Avant-Garde Jazz
Avant-garde jazz (also known as avant-jazz) is a style of music and improvisation that combines avant-garde art music and composition with jazz. Avant-jazz often sounds very similar to free jazz, but differs in that, despite its distinct departure from traditional harmony, it has a predetermined structure over which improvisation may take place. This structure may be composed note for note in advance, partially or even completely.
History:
1950s
The origins of avant-garde jazz are in the innovations of the immediate acolytes of Charlie Parker. Read Full BioAvant-garde jazz (also known as avant-jazz) is a style of music and improvisation that combines avant-garde art music and composition with jazz. Avant-jazz often sounds very similar to free jazz, but differs in that, despite its distinct departure from traditional harmony, it has a predetermined structure over which improvisation may take place. This structure may be composed note for note in advance, partially or even completely.
History:
1950s
The origins of avant-garde jazz are in the innovations of the immediate acolytes of Charlie Parker. Based in New York City, now-canonical musicians such as Charles Mingus, Miles Davis, and John Coltrane introduced modal improvisation and experimented with atonality and dissonance. Sun Ra, Cecil Taylor, and Ornette Coleman became a new vanguard of controversial jazz innovators, outside the range of what many fans considered listenable.
1960s
John Coltrane's increasingly experimental work, and the Impulse! label became the flagbearers of the avant-garde jazz scene. Musicians associated with this high-volume variety of avant-garde jazz (sometimes referred to as "fire music)" included Archie Shepp, Albert Ayler, McCoy Tyner, Don Cherry, Pharaoh Sanders and Coltrane's wife, Alice Coltrane. Some of these musicians also began to take on an oppositional relationship to the mainstream music industry, preferring to release records themselves through independent labels such as ESP-Disk. This wing of avant-garde jazz was taken as emblematic of the Black Power movement, and also sometimes had mystical intentions.
Musicians who incorporated the innovations of free and avant-garde jazz, but remained within a more conventional framework, recorded for Blue Note Records. Miles Davis's second quintet (Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams), as well as others such as Eric Dolphy and Andrew Hill, are the best-remembered representatives of this style.
Meanwhile, in Chicago, the Association for the Advancement of Creative Musicians began pursuing their own variety of avant-garde jazz, sometimes described as "postmodern" jazz. The AACM musicians (Muhal Richard Abrams, Anthony Braxton, Roscoe Mitchell, and the Art Ensemble of Chicago) tended towards eclecticism, and incorporated developments in 20th century classical music (particularly Karlheinz Stockhausen and John Cage) as well as funk and ska, in addition to Dixieland and other elements of jazz history. Rahsaan Roland Kirk also made use of pastiche.
1970s
The 1970s saw the development of jazz fusion. It is questionable whether this can be considered a form of avant-garde jazz, though Miles Davis's recordings of this period, in particular, appear quite innovative and take inspiration from serialism and aleatoric music, just as the AACM did. In any case, hardcore jazz fans tended to regard early jazz fusion as a commercial sell-out move. However, by the mid-'70s, many free jazz icons, such as Albert Ayler, Archie Shepp, and Ornette Coleman were experimenting with rock and funk. Coleman would eventually develop the free funk style, which would be further explored by the M-Base musicians in the 1980s.
Jazz also became considerably more international in the 1970s, as saxophonists Gato Barbieri (Argentine), Kaoru Abe (Japanese), Peter Brötzmann (German), and pianist Sergey Kuryokhin (Russian), attest. European free jazz, in particular, began to develop. Evan Parker and Derek Bailey were pioneers of the new non-idiomatic style. Some veteran avant-garde jazz musicians (Charlie Haden), and much of the new blood, including a number who had played with Miles Davis in the 1970s (Dave Holland, Keith Jarrett, Chick Corea) and several Europeans (Jan Garbarek among them), began to record for the ECM label. The ECM sound, invariably recorded by Manfred Eicher, tended towards an elegant, refined, polished style that owed a great deal to the history of classical music. ECM also released recordings of minimalist and medieval music, and work by the Art Ensemble of Chicago (who were considerably messier than the ECM stereotype would indicate). A number of the AACM and ECM musicians would collaborate with one another, for example in the group Circle.
