Pushing Ahead of the Dame

Dr. Leah Kardos is a composer and musician, a senior lecturer at Kingston University, and the founder of Kingston University’s Stylophone Orchestra. She’s written a book on David Bowie, entitled Blackstar Theory: The Last Works of David Bowie, which Bloomsbury Academic publishes in January in the U.S. and February in the UK. (The e-book is out now!)

Blackstar Theory isn’t a Bowie biography, nor is it something as foolhardy as a chronological song-by-song guide to Bowie’s music (cough). Instead, as Kardos writes in her introduction:

What this book does do is explore some of the interconnected webs of meaning that are observable in the work itself. By ‘the work’ I refer not only to the primary outputs of the period in question, but to the artistry embedded within that connects with Bowie’s entire sphere of activity – his career history and the totality of his observable creative practice across time. Although Blackstar Theory deals with death as a subject, it is not the aim of the book…The aim is to approach the realities of Bowie’s mortality using the same terms as he used in commenting and wrestling with it through his work.

Part of this entails Kardos breaking down every Blackstar song and some Next Day ones (I regret that these musical analyses weren’t available for me to rely on in Ashes to Ashes, but am also grateful that I didn’t have to match the caliber of Kardos’ work here—it’s thorough, intelligent, and definitive). She explores some likely influences on Bowie’s last works, including Carl Jung’s dream journal and Dennis Potter’s last teleplays, and has fresh interviews with the likes of Tony Visconti, with whom she’s worked for years. It’s a major addition to the Bowie critical “canon.”

Leah and I spoke via Zoom in early December—the following is an edited transcript of our conversation.

CO: It’s still unclear to me, after all this time, whether Bowie, when he was putting out all of this stuff in his last years, had something like a complete design in mind. I guess I always saw him as someone who’d more draft extensive plans that would never come to fruition, as he’d abandon them to move onto something more interesting. But there’s a narrative logic to the 2013-2016 period, even if unintended. Do you think so, too? Do you see an overarching pattern?

Leah Kardos: I get the impression that he was an intuitive creator. He followed his nose and was really grabbing at anything to try out. However, certainly since diving into the last works and from that position looking back at the rest of the catalog…you recall all those interviews in 2003 when he was saying “I’m always writing about the same thing, it’s always been the same question about isolation and identity, etc.” I started to think, “actually, yeah, you might be onto something there!” Because he really is just talking about the same things repeatedly, just putting a different costume on each time. Approaching the same question from different angles.

The consistency of his catalog is something that’s really struck me since he died. When he was alive, he’d provide something interesting and new, and because we didn’t have the full rear-view picture, it kind of felt like we were floating along with the changes. But I was really struck by the coherence of the catalog. One reason why Blackstar Theory came about was the realization that wow, it really does hang together. The longer you look at it, the better it gets.

CO: One thing I’ve found when I was writing about not just the Blackstar period but Hunky Dory and Station to Station is interacting with a few people, over the years, who really take the occult side of Bowie very seriously. Who appear to believe there is a master plan, that Bowie was dead serious about it all and had mapped everything out.

LK: That there’s a code to be cracked.

CO: Yes, all a bit Da Vinci Code. I do still love the Villa of Ormen Tumblr.¹ I love the unsolved mystery of that. That could have been him: it’s not out of speculation.

LK: It’s in the realm of possibility. And it seems on brand for him to fuck with people like that. He knew how to slide into a chatroom and pretend to be someone else. I think also all of that fulfilled the function, the drama, the theater, the fact that he was so officially quiet and yet so forthcoming in other ways. Sneaky. Putting this shroud of numinous energy over the last album. I wouldn’t put it past Bowie to have done that. And the fact it’s unresolved is delicious.

Part One: The Set-Up (The Next Day)

CO: So, in your book, as this late period begins, another is winding down. You were a BowieNetter², and that era seems like such a contrast to the late years. In the late Nineties, he’s Accessible Bowie. He’s chatting with fans, having in-studio live feeds, doing interviews with anybody who claimed to be a journalist. It must have been a fun period for you—does it feel bizarre in retrospect?

