HBO’s Bowie Documentary Ignores Reality

david-bowie-bbc-documentary

I watched the David Bowie documentary recently released on HBO GO, “The Last Five Years.”  Like nearly everything else on HBO, it was mostly liberal propaganda with little insight.  It claimed to be about the last few years of Bowie’s life with flashbacks to earlier points in his career but it completely ignored the most important period and manufactured several fictions.

Bowie’s final album “Blackstar,” whose title track alludes to the Nordic village of Ørmen, has its closest thematic and musical similarities to “Station to Station,” which Bowie released during his prophetic period as the Thin White Duke.  The documentary makes no mention of “Station to Station” or the Thin White Duke period.  Instead it focuses on the supposed gun control message of “Valentine’s Day” which makes no policy prescription for mass shootings,  and claims, without evidence, that “Lazarus,” arguably the best track from “Blackstar” and the title of Bowie’s successful musical, has something to do with Jewish open borders poet Emma Lazarus, who wrote the words regrettably attached to the Statue of Liberty.  Truth is far more interesting than these delusions, but for HBO, it is useless if it cannot be used to spread an anti-gun, pro-amnesty agenda.

If you are reading this, you are probably thinking about watching the documentary to learn something about Bowie, or, like me, you are upset about the documentary’s failings.  In either case, IPR-X can provide you with some of the useful, insightful information you seek.  Let’s look at the relevant connections to the end of Bowie’s life and more importantly, what happened after he died.

  • It is speculated, “Lazarus” (or at least a part of the song) was influenced by an IPR post from Lazarus Mudd in 2014, which depicted New York City as a Sodom and Gomorrah awash with money, greed, and vice.  The presence of the Republican Party in Trump Tower culminates with freedom and a rising of the spirit in the manner of Lazarus of Bethany.
  • “Blackstar” hearkening to “Station to Station” reflects the political climate around the release in January 2016.  Examination of “Station to Station” shows a prophetic connection to Donald Trump and his rise to the US presidency.
  • In fact, a performance of “Station to Station” itself was prominent at the 2016 Republican National Convention.  As a fan of Bowie, President Trump likely appreciates the vision of the Thin White Duke.
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“Making sure White stains”

Music Monday: The Sign

There’s already so much meaning behind the Ace of Base song “The Sign“.

A couple weeks ago, Lazarus took it to another level.

I saw the sign and it opened up my eyes, I saw the sign
Life is demanding without understanding
I saw the sign and it opened up my eyes, I saw the sign
No one’s gonna drag you up to get into the light where you belong
But where do you belong?

Music Monday: Lazarus

On September 19, 2014, I wrote the following on IPR:

New York City — my old stomping grounds — a modern day $odom and Gomorrah — the sewers are cleaner than the streets — the Republican Party owns a suite in Trump Tower where they put on Burlesque shows every Thursday night. It’s nothing to worry about. Libertarians are fine.

“Come on up for the rising”

Years later, David Bowie released this song, with the title of my name (Lazarus) and a passage mirroring what I wrote above:

By the time I got to New York (my old stomping grounds)

I was living like a king (a suite in Trump Tower)

Then I used up all my money (a modern day $odom and Gomorrah)

I was looking for your ass (Burlesque shows)

This way or no way (It’s nothing to worry about)

You know, I’ll be free (Libertarians are fine)

Just like that bluebird (Come on up for the rising)

Now ain’t that just like me (Lazarus)

Did I inspire Bowie to write this song?  Maybe.  The thematic similarities between the song and my blurb on IPR cannot be denied.  Plus, the blurb was written before Bowie wrote the song.  Perhaps most telling, I used the name “Lazarus the Great” as the author of the blurb, while the title of the song is “Lazarus” even though this name is not mentioned in the song (it is an allusion to the story in the Gospel of John of Jesus rising Lazarus of Bethany from the dead).  There is a strong possibility Bowie read my post and then wrote the song (or at least the passage above) in response.

Kareem Caliente calls my 2014 blurb “prescient” not only because of its foreshadowing of “Lazarus” but because I made the connection between the Republican Party and Donald Trump before anyone had any idea he would run for President, much less become the Republican Party presidential nominee and President itself.  Perhaps with the sarcastic tone of the final two sentences I foresaw the death of Libertarianism (as Nathan Norman declared last week), and then with reference to the Springsteen song “The Rising,” I saw the rise of the Alt-Right from the corpse of Libertarianism, just like Lazarus.

Maybe I’m a prophet.  Or maybe I’m just lucky.

No Plan

As you all know, one year ago today was the day the great David Bowie died, two days after his 69th birthday and release of his masterpiece “Blackstar”.  Two days ago, on what would have been Bowie’s 70th birthday, an EP titled “No Plan” came out.  I’ve been listening to it non-stop ever since.

It starts with “Lazarus”, a great song (and video) originally released on “Blackstar” which includes the unforgettable line “Look up here, I’m in heaven“.

Next is the title track “No Plan”, which seems to have been written from the perspective of someone who has died.

The third track, “Killing a Little Time”, concerns Bowie’s anger at no longer being able to write more songs because of his death.

The last track, “When I Met You”, wraps up the EP in experimental fashion with noted use of vocal overlays, which evokes a mysterious and spiritual sense.