Many of the AACM musicians moved to New York City, where they provided the nucleus of the loft jazz scene. The World Saxophone Quartet also emerged from this milieu.
1980s
The 1980s saw the pre-eminence of Wynton Marsalis and his classicist approach, and a resulting diminution of the visibility of the avant-garde. However, as avant-garde jazz was a prime influence on no wave, New York City became the center of a new crop of aggressive improvisors: John Zorn, Borbetomagus, the Lounge Lizards, James Chance, James Blood Ulmer, Sonny Sharrock, Diamanda Galás, Bill Laswell (who also worked on Herbie Hancock's funk and electro recordings) and Bill Frisell (who had also recorded with the ECM musicians) among them. This development is referred to as punk jazz.
John Zorn, in particular, became an iconic figure in the "downtown" music scene, performing in free jazz, free improvisation, and a variety of rock and extreme music styles. Many of these musicians actually resided in Brooklyn; Tim Berne is a prominent representative.
1990s
The 1990s saw a return in visibility to the Chicago jazz scene, including players with links to the AACM. Most prominent are David Boykin, Aaron Getsug, Nicole Mitchell, Karl E. H. Seigfried, and Isaiah Spencer - all of who came up through Fred Anderson's Velvet Lounge. Other players include Ken Vandermark, Jeff Parker, and Kevin Drumm; these musicians had connections to the post-rock or noise rock scenes.
Likewise, there was an increase in vitality in the remnants of the loft jazz scene in New York, centered around David S. Ware. Matthew Shipp, Susie Ibarra, and William Parker practiced a more traditional variety of avant-garde jazz than the punk jazz-inflected downtown musicians, though some collaboration did occur between the two camps. Matthew Shipp eventually collaborated with illbient and alternative hip hop musicians (DJ Spooky, Antipop Consortium, El-P), and moved towards a distinctive brand of nu jazz comparable to that of Craig Taborn.
History:
1950s
The origins of avant-garde jazz are in the innovations of the immediate acolytes of Charlie Parker. Read Full BioAvant-garde jazz (also known as avant-jazz) is a style of music and improvisation that combines avant-garde art music and composition with jazz. Avant-jazz often sounds very similar to free jazz, but differs in that, despite its distinct departure from traditional harmony, it has a predetermined structure over which improvisation may take place. This structure may be composed note for note in advance, partially or even completely.
History:
1950s
The origins of avant-garde jazz are in the innovations of the immediate acolytes of Charlie Parker. Based in New York City, now-canonical musicians such as Charles Mingus, Miles Davis, and John Coltrane introduced modal improvisation and experimented with atonality and dissonance. Sun Ra, Cecil Taylor, and Ornette Coleman became a new vanguard of controversial jazz innovators, outside the range of what many fans considered listenable.
1960s
John Coltrane's increasingly experimental work, and the Impulse! label became the flagbearers of the avant-garde jazz scene. Musicians associated with this high-volume variety of avant-garde jazz (sometimes referred to as "fire music)" included Archie Shepp, Albert Ayler, McCoy Tyner, Don Cherry, Pharaoh Sanders and Coltrane's wife, Alice Coltrane. Some of these musicians also began to take on an oppositional relationship to the mainstream music industry, preferring to release records themselves through independent labels such as ESP-Disk. This wing of avant-garde jazz was taken as emblematic of the Black Power movement, and also sometimes had mystical intentions.
Musicians who incorporated the innovations of free and avant-garde jazz, but remained within a more conventional framework, recorded for Blue Note Records. Miles Davis's second quintet (Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams), as well as others such as Eric Dolphy and Andrew Hill, are the best-remembered representatives of this style.
Meanwhile, in Chicago, the Association for the Advancement of Creative Musicians began pursuing their own variety of avant-garde jazz, sometimes described as "postmodern" jazz. The AACM musicians (Muhal Richard Abrams, Anthony Braxton, Roscoe Mitchell, and the Art Ensemble of Chicago) tended towards eclecticism, and incorporated developments in 20th century classical music (particularly Karlheinz Stockhausen and John Cage) as well as funk and ska, in addition to Dixieland and other elements of jazz history. Rahsaan Roland Kirk also made use of pastiche.