LK: It felt very normal for me—I joined BowieNet when I just came out of high school and was just starting to discover Bowie. Back then you bought a CD from HMV or whatever and it would have a card inside saying, ‘join BowieNet!’ I had no idea that being a fan could be any other way, and I discovered the career backstory retrospectively. It was strange when he left us all hanging, but of course we knew he was sick, what more you want? You don’t want to be that kind of fan.

Looking back now, what a remarkable thing it was. It felt so normal at the time, I made friends in the UK when I was still in Australia, probably the seeds of my immigration, to come to England and live here, began there. There are friends I met on BowieNet who I’m still close with today. It’s hugely important to me. His “dad jokes, everyguy, I’m just normal Dave” act, well I fell for it. Obviously he was right to get the hell off of the internet and away from social media when he did.

CO: Your book is primarily about The Next Day and Blackstar. Do you see the beginning of this period with his reunion with Tony Visconti in the early 2000s?

LK: That’s the way I see it, in two categories—the ‘late period’ from Heathen to Blackstar, and the ‘last works’ between 2013–2016. Because the sound of Heathen I feel is traceable right to the end. I also think Tony brought out a certain type of music from Bowie.

The period is also marked by Bowie’s autonomous process. He didn’t have a guitarist or co-writer coming up with material, so in a way the music there links further back to Buddha of Suburbia—that’s just the sound of David making his music, his way, that’s what he sounds like. Writing everything himself in his little home studio. And there’s the freedom of ISO.³ Also Heathen’s introspective anxiety seems to intensify throughout.

So when I pulled it all together, I thought I’d draw a line on it. Some people refer to this is his neoclassicist period, but I’d say it’s more accurately defined as his late period, due to him finding a more consistent approach to music making with Tony, free from label demands, and of course the conscious playing around with his own history.

I also wanted to put the focus back on the songcraft and not define things by the haircut he had at the time. I really wanted to get away from that.

CO: We’ve talked before about his love of the Korg.⁴ How best to describe how odd his affection for this keyboard was—while it’s not a kid’s keyboard, it’s no state of the art synthesizer either.

LK; It was a pretty cool keyboard in 1997. If you needed to save patches on it, there was a module that attached to it and you could save them on floppy discs. I quizzed Tony about the Korg a lot, I was really fascinated by it. The sounds that come from it are weird and incongruous. Like, why choose that? The sounds in something like “Dancing Out in Space”: why are they choosing that? It always came down to this keyboard. He loved that thing.

CO: He was a big preset guy too, I recall Visconti saying.

LK: He did like the old preset but apparently he also knew how to go in and tweak a preset, making something more bespoke. I downloaded all the Korg effects, there’s a sample pack you can find online, and I went through them and I couldn’t find all of them [that were used on the albums], so I suspect there was some parameter fiddling going on.

CO: His composition style is often about what instrument he’s mostly using at the time, right? Space Oddity is the 12-string acoustic; Hunky Dory is the piano. Are the late records in part Korg compositions, deep in their bedrock?

LK: They are! And they’re also owed to the Zoom R24 multitrack unit he had,⁵ the way he was creating his demos. I spoke to Henry Hey and he got rough demos sent to him, Tony as well, and they had a particular sound about them. You listen to the Lazarus soundtrack, particularly “When I Met You” or that early version of “Lazarus,” you’ll hear these weird guitar parts in there. That was a detail on the demo and Henry said he wanted to honor that.

The demoing comes into its own in the late period, the particularity of the choices that David makes tended to get translated. Tony bought his own Zoom unit so he could figure out how to work with it. Reportedly David would say things like ‘I like the way I did it [on the demo], I don’t see why I have to do it again.’ So the demoing is bleeding into the end results.

