{"id":69,"date":"2016-11-26T15:32:28","date_gmt":"2016-11-26T15:32:28","guid":{"rendered":"https:\/\/abelhernandezpozuelo.com\/?p=69"},"modified":"2026-04-06T16:03:34","modified_gmt":"2026-04-06T16:03:34","slug":"david-bowie-de-una-estacion-a-otra","status":"publish","type":"post","link":"https:\/\/abelhernandezpozuelo.com\/en\/archivos\/69","title":{"rendered":"David Bowie. From one season to another"},"content":{"rendered":"<p class=\"wp-block-paragraph\"><em>Originally published in the print edition of El Cultural (22\/01\/2016)<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">He died on January 10th, like any other man. But, as he had done with the rest of his life since the second half of the 1960s, the artist turned it into an opportunity for one last gesture that would further open some of the magical and conceptual circles opened long before; in what, more than a mere trajectory of a typical Pop star, is a journey between spheres; the sefirot of that cabalistic tree of life that he painted time and again in certain moments of anxiety and racing pulse and amidst the cold sweats of emptiness.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Following his custom, David Bowie ensured that the last two videos, those of&nbsp;<em>Blackstar<\/em>&nbsp;y&nbsp;<em>Lazarus<\/em>, They will bear the burden of intentional symbolism. We don&#039;t mind that they correspond to two songs actually finished some time before (in anticipation of?) the fatal outcome and intended for separate works unrelated to the lucid and conscious final album on which they have ended up. We have no doubt about their intentions. But, despite our attention as eager executors and exegetical heirs, they are far from being merely a self-epitaph or a testament.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">David Bowie&#039;s penultimate album,&nbsp;<em>The Next Day<\/em>&nbsp;The 2013 album contained a recapitulation and an attempt to re-establish a connection with the present of humanity, of music, and of his own vital relevance. A synchronization with the present moment, that Now of flow and mutability that stands as one of the protagonists of his poetics in all its facets. And a resurrection, therefore, because Bowie did not exist until there was such a creative connection with the &quot;We should be in it now&quot; that he sang in Time.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In&nbsp;<em>The Next Day<\/em>, Bowie is the actor who steps aside at the edge of the stage and pretends to leave the narrative to clarify something about what has already happened in the drama. And the drama is the multiplicity of paths between spheres of his particular cosmology. The themes of that \u201cday after\u201d (of an ordeal of heart problems, they say) were the fleeting nature of life, the presence of the abyss, loneliness, and that death that walks hand in hand with finitude, the constant changes, and the ephemeral. Death that flies alongside the Wall above the heads in&nbsp;<em>Heroes<\/em>. And also its pathetic reverse: fame, always in line with the bipolar reading present in&nbsp;<em>Fame<\/em>. Celebrity as a vampire, as a way to access an Olympus whose price is sadness and envy from and towards ordinary people. Warholian fame capable of slightly defeating death while simultaneously being a pact with the devil to whom one pays with paranoia and disconnection from the streets (<em>Song for Bob Dylan<\/em>). In his part, therefore, the actor reviews a good portion of the main themes of the Bowie universe.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Meanwhile, this recent, steaming black hole called&nbsp;<em>Blackstar<\/em>&nbsp;It is the final moment of the drama, just before the curtain falls. The songs in the two music videos, and some others from the album released on his 69th and final birthday, are, like the rest of Bowie&#039;s legacy, part of a fiction. Shards of a mirror, of an indirect, fantastical saga with a conceptual foundation, certainly coded in its hermeticism, but which represent one of the most respectful approaches to the intelligence and imagination of the fan in the history of pop music.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">We talked all the time about the same drama that, with the death of the 1960s utopia certified, he set about weaving with something that lay beyond his conscious and rational ego. With elusive and double-edged characters, with blurred identities, profound symbolism, and Dadaism steeped in street-level readings of Nietzsche, Orwell, Arthur C. Clarke, Aleister Crowley, and Burroughs, in experiences with Buddhism, Christian Gnosticism, the occult, paganism, and the irrational, with rock and contemporary art, with literature, science fiction about aliens and hollow earths, and the randomness of oblique strategies and the&nbsp;<em>cut-up<\/em>, Exploring different Interzones, in which he sometimes cultivated naivet\u00e9, decadence and usury, assuming the contradictions between emancipatory art and the System.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">These final songs seem to reverse the roles of creator and masked figure. Their details revisit, season by season, many of the essences of the earlier ones. It&#039;s as if Bowie&#039;s life became the protagonist of another&#039;s thoughts, the representation of another. And, at the same time, as if earthly death were nothing more than an additional chapter in the fantasy of his own work. The man, invested as an artist, a medium, silenced his illness and concocted a final spell with his own bones, blood, and organs. So no, these songs and videos, we say, cannot be a simple testament. Or, if they were, their twisted lines would actually be nothing more than an echo of what came before. Like a ghost trapped between two planes.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">What they leave us are the same keys and initiation passages to an unquenchable artistic journey, as long as our era and its fervor endure. Blindfolded, the passage is shown to us (for the initiated can be anyone) by someone who was a seer and, of course, a charlatan. Ah, the dual and wounded gaze of David Robert Jones. Those two windows, two bridges. His eyes, always in complicity with us, overcoming the dazzling changes of disguise and alter ego with which, throughout the 1970s, he constructed his own myth.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">A wild gaze like that of the pacifist boy from Freecloud, a challenge and a magnetic pole, seduction frozen behind a flash of makeup or a pirate eye patch. Amanda Lear can&#039;t stop looking into his eyes in the video of&nbsp;<em>Sorrow<\/em>&nbsp;While the world and music freeze. Nor does that fan at the Oslo concert in 2004 who threw them a candy, anticipating the panic a week before his first heart attack. It&#039;s impossible not to see them. The white, indeterminate-colored eyes beneath the mask of the sorcerer and the actor who tells us with a gesture that we are not alone and that he is just like us. That the world is a void to be created, a path of endless turns.<\/p>","protected":false},"excerpt":{"rendered":"<p>Publicado originalmente en la edici\u00f3n impresa de El Cultural\u00a0(22\/01\/2016) Muri\u00f3 un 10 de enero, igual que cualquier otro hombre. Pero, como hab\u00eda hecho con el resto de su vida desde [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1],"tags":[],"class_list":["post-69","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.7 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>David Bowie. 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