1970s
The 1970s saw the development of jazz fusion. It is questionable whether this can be considered a form of avant-garde jazz, though Miles Davis's recordings of this period, in particular, appear quite innovative and take inspiration from serialism and aleatoric music, just as the AACM did. In any case, hardcore jazz fans tended to regard early jazz fusion as a commercial sell-out move. However, by the mid-'70s, many free jazz icons, such as Albert Ayler, Archie Shepp, and Ornette Coleman were experimenting with rock and funk. Coleman would eventually develop the free funk style, which would be further explored by the M-Base musicians in the 1980s.
Jazz also became considerably more international in the 1970s, as saxophonists Gato Barbieri (Argentine), Kaoru Abe (Japanese), Peter Brötzmann (German), and pianist Sergey Kuryokhin (Russian), attest. European free jazz, in particular, began to develop. Evan Parker and Derek Bailey were pioneers of the new non-idiomatic style. Some veteran avant-garde jazz musicians (Charlie Haden), and much of the new blood, including a number who had played with Miles Davis in the 1970s (Dave Holland, Keith Jarrett, Chick Corea) and several Europeans (Jan Garbarek among them), began to record for the ECM label. The ECM sound, invariably recorded by Manfred Eicher, tended towards an elegant, refined, polished style that owed a great deal to the history of classical music. ECM also released recordings of minimalist and medieval music, and work by the Art Ensemble of Chicago (who were considerably messier than the ECM stereotype would indicate). A number of the AACM and ECM musicians would collaborate with one another, for example in the group Circle.
Many of the AACM musicians moved to New York City, where they provided the nucleus of the loft jazz scene. The World Saxophone Quartet also emerged from this milieu.
1980s
The 1980s saw the pre-eminence of Wynton Marsalis and his classicist approach, and a resulting diminution of the visibility of the avant-garde. However, as avant-garde jazz was a prime influence on no wave, New York City became the center of a new crop of aggressive improvisors: John Zorn, Borbetomagus, the Lounge Lizards, James Chance, James Blood Ulmer, Sonny Sharrock, Diamanda Galás, Bill Laswell (who also worked on Herbie Hancock's funk and electro recordings) and Bill Frisell (who had also recorded with the ECM musicians) among them. This development is referred to as punk jazz.
John Zorn, in particular, became an iconic figure in the "downtown" music scene, performing in free jazz, free improvisation, and a variety of rock and extreme music styles. Many of these musicians actually resided in Brooklyn; Tim Berne is a prominent representative.
1990s
The 1990s saw a return in visibility to the Chicago jazz scene, including players with links to the AACM. Most prominent are David Boykin, Aaron Getsug, Nicole Mitchell, Karl E. H. Seigfried, and Isaiah Spencer - all of who came up through Fred Anderson's Velvet Lounge. Other players include Ken Vandermark, Jeff Parker, and Kevin Drumm; these musicians had connections to the post-rock or noise rock scenes.
Likewise, there was an increase in vitality in the remnants of the loft jazz scene in New York, centered around David S. Ware. Matthew Shipp, Susie Ibarra, and William Parker practiced a more traditional variety of avant-garde jazz than the punk jazz-inflected downtown musicians, though some collaboration did occur between the two camps. Matthew Shipp eventually collaborated with illbient and alternative hip hop musicians (DJ Spooky, Antipop Consortium, El-P), and moved towards a distinctive brand of nu jazz comparable to that of Craig Taborn.
No Artists Found
More Artists
Load All
No Albums Found
More Albums
Load All
No Tracks Found
Genre not found
Artist not found
Album not found
Search results not found
Song not found
Blackstar
David Bowie Lyrics
In the villa of Ormen, in the villa of Ormen
Stands a solitary candle, ah ah, ah ah
In the centre of it all, in the centre of it all
Your eyes
On the day of execution, on the day of execution
Only women kneel and smile, ah ah, ah ah
At the center of it all, at the center of it all
Your eyes
Your eyes
Ah ah ah
Ah ah ah
In the villa of Ormen, in the villa of Ormen
Stands a solitary candle, ah-ah, ah-ah
At the center of it all, at the center of it all
Your eyes
Your eyes
Ah ah ah
Something happened on the day he died
Spirit rose a metre then stepped aside
Somebody else took his place, and bravely cried
(I'm a blackstar, I'm a blackstar)
How many times does an angel fall?