CO: The demoing is far different from the old days when he’d go into the studio and tell Carlos Alomar, “okay, this is in A major, and have this funk riff here, and let’s work this out.”

LK: All those [Young Americans session] tapes at the Drexel Archive that Toby Seay has⁶ is literally that private process of him demoing, but he needed a band to do it back then. So [home demoing] gave him a lot of autonomy in the late period. He didn’t have to rely on a Reeves in the room, on Mark [Plati] in the room, and I think you can hear it in the choices he makes. Some of them sound naïve, some sound exquisite—you get both with Bowie’s demoing.

CO: You mention he’s even doing the scoring—again, this was something he always had to have Ronson or Visconti do—he’s even taking that in-house.

LK: The fact he was achieving this with his basic Zoom digital multitrack unit and not, say, ProTools on a Mac or PC…it’s amazing.

CO: Among my what-could-have-beens if Bowie was still alive, I wonder if he would’ve done a McCartney II⁷ at some point—a whole record from the Bowie home studio.

LK: His lockdown project.

CO: Because he did a test run with the “Tis a Pity” B-side.

LK: Which is one of the oddest things he ever produced. And Tony was emphatic about how much he loves that version, he told me that for him it rivals the Blackstar version. It’s a very strange record indeed, I really enjoyed analyzing it.

CO: You go a lot into Bowie’s “late voice” which you describe wonderfully as having the “wow and flutter of ancient tape.”

LK: Tony is very keen to say whenever he has the opportunity that Bowie’s voice was brilliant to the end. And he was in the room, so who can argue. However in the Whatley Last Five Years documentary, when they isolate the ‘Lazarus’ vocal, you can hear how raspy he sounds. There’s a heavy frail grandeur to Bowie’s late voice that I spend a bit of time trying to frame in the book. Thankfully, another feature of the period is the consistently great vocal takes Tony manages to draw from him, so there’s a lot of musical examples to dig into.

Another thing about the late period is the ensemble singing. It’s often an orchestra of voices beautifully arranged, walls of harmony, call and response, octaves and unisons, left and right spread out, sometimes barely audible—you realize, wow, it must have taken ages to do all of that.

CO: He had on call a singer as good as Gail Ann Dorsey but he chose to do all the vocals himself, for the most part right? He used [engineer] Erin Tonkon for a few things.⁸

LK: There’s a heck of a lot of him, just walls of David on the Next Day even though he’s got Janice Pendarvis, Gail and Erin and what sounds like a gospel choir there, he uses voices in a painterly way. I mean think about “The Informer” and what’s going on with the vocal arrangement and its construction—that must have been a few days’ work at least. That’s a lot of architectural detail to render.

You know that footage of Lou Reed isolating the backing vocals of “Satellite of Love” and saying ‘how does David do this?’ That’s what I think about the backing vocals of The Next Day—they’re so intricate. Maybe he did spend a bit too much time on that record, those details are so gothic.

CO: The Next Day is in an interesting place right now, reputation wise. There was the initial “he’s back! this is great!” and then with Blackstar, it wasn’t quite a backlash but more a “Blackstar is what Next Day should have been” kind of revision. Where would you rank it now? I find it’s a major record but also an overlong one, and the sequencing feels off.

LK: When The Next Day came out  remember feeling ambivalent about it— for me it felt like the album was trying too hard, perhaps overcompensating for something. But I wanted to love it, and of course the first half is super-strong. I think those appraisals were battered by information overload—that’s how I came into it, really loving the good bits on it and hating stuff I thought was badly executed.

Then when I engaged with it deeper, I found the longer you sit with it the better you see the trick he’s trying to pull. I can see he was trying to pull off something quite grand and meta. Whether the material started off intended for a musical or as some kind of experiment or exercise to build back his songwriting chops, maybe that’s one of the reasons why it’s got some weird shapes and so much surplus detail.

