David Bowie: The Rise and Fall of Ziggy Stardust and the Spiders From Mars (pt. 2)

Ziggy

Dear Matthew:

I don’t think I get David Bowie.

Like, this is an OK album, I guess. I’m glad I listened to it. Art this legendary is always at least worth checking out, and this album is nothing if not legendary. I always try to remember that, if a lot of people really like something, they can’t all be wrong. But I’ve got to be honest: I didn’t love Ziggy Stardust.

Maybe this is just my own prexisting feelings about Bowie. I know his singles, because it’s kind of impossible not to, and I find them very hit or miss. ‘Fame’ is a jam, and I guess I can tolerate ‘Changes’. But I absolutely loathe ‘Space Oddity’. Everything about early Bowie is just so overwrought — whiny, almost. And sorry, but Ziggy Stardust is, for me at least, definitely still early Bowie. (Give me 80s Bowie any day.)

I realize that this is hugely hypocritical of me. I have no problem with musical ridiculousness. Perhaps more pressingly, one of my favourite records of all time is also a concept album about space bullshit. So, as I was listening and it was becoming clear that I wasn’t going to love Ziggy Stardust, I tried to figure out why that was. Why do I love the gritty weirdo space rap but not the gay space alien glam rock?

Maybe it’s that the gay space alien glam rock is too legendary.

I hate to keep coming back to this, but you know how I called Wu-Tang Clan the Seinfeld of underground rap? (By which I meant that they were so profoundly original that everything they did has been so thoroughly emulated that their profound originality isn’t obvious unless you know what came before?) I don’t think that’s what’s going on here. In the case of Wu-Tang and Seinfeld, their imitators aped what they did with completely straight faces. Subsequent generations of rappers and TV producers saw something that worked, so they adapted it for their own purposes. It was doable, because they weren’t aping specifics of the work so much as general principles. TV sitcoms are now populated exclusively by sociopaths, but specific Seinfeld parodies are pretty thin on the ground. Rap songs with campy movie samples and bitcrushed drums are now a dime a dozen, but no one ever tries to literally be another Wu-Tang Clan.

But with Bowie, there aren’t really any general principles to ape, other than ‘overwrought androgynous rockstar’. Everything about what he’s doing is so wildly, inventively specific that the only way to cash in on its success is to parody it, or directly reference it. It hit me like a thunderbolt about halfway through ‘Starman’: I am more familiar with homages to / parodies of David Bowie than I am with actual David Bowie.

Flight of the Conchords. Daft Punk. The Venture Bros. My own cultural experience is littered with caricatures of all things Bowie, to the point of cliché. I feel like I’ve heard ‘Starman’ a million times, when really what I’ve heard is a million things referencing ‘Starman’. So is it that I actually find ‘Starman’ overwrought and annoying, or has that sentiment just been clouded by endless secondhand exposure?

I am, of course, doing that thing where I’m making it seem like I liked the album less than I did. I am still glad that I listened to it, and there are some great moments on the album. (‘Suffragette City’ kicks ass.) And for what it’s worth, I listened to Aladdin Sane immediately after I finished Ziggy Stardust. (Don’t hold your breath — my feelings about the two albums are pretty much the same.) But as with a lot of things from the 70s, David Bowie just isn’t really my bag.

— Matt

PS: Do you watch The Venture Bros.? I think you’d like The Venture Bros.

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