How many people lie instead of talking tall?
He trod on sacred ground, he cried loud into the crowd
(I'm a blackstar, I'm a blackstar, I'm not a gangster)
I can't answer why (I'm a blackstar)
Just go with me (I'm not a filmstar)
I'ma take you home (I'm a blackstar)
Take your passport and shoes (I'm not a popstar)
And your sedatives, boo (I'm a blackstar)
You're a flash in the pan (I'm not a marvel star)
I'm the great I Am (I'm a blackstar)
I'm a blackstar, way up, oh honey, I've got game
I see right, so wide, so open-hearted it's pain
I want eagles in my daydreams, diamonds in my eyes
(I'm a blackstar, I'm a blackstar)
Something happened on the day he died
Spirit rose a metre then stepped aside
Somebody else took his place, and bravely cried
(I'm a blackstar, I'm a star star, I'm a blackstar)
I can't answer why (I'm not a gangster)
But I can tell you how (I'm not a flam star)
We were born upside-down (I'm a star star)
Born the wrong way 'round (I'm not a white star)
(I'm a blackstar)
('m not a gangster)
(I'm a blackstar, I'm a blackstar)
(I'm not a pornstar, I'm not a wandering star)
(I'm a blackstar, I'm a blackstar)
In the villa of Ormen stands a solitary candle
Ah ah, ah ah
At the centre of it all, your eyes
On the day of execution, only women kneel and smile
Ah ah, ah ah
At the centre of it all, your eyes
Your eyes
Ah ah ah
Lyrics © Universal Music Publishing Group
Written by: David Bowie
Lyrics Licensed & Provided by LyricFind
To comment on specific lyrics, highlight them
Luz D'ANgelo
For you were made from dust ⭐️ and to dust you shall return...from Starman to Blackstar 💫
🎶 There’s a Starman 👁⚡️ waiting in the sky 🌌
He’d like to come & meet us
But he thinks he’d blow our minds 🤯
Thank you (Ziggy Stardust) David Bowie for continuing to blow my mind like {A Lad In Sane} Aladdin Sane 👨🏻🎤with your art & music. Still dancing 💃🏻 with my red shoes 👠 under the Sirius Moon 🌙
“I don't know where I'm going from here but I promise it won't be boring.” David Bowie, 1947 – 2016
Henrique Ramos
DAVID BOWIE - THE CHAMELEON OF POP ROCK!
David Robert Jones (8 January 1947 – 10 January 2016), known professionally as David Bowie (/ˈboʊi/ BOH-ee), was an English singer-songwriter and actor. A leading figure in the music industry, he is regarded as one of the most influential musicians of the 20th century. Bowie was acclaimed by critics and musicians, particularly for his innovative work during the 1970s. His career was marked by reinvention and visual presentation, and his music and stagecraft had a significant impact on popular music.
Bowie developed an interest in music from an early age. He studied art, music and design before embarking on a professional career as a musician in 1963. "Space Oddity", released in 1969, was his first top-five entry on the UK Singles Chart. After a period of experimentation, he re-emerged in 1972 during the glam rock era with his flamboyant and androgynous alter ego Ziggy Stardust. The character was spearheaded by the success of Bowie's single "Starman" and album The Rise and Fall of Ziggy Stardust and the Spiders from Mars, which won him widespread popularity. In 1975, Bowie's style shifted towards a sound he characterised as "plastic soul", initially alienating many of his UK fans but garnering him his first major US crossover success with the number-one single "Fame" and the album Young Americans. In 1976, Bowie starred in the cult film The Man Who Fell to Earth and released Station to Station. In 1977, he again changed direction with the electronic-inflected album Low, the first of three collaborations with Brian Eno that came to be known as the "Berlin Trilogy". "Heroes" (1977) and Lodger (1979) followed; each album reached the UK top five and received lasting critical praise.