One of my conclusions about it is that it works best when you consider it as assemblage art, like the key is not only seeing what it resembles, but also seeing the various parts and remnants that comprise it, the bolts and screws and seams, the proximities of everything. I found an interview with Tony Oursler where he said he and Bowie were involved with the V&A exhibition, they were involved with planning it, and Jonathan Barnbrook also confirmed [Bowie] had his hand in it. So you can add the V&A to the pile of Next Day and Next Day Extra: he was giving us a lot of information in a deliberately impersonal arrangement. An invitation to participate and construct something meaningful from the bits and pieces. One can really sense his directorial hand in all of it, the ‘David Bowie Is…’ question being explored on all sides.

CO: For Next Day and Blackstar, he turned over the promotion of the albums to all those who played on it. This was unusual: if you look back, say for Earthling, maybe Reeves did an interview with a guitar magazine but otherwise it was all Bowie Bowie Bowie, saying ‘this is what the album’s about.’ But now you have everybody but Bowie doing substantial interviews: the drummers, the backing singers, the engineers. It seems to be deliberate in that he was already removing himself from his work, quite early on.

LK: I agree. There’s a chapter in the book called ‘Remystification’ where I’m trying to look at that movement, how he made that retreat. Also to think about ways he represented his own art: refusing to talk but at the same time laterally making more stuff for us to engage with: all the music videos embedded with Easter eggs, the lists, the books. I enjoyed that new kind of intimacy with his material, matched with his absolute disengagement with the media.

Part Two: The Performance (Lazarus)

CO: The middle section of your book is about Lazarus the play. You saw it in its first run in New York [December 2015-January 2016], as I did, and you describe the audience reaction as being much like the one I was in, with everyone walking out of the theater saying “what the fuck was that about?”

LK: The group I was with were like “What was that? Did you like it? I don’t know, I think I loved it. I hated it.”

CO: I’m glad it’s being staged more. At first, it was just this two-month off-Broadway run in this small theater, so it felt like a secret thing that lot of fans didn’t know about because they couldn’t see it. The missing piece of the puzzle.

LK: It’s so crucial, I felt. I think it’s successful. I think it does what it’s meant to do. But the timing of it, you know, it changed it. I saw it while he was alive and again after he died. There’s no way you can come to it the same way again, and no way the play could say the same thing that it first did. It really does exist separately in that first run up until he died. You can see the change in what the new directors are doing with it. It’s really not about [Thomas Jerome] Newton at all anymore, it’s more a Bowie-like character having a dream.

He worked so hard on it and I felt the need to really go deep on it in the book because he devoted and sequestered a lot of his time on it in his final two years. It deserves a deep diving analysis, absolutely.

CO: I’m curious if it will survive as a piece of drama, if it could be staged in 2070, when few people will still have memories of David Bowie while he was alive. Or will it have a short life? I still find Lazarus hard to grapple with. It’s the closest I ever felt to seeing how Bowie’s mind worked, being able to peep in on his thought processes. Like someone recounting a dream to you.

LK: I really love it, and I’m still kind of afraid of it. As a theater piece, if you come into it cold, in one sitting it’s really difficult to grasp because it shunts you about between violence and pantomime and comedy and Bowie songs you love, followed by murders and blood. It’s a lot. As an audience member you come out of there feeling quite punch-drunk: is this what he wanted us to see and feel before he left us? There’s a lot there that works with Bowie’s established archetypes, all the Jungian stuff, the lines all but ripped from the Red Book.⁹ The Looking Glass Murders redux.¹⁰

CO: You devote a good amount of space to the late works of Dennis Potter, which I really thought was right on the money. I had no idea Potter had a piece called Cold Lazarus! When I read that I cracked up: “Bowie, you thief.”

LK: Based on something Enda said, I checked out The Singing Detective¹¹ and my jaw was on the floor—there are so many references I recognized from Next Day and Lazarus. Also Potter’s deliberate merging of his biography and his legacy and his myth in the fictions he was creating, muddling it up on purpose to make it richer and more emotionally dense and confusing. You recall the Bowie quote “I think I like complications… I like thickly textured things.”

