terry Burns, was the spawn
of an illegitimate relationship between his mother and Jack Isaac
Rosenberg, the son of a Jewish furrier. When Peggy Burns married Bowie’s
father, Haywood Stenton Jones, it was under the condition that he would
raise the then-10-year-old Terry (and their son, David, who was 8
months old on their wedding day) — whose biological father had abandoned
him and his mother before he was born — as his own.
As
much as Bowie is a singular visionary — as a visual artist, actor,
celebrity, cultural theorist and musician (not necessarily in that
order) — he has fed on give-and-take with other artists. Two of his
greatest early influences were Jewish rockers Bob Dylan and Lou Reed.
The chameleon-like Bowie went through an early, hippie/flower-power
period, playing acoustic guitar and modeling himself, in some ways,
after Dylan, to whom he paid tribute in “Song for Bob Dylan” on his 1971
album, “Hunky Dory.”
Although Bowie went on to morph into a glam-rocker (after the model
of his longtime friend and nemesis, Marc Bolan — ne Feld — of T. Rex),
among several other guises, he never lost his Dylan connection. The new
album has no fewer than three Dylan references, including a mention of
“love and theft,” the title of Dylan’s 2001 album; the lyric “Van Ronk
says to Bobby, she’s the next real thing,” a reference to Dylan’s
mentor, the folk-blues legend Dave Van Ronk, and a song that borrows the
basic chord structure of Dylan’s song “Lay Lady Lay.”
As for Reed, Bowie’s early music pays heed in large part to his work
with the Velvet Underground; when Bowie first came to the United States,
he sought out Reed and his mentor, Andy Warhol; he sang about the
latter in the tune “Andy Warhol”; he played Warhol in the 1996 film
“Basquiat,” and he produced Reed’s solo album, “Transformer.” In the
late 1980s, Bowie reinvented himself as a member of the band Tin
Machine, joining forces with guitarist Reeves Gabrels and the rhythm
section of Tony and Hunt Sales, sons of Jewish comedian Soupy Sales. Tin
Machine’s biggest hit, “Under the God,”
was an anti-skinhead protest song. The group even gave its 1992 live
album the self-consciously Jewish title, “Tin Machine Live: Oy Vey,
Baby” — presumably a humorous if somewhat pointed nod to U2’s use of
German on its 1991 album, “Achtung Baby.”
At age 66, Bowie seems creatively reinvigorated. The new album looks
back with wistfulness at his “Berlin period”: He sought refuge there
from Los Angeles and cocaine in the late 1970s, during which time he
reached his creative peak on a trio of albums. He also tackles such
topics as mortality, celebrity and, of course, outer space, a perennial
concern since he first gained international recognition with “Space
Oddity.”
But it’s inner space that has always primarily moved Bowie, and as
much as “The Next Day” is a great listen, what we’re really looking
forward to is Bowie’s day after the next. A frequent Forward contributor, Seth Rogovoy has mined the hidden
Jewish stories behind James Bond, Alfred Hitchcock and “The Hobbit” in
these pages.
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des Lieux à leur seul profit tout en prétendant être accueillants. Ils
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une appropriation du talent et de l'énergie créatrice des autres. Or,
c'est d'abord passer à côté du
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d'Artistes, qu'elles soient conventionnées ou non, et ce sont bien
évidemment les Gens eux-même qui en sont responsables. Et ces gens, on
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animent et de nos aptitudes à les faire vivre et à les réaliser. De
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définition ne sommes que de passage dans le monde physique appartenons
plus au lieux que nous habitons qu'ils ne nous appartiennent. En
conséquence, ne soyons pas outrecuidants et laissons la Maison nous
indiquer qu'elles activités et donc les individus qui les portent
pouvant contribuer à son épanouissement. Permettons et facilitons alors
l'établissement de ces personnes en son sein et jubilons du foisonnement
des échanges qui s'y effectuent nous qui ne sommes que les heureux ou
malheureux dépositaires d'espaces de vie selon notre comportement.
Certains en sont totalement incapables et en ce cas devraient tant
qu'ils n'ont pas acquis un minimum de savoir vivre communautaire
s'abstenir de prétendre régir de quelque manière que ce soit un domaine
fondé sur le sens du partage et de l'émancipation individuelle et
collective.
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