After uneven commercial success in the late 1970s, Bowie had three number-one hits: the 1980 single "Ashes to Ashes", its album Scary Monsters (and Super Creeps), and "Under Pressure" (a 1981 collaboration with Queen). He achieved massive commercial success in the 1980s starting with Let's Dance (1983). Between 1988 and 1992, he fronted the hard rock band Tin Machine before resuming his solo career in 1993. Throughout the 1990s and 2000s, Bowie continued to experiment with musical styles, including industrial and jungle. He also continued acting; his roles included Major Jack Celliers in Merry Christmas, Mr. Lawrence (1983), Jareth the Goblin King in Labyrinth (1986), Pontius Pilate in The Last Temptation of Christ (1988), and Nikola Tesla in The Prestige (2006), among other film and television appearances and cameos. He stopped touring after 2004 and his last live performance was at a charity event in 2006. In 2013, Bowie returned from a decade-long recording hiatus with The Next Day. He remained musically active until his death from liver cancer at his home in New York City. He died two days after both his 69th birthday and the release of his final album, Blackstar (2016).
During his lifetime, his record sales, estimated at over 100 million records worldwide, made him one of the best-selling musicians of all time. In the UK, he was awarded ten platinum, eleven gold and eight silver album certifications, and released 11 number-one albums. In the US, he received five platinum and nine gold certifications. He was inducted into the Rock and Roll Hall of Fame in 1996. Rolling Stone ranked him among the greatest artists in history. As of 2022, Bowie was the best-selling vinyl artist of the 21st century.
And I have the great honor of having in my discography three studio CD-albums by the chameleon of Pop Rock. Therefore, I have a unit of BLACK TIE WHITE NOISE (1993), another unit of EARTHLING (1997) and a unit of BLACKSTAR (2016), the last studio CD-Album, before his death in January of that year. Rest in peace, David Bowie!
Blackstar (stylised as ★) is the 26th and final studio album by English musician David Bowie. It was released worldwide on 8 January 2016, coinciding with Bowie's 69th birthday, through his ISO label, Columbia Records and Sony Music. The album was primarily recorded in secret between the Magic Shop and Human Worldwide Studios in New York City with Bowie's longtime co-producer Tony Visconti and a group of local jazz musicians: saxophonist Donny McCaslin, pianist Jason Lindner, bassist Tim Lefebvre and drummer Mark Guiliana; guitarist Ben Monder joined the ensemble for the final sessions, while James Murphy of LCD Soundsystem contributed percussion. The album is more experimental than its predecessor The Next Day (2013), combining art rock with different styles of jazz.
For the album, Bowie took inspiration from electronic groups such as Boards of Canada as well as hip hop artists such as Kendrick Lamar and Death Grips. The album contains re-recorded versions of two songs, "Sue (Or in a Season of Crime)" and "'Tis a Pity She Was a Whore", both of which were originally released in 2014. It was preceded by the singles "Blackstar" and "Lazarus", both of which were supported by music videos. The album cover, designed by Jonathan Barnbrook, features a large black star with five star segments at the bottom that spell out the word "Bowie".
Two days after its release, Bowie died of liver cancer; his illness had not been revealed to the public until then. Visconti described the album as Bowie's intended swan song and a "parting gift" for his fans before his death. Upon release, the album was met with critical acclaim and commercial success, topping charts in a number of countries in the wake of Bowie's death and becoming Bowie's only album to top the US Billboard 200. The album remained at the number-one position on the UK Albums Chart for three weeks. It was the fifth-best-selling album of the year, worldwide. It has since been certified Gold and Platinum in the US and the UK, respectively.
At the 59th Annual Grammy Awards, the album won awards for Best Alternative Music Album, Best Engineered Album, Non-Classical and Best Recording Package, with the title track winning for Best Rock Performance and Best Rock Song. The album was also awarded the British Album of the Year at the 2017 Brit Awards. It was listed as one of the best albums of 2016 and later the 2010s decade by numerous publications. In the years following his death, commentators have named Blackstar one of Bowie's greatest albums, and was included in the 2018 edition of Robert Dimery's book 1001 Albums You Must Hear Before You Die.