In Cold Lazarus,¹² there is this sequence where the memories of this detached head are projected on screen and go backwards, not through the character’s life but Dennis Potter’s life: this was staged with his direction from beyond the grave. Same in Lazarus: Newton is completely woven into Bowie’s myth almost to point of interchangeability: people see Newton and see Bowie. The blurring allows the show to function like a performed closure of a public life.

CO: It’s amazing how much of a through line Newton is for Bowie. I heard “Looking For Water” playing a while ago and thought “that’s another Newton song.”  Is it strange how much he identified with the character?

LK: I was digging around those issues of Modern Painters from the mid-Nineties, and in that interview he does with Balthus he brings up the Bruegel painting Landscape with the Fall of Icarus again. That’s another detail directly lifted from Tevis’ book and Roeg’s film. He really did keep referencing and returning to that text.

CO: The recurrence of stars is another one. Towards the end, he’s playing with the idea of a star aging, or dying, like a red giant.

LK: Which I took from you!

CO: Which I may have gotten from one of my commenters, Deanna Kerry, who was an astrophysics grad student at the time—I later asked her to explain blackstars, which she did as well as she could to a scientifically-challenged person like me. It seems like a cliché that everything with Bowie is stars, everything is black holes, but as you said the consistency is unnerving at times. You wonder: did he really have it all figured out in 1968? Maybe that’s all on the Ernie Johnson tape,¹³ which is why we’ll never hear it.

LK: My favorite dead star metaphor reference is in that conversation with Burroughs where he’s describing, down to the costumes, the Ziggy Stardust storyline of dead stars, and aliens traveling along the black holes, all this stuff borrowed from Kubrick’s movie and Quatermass. With immaculate consistency following through with it.

Burroughs: Where did this Ziggy idea come from, and this five year idea? Of course, exhaustion of natural resources will not develop the end of the world. It will result in the collapse of civilization. And it will cut down the population by about three-quarters.

Bowie: Exactly. This does not cause the end of the world for Ziggy. The end comes when the Infinites arrive. They really are a black hole, but I’ve made them people because it would be very hard to explain a black hole onstage.

Burroughs: Yes, a black hole onstage would be an incredible expense.

From Craig Copetas, “Beat Godfather Meets Glitter Mainman,” Rolling Stone, 28 February 1974.

CO: In the late work, Bowie seems to be in dialogue with other older musicians, you note. Scott Walker, Leonard Cohen. Dylan’s Time Out of Mind is very much an influence on Heathen, I’ve thought.

LK: I think so too, so many great parallels. The more you look at them, you think, were they looking over each other’s shoulders? While Dylan was writing Chronicles, Bowie’s working on his books. There are the musicals with Irish playwrights¹⁴; the archives.

Part Three: The Prestige (Blackstar)

CO: Moving to the third part of your book, “the prestige” as you call it: Blackstar itself. How essential is the Maria Schneider “Sue”—is that necessary to get to Blackstar?

LK: It’s exciting [the 2014 “Sue”], isn’t it—it’s such a great noir, so dark and elegant. That said, I do prefer the roughness and aggro of the album version, it’s got a lot more emotion in it for me. For the big band version Maria keeps it firmly in control. But there’s something about “Sue” on Blackstar that’s out of control, it’s fucking nuts. I really appreciate the chaos and mess of the Blackstar version.

CO: I have wondered what a full album of Bowie/Schneider would have been like, but I wonder if it was best as this one-off thing.

LK: Would it have been too glamorous sounding? Those large jazz orchestras sound so luxe and shiny to my ear. I wonder if an all Schneider/Bowie project would have felt like a detour in the grand album narrative, like Baal, or that Badalamenti collab. It’s hard to imagine because I love the Blackstar stuff so much.

CO: On Blackstar, while Bowie lets Donny McCaslin and the band have plenty of space, he’s the middle of it all, he’s the controlling figure. Whereas Schneider and Bowie are kind of equals and combating each other, influence wise, in “Sue.”

LK: I’d agree and I love the presence of Donny as being something like Bowie’s emotional avatar, not vying for equal billing, but supplying a musical commentary underneath Bowie’s vocal performance. And it really articulates something: the solo on “Lazarus,” the way it dramatizes a song which on paper is quite simple. The soling on “I Can’t Give Everything Away” also. It reaches towards those inexpressible things, the unsayable stuff. And I’m so glad the last song didn’t end up being “Heat.”

CO: As the legendary Crayon to Crayon said, it’s a blast that the last song on the last Bowie album ends with this noodling, almost prog guitar.

LK: I love it—I’m so thankful for that. The rest of the albums from the late period end on a somber note, so I’m glad he chose to do that with the last one.

CO: For me “Dollar Days” feels like an epilogue, the calm after the storm, a song about wanting to go home but knowing you will never go home again.

LK: It’s beautiful, isn’t it—slipping off the mask a bit, a vulnerable moment. A song about being English and missing England and being okay with it. What I particularly love about that song is Bowie’s thoughtful use of harmony and structure to dramatize the lyric. He’s really mindful of the chords he’s using and the relationships between them, he’s playing with tension.

A lot of these details can get missed—people concentrate on the lyric, or the voice, understandably. But he’s there on his Korg putting a lot of thought and effort into the musical details, embedding references, playing into and against expectations. One reason I wanted to write this book was to give space to unpacking these kinds of details.

CO: He obviously knew a lot about music, having written it for 50 years—how much did you get a sense of how advanced his knowledge was of composition and theory? He’d sometimes say he was more of a ‘that sounds cool!’ type of composer. You mention on “Love Is Lost” an organ figure Bowie got by playing only black keys on his Korg. Schneider described this sort of thing to me as “the element of surprise,” which she thought was fundamental to his work.

LK: He was so omnivorous with his listening. There’s so much he takes from jazz, classical and experimental music and I really think he downplayed his musicianship a lot in public: the catalog tells another story.

The way he commands harmony even in some of his earliest pieces of music: it’s not someone playing a keyboard and saying, ‘that sounds cool.’ You’ve got “Moonage Daydream” transporting you through secondary dominant progressions¹⁵ in the first few bars. You’ve got beautiful chromatic transpositions treading through the bridge of “Life on Mars.” All the way through to the cadences of “Dollar Days.”

The chords of “Buddha of Suburbia” are amazing to look at. The way it’s pinned down on D with E minor and a G minor over the top, and then he flips it into B minor, then to B-flat—this isn’t a dude who just knows two chords on the guitar and can only play five notes. There’s immense sophistication going on. This kind of Eno ‘I’m not a musician, I’m just a dabbler’ thing allows him to engage in rule breaking, like he’s never claimed to be authentic about his music or belonging to any formal tradition with it. I will forever be an advocate for Bowie’s compositional prowess. It’s the reason why I love his music.

However he also struggled with his confidence. I asked Tony about The Next Day: why did it take so long? He said it was his confidence.

CO: It’s amazing to think of Bowie sitting there going “am I past it? Do the kids not want to hear from me anymore?”

LK: Which again is so touching. Sometimes I go a few years without making music and then I try to go back to it and think ‘can I really do this?’ Particularly if music creativity is intuitive for you, if you’re not engaging with it all the time, that kind of magic can disappear and you don’t have ready access to it anymore–you have to build it up again from nothing. I see Bowie as a modern romantic—in his best moments showing uniquely exquisite songcraft easily on par with Sondheim,¹⁶ Bacharach, or McCartney.

CO: Does the last work need to be the last work? Does it lose its power if Bowie lives five more years and makes two more records?