Blackstar was already on course to debut at number one on the UK Albums Chart prior to the announcement of Bowie's death on 10 January 2016, according to the Official Charts Company. The album debuted at number one after selling 146,000 copies in the first week (a week that saw four other Bowie albums in the Top 10 and a further seven in the Top 40, the latter equalling Elvis Presley's chart record) and became his tenth number one album in the UK. The album remained three weeks at number one, falling to number two behind another Bowie album, the compilation Best of Bowie (2002), which became the first ever album to get to number one in the UK because of streaming. As of January 2018, the album has sold 446,000 copies in the United Kingdom. Bowie was the biggest-selling vinyl artist of 2016 in the UK, with five albums in the vinyl Top 30, including Blackstar as the number one vinyl album of the year. It sold twice as many copies as the previous year's winner, Adele's 25.
In the US, the album debuted at number one on the US Billboard 200 chart, moving 181,000 copies in its first week. Its number one debut was previously anticipated by Billboard, though its total sales exceeded expectations by 51,000 copies. The album topped the iTunes chart following Bowie's death, with Best of Bowie (2002) placing second. It was Bowie's first number one in the US and best weekly sales figure. It was the 14th-best-selling album in the US in 2016, with 448,000 copies sold that year. After news of his death, some music stores in both the US and UK sold out of copies. The album also peaked at number one in 24 countries, number two in Greece and Mexico, number four in Hungary, and number five in Japan. It has since been certified Gold in Germany, New Zealand, Portugal, Spain, Sweden and the US, certified Platinum in Australia, Austria, Belgium, Canada, Denmark, France, Italy, Poland, Switzerland and the UK, and 2× Platinum in the Netherlands. According to the International Federation of the Phonographic Industry (IFPI), it was the fifth-best-selling album of the year, worldwide. It has sold more than 1,900,000 copies as of April 2017.
Henrique Ramos
★"Blackstar"
Released: 19 November 2015
[Intro]
In the villa of Ormen, in the villa of Ormen
Stands a solitary candle, ah-ah, ah-ah
In the centre of it all, in the centre of it all
Your eyes
On the day of execution, on the day of execution
Only women kneel and smile, ah-ah, ah-ah
At the centre of it all, at the centre of it all
Your eyes, your eyes
[Bridge I]
Ah-ah-ah
Ah-ah-ah
In the villa of Ormen, in the villa of Ormen
Stands a solitary candle, ah-ah, ah-ah
At the centre of it all, at the centre of it all
Your eyes, your eyes
Ah-ah-ah
[Bridge II]
Something happened on the day he died
Spirit rose a metre and stepped aside
Somebody else took his place, and bravely cried
(I'm a blackstar, I'm a blackstar)
How many times does an angel fall?
How many people lie instead of talking tall?
He trod on sacred ground, he cried loud into the crowd
(I'm a blackstar, I'm a blackstar, I'm not a gangstar)
I can't answer why (I'm a blackstar)
Just go with me (I'm not a filmstar)
I'ma take you home (I'm a blackstar)
Take your passport and shoes (I'm not a popstar)
And your sedatives, boo (I'm a blackstar)
You're a flash in the pan (I'm not a marvel star)
I'm the Great I Am (I'm a blackstar)
I'm a blackstar, way up, on money, I've got game
I see right, so wide, so open-hearted pain
I want eagles in my daydreams, diamonds in my eyes
(I'm a blackstar, I'm a blackstar)
Something happened on the day he died
Spirit rose a metre then stepped aside
Somebody else took his place, and bravely cried
(I'm a blackstar, I'm a star's star, I'm a blackstar)
I can't answer why (I'm not a gangstar)
But I can tell you how (I'm not a flam star)
We were born upside-down (I'm a star's star)
Born the wrong way 'round (I’m not a white star)
I'm a blackstar, I'm not a gangstar
I'm a blackstar, I'm a blackstar
I'm not a pornstar, I'm not a wandering star
I'm a blackstar, I’m a blackstar
[Bridge III]
In the villa of Ormen stands a solitary candle
Ah-ah, ah-ah
At the centre of it all, your eyes
On the day of execution, only women kneel and smile
Ah-ah, ah-ah
At the centre of it all, your eyes, your eyes
Ah-ah-ah
[Outro]
Produced By David Bowie & Tony Visconti
Written By David Bowie
Album ★ (Blackstar) (2016)
Ochrana ľudských práv Immacolata
Homosexual rock star, David Bowie in Rolling Stone magazine (Feb. 12, 1976), stunned the music world, when he stated:
"Rock has always been THE DEVIL'S MUSIC . . . I believe rock and roll is dangerous . . . I feel we're only heralding SOMETHING EVEN DARKER THAN OURSELVES." (Rolling Stone, Feb. 12, 1976)
Rock music is more than just music — IT'S THEIR LIFE in hell!