LK: It’s the question that drove me to change the nature of the book. I originally pitched it as Bowie’s Death Art…does the last work need to be the last in order to work? I don’t think so. I think those couple of days when he was alive and we had Blackstar: it was great, and I remember listening to it and thinking “oh my gosh, he’s given us a gem. He’s given us a diamond.” I was really looking forward to spending a few months digging into it. And then he died and it changed it immediately. So many people went back and revised their takes, kinda shutting the book on it quickly and shutting down the album’s lovely sense of ambiguity.

CO: Seemingly everyone who worked with him on the last record has said he wanted to do more.

LK: I think it’s disrespectful for us to presume Bowie made his last work while he waited for death. All evidence suggests that he was deep in the middle of a creative momentum, that he had sessions booked, he had people on the phone, “I’ve got ideas, I’ve got demos, I’ve got new songs.” He’d found a purple patch! He was making some amazing work and he knew it. He knew he was back in. Blackstar has such a momentum about it. You feel like if they’d had a few more sessions they would have come up even more incredible stuff.

CO: The idea of him doing a show with the McCaslin quartet [as McCaslin said he and Bowie discussed in 2015] is…just incredible.

LK: I can picture it as well. Imagine hearing ‘Tis a Pity’ live!

CO: He was never going to go on tour again and sing “Rebel Rebel” to a stadium. But a jazz club within walking distance of his apartment, that was more his style. That was the story of his last years, right?¹⁷

LK: “If I can walk there.”

CO: Is there a sense there are outtakes from these last albums that will one day be heard? There’s “Blaze,” we know.¹⁸ Are there other songs kicking around, do you think?

LK: The estate has got a lid on whatever exists. It seems that Donny’s got demos and bits of song ideas we’ve never heard before sitting in his inbox. It’s totally feasible that there’s unfinished files and sketches left on the Zoom R24 recorder. But you know, I don’t need it. I’d be devastated if someone went through my files and published my unfinished stuff.

CO: He was never much of an archival guy, musically—getting demos and outtakes from him for reissues was like pulling teeth at times. The idea of him doing a Dylan Bootleg Series is unlikely.

LK: Yeah I think so. Consider his process. For most of his career the way he developed songs was with the help of others. He would have been in a room with the tape or Pro Tools rolling, messing around with musicians and finding what sticks. He needed everyone to respect his privacy, to realize this is process, this is not the finished article. It would be highly rude for someone to share some half-baked shit with the world now that he’s gone. I’m sure there are process-based demos that have Donny’s band, bits of music they didn’t use, and if anything features Donny’s band I bet those sketches would sound especially great and listenable. Hopefully people can keep it all under wraps—I really don’t want to see the things he didn’t want us to hear coming out in a boxed set!

Thanks again to Leah Kardos! Blackstar Theory can be purchased as an e-book now or, in Jan/Feb, in your favorite indie bookstore.

Notes

1. A now-defunct Tumblr page (originally: http://thevillaoformen.tumblr.com/archive) from November-December 2015 that contained a number of black-and-white photos, some of which had eerie similarities to images that appear in the “Blackstar” and “Lazarus” videos. No further posts were made after Bowie’s death, and to this day, no one can say with certainty who was responsible for it.

2. Bowie’s webpage/ISP/message board of the late ‘90s-early ‘00s, on which he regularly took part in chat rooms, usually under the moniker “sailor,” and shared journal entries and photos. His appearances became much more sporadic after his heart operation in 2004, and as per Kardos, his last interaction as “sailor” was in 2007, around the same time that he stopped doing live appearances for good.

3. Bowie’s independent label, artist roster of one, which he started in 2001; EMI’s rejection of Toy was the last straw for him, in re working for major labels, though ISO has always had a distribution arrangement with one.

4. The Korg Trinity (Bowie also used a Korg Pandora effects unit and a vintage ARP Odyssey), which dates to 1995. You first hear it on the Omikron soundtrack and ‘hours,’ though as Kardos notes, the Korg is a fundamental part of Bowie’s music right until the end.

5. As per Kardos, “the Bowie home studio setup was connected to a Zoom R24 digital multitrack recorder, which came with an on-board drum machine, bass synthesizer, audio loop editor and a step/real-time sequencer. Even as home recording practices quickly evolved in the early millennium towards software applications like Logic and Pro Tools, Bowie preferred to stick with his Zoom hard disc recorder, a relatively limited and old-fashioned piece of kit by the time he used it to produce the 2014 version of ‘‘Tis a Pity She Was a Whore’.”

6. Both Leah and I have visited this archive, located a quick walk from Philadelphia’s 30th St. station. You can read more about these tapes in Rebel Rebel, though Leah went one better and played excerpts from the tapes at a conference with Drexel’s Toby Seay.

7. A thread on the Vintage Synth board (https://forum.vintagesynth.com/viewtopic.php?t=42109) as to what synths McCartney might have used on that record (“that awful album,” as per one poster): consensus is Minimoog, CS-80, ARP Pro Soloist, Jupiter 4.

8. Tonkon, to Kardos in Blackstar Theory: “For women, a lot of bad stuff can happen when you work in studios, times when you have to smile and put on a happy face and put up with things, but working with David was the opposite of that. I was able to learn so much from him – creative lessons, life lessons … I learned an incredible amount. He was a good person.”

9. Kardos: “The Red Book was Jung’s own private dream journal-cum-art project, a personal record of his own ‘confrontation with the unconscious’, a series of disturbing visions that he experienced during a time when he was close to having a psychotic breakdown as Europe stood at the edge of the First World War. It was finally published in 2009 and its handwritten pages, paintings and drawings were shown at the Rubin Museum of Art in New York (October 2009 to February 2010),” an exhibit which Bowie and Oursler saw at the time.

10. Lindsay Kemp’s 1970 televised version of Pierrot in Turquoise, for which Bowie sang “When I Live My Dream” and other compositions. Lots of dreams, mirrors, bedrooms, killings.

11. One of Potter’s masterpieces, The Singing Detective (BBC, 1986) has Michael Gambon as a writer, Philip Marlow, recovering from a vicious bout of psoriatic arthritis in a hospital ward. The second episode is entitled “Heat.” Kardos’ book lists a number of fascinating parallels between Singing Detective and Bowie’s last works. 

12. Cold Lazarus (Channel 4/BBC, 1996), was, along with its twin production Karaoke, Potter’s last work, written as he was dying from pancreatic cancer and produced after his death in 1994.

13. Legendary 1968 “rock opera” demo tape of Bowie’s that was auctioned to a record collector in the Nineties.

14. Enda Walsh (Lazarus) and Conor McPherson (Girl From the North Country).

15. A secondary dominant is, typically, a chord that’s “borrowed” from a key other than that of the song, often employed to anticipate the arrival of the key’s true dominant (the V chord). So “Moonage,” which is in D major, opens: “I’m an all-i-ga-tor!” (D, the I or “home” chord), “I’m a mamapapa comin’ for you!” (F-sharp major, a III chord (the secondary dominant), quickly resolving to B minor, the vi chord of D, with a root note of A (the root of the key’s true V chord): “I’m a space invader.”

16. Bowie, 2008: “I’ve never been keen on traditional musicals. I find it awfully hard to  suspend my disbelief when dialogue is suddenly song. I suppose one of the few people who can make this work is Stephen Sondheim with works such as Assassins.“

17. Well, he’d have taken the limo, most likely.

18. Of the various outtakes rumored to have come from The Next Day and Blackstar, only “Blaze” from the latter sessions, which Nicholas Pegg and other sources have heard, is verified to have a complete Bowie vocal/lyric. Many other outtakes of the period likely only have place-filler DB top melodies, Kardos speculates from her research and interviews.

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