Rock & roll too — it will occupy and destroy you that way. Rock has always been the devil’s music. You can’t convince me that it isn’t.”
m David Bowie," said one fan. Bowie ... day is here" seems to be the announcement of the Devil's arrival.
And something dark and evil is slithering under the ROCK!
Does this music effect young people?
David and the Devil: My Christian friends, stay away from this video. Of course I did put the video in this post for the curious who want to see for themselves. If you watched it, pay attention to how you're feeling now, after it. This video will drive the Holy Ghost from you and leave you feeling darkened in spirit and mind.
I feel this warning is necessary.To this end, I have to make a stand that I will not be listening to it, and I really beg you to stay away from it, too.
yes, when the video first came out I wish I would have never watched, I felt horrible for weeks! It haunted my subconscious...I could not get it out of my mind...now I will never again listen to ANY of Bowie's music and to all you parent's out there please do not let your teens watch this video...seriously that video does something to one's mind and soul and not in a good way, pure evil, no kidding...do not be deceived ... Satan knows his time is running short and he will do what ever it takes to drag more souls to hell with him....My question to David Bowie...Was it worth it? Is eternal torment and damnation worth fame and fortune? No No NO...just saying, do not watch Black Star or Lazareth.... https://devil-music-the-occult-beatles.webnode.sk/
https://www.udiscovermusic.com/in-depth-features/the-devil-has-all-the-best-tunes/
https://ocistec-purgatory.weebly.com/discerning-the-devils.htmlhttps://www.traditioninaction.org/movies/028_Bowie.htm
Joan
If you ever feel sad, know that the earth is 4.35 billion years old, and you were born at a time to listen to David.
??
@Jonny Halfton you can lead a horse to.water but can't make it drink. Let lemmings be lemmings bro
Jonny Halfton
@Jimmy the mad ostrich source: trust me bro
Jimmy the mad ostrich
In actual fact the world is 4billion, 352million, 109thousand, 666hundred , 77days, 384minutes, and 58seconds old as we speak, notwithstanding the extra seconds which have passed since the beginning of this sentence etc etc and so on and so forth . . .
Hammer Rolen
Im At the age of modern life and classical rock. Shits amazing. 18 years old never listened while he was alive but he’s a genuine legend. Wish I’d have known of him before he was gone.
Jonny Halfton
@LageYouTube grow down
Wizard Wares
I can't believe it's been seven years since his death. This album stayed on my turntable for the first year, getting played pretty much every week in memory of him, and there was a sense of loss that didn't diminish during that time.
I still miss him even though his time was done. He gave us a life full of his choices, his art, his ideas, and he will be remembered. Vale David Bowie, you magnificent Starman.
Gwendolyn Jones
I was 11 when he died. Didn't give a shit and had barely heard of him. Now I'm wearing a shirt with ziggys face on it, laying next to the Waldo inspired book Where's Bowie, across the room from an unfinished painting featuring a skull with his sun disk on its forehead, trapped inside a space helmet. I play this album every week at least.
J5L5M6
Hear, hear!
Sérgio Darwich
David Bowie shows us, with the Black Star album, that death is not necessarily the end. He is reborn in us in each verse, in each note, in each pain, in each moment of love. Thank you for everything, David Bowie.