david,bowie

篇一：David Bowie before 72

1962–68: the Konrads to the Riot Squad

Graduating from his plastic saxophone to a real instrument in 1962, Bowie formed his first band at the age of 15. Playing guitar-based rock and roll at local youth gatherings and weddings, the Konrads had a varying line-up of between four and eight members, Underwood among them.[15] When Bowie left the technical school the following year, he informed his parents of his intention to become a pop star. His mother promptly arranged his employment as an electrician's mate. Frustrated by his band-mates' limited aspirations, Bowie left the Konrads and joined another band, the King Bees. He wrote to the newly successful washing-machine entrepreneur John Bloom inviting him to "do for us what Brian Epstein has done for the Beatles—and make another million." Bloom did not respond to the offer, but his referral to Dick James's partner Leslie Conn led to Bowie's first personal management contract.[16]

Conn quickly began to promote Bowie. The singer's debut single, "Liza Jane", credited to Davie Jones and the King Bees, had no commercial success. Dissatisfied with the King Bees and their repertoire of Howlin' Wolf and Willie Dixon blues numbers, Bowie quit the band less than a month later to join the Manish Boys, another blues outfit, who incorporated folk and soul — "I used to dream of being their Mick Jagger", Bowie was to recall.[16] "I Pity the Fool" was no more successful than "Liza Jane", and Bowie soon moved on again to join the Lower Third, a blues trio strongly influenced by The Who. "You've Got a Habit of Leaving" fared no better, signalling the end of Conn's contract. Declaring that he would exit the pop world "to study mime at Sadler's Wells", Bowie nevertheless remained with the Lower Third. His new manager, Ralph Horton, later instrumental in his transition to solo artist, soon witnessed Bowie's move to yet another group, the Buzz, yielding the singer's fifth unsuccessful single release, "Do Anything You Say". While with the Buzz, Bowie also joined the Riot Squad; their recordings, which included a Bowie number and Velvet Underground material, went unreleased. Ken Pitt, introduced by Horton, took over as Bowie's manager.[17]

Dissatisfied with his stage name as Davy (and Davie) Jones, which in the mid-1960s invited confusion with Davy Jones of The Monkees, Bowie renamed himself after the 19th century American frontiersmanJim Bowie and the knife he had popularised.[18] His April 1967 solo single, "The Laughing Gnome", utilising sped-up thus high-pitched vocals, failed to chart. Released six weeks later, his album debut, David Bowie, an amalgam of pop, psychedelia, and music hall, met the same fate. It would be his last release for two years.[19]

Bowie's fascination with the bizarre was fuelled when he met dancer Lindsay Kemp: "He lived on his emotions, he was a wonderful influence. His day-to-day life was the most theatrical thing I had ever seen, ever. It was everything I thought Bohemia probably was. I joined the circus."[20] Kemp, for his part, recalled, "I didn't really teach him to be a mime artiste but to be more of himself on the outside, ... I enabled him to free the angel and demon that he is on the inside."[20] Studying the dramatic arts under Kemp, from avant-garde theatre and mime to commedia dell'arte, Bowie became immersed in the creation of personae to present to the world. Satirising life in a British prison, meanwhile, the Bowie-penned "Over the Wall We Go" became a 1967 single for Oscar; another Bowie composition, "Silly Boy Blue", was released by Billy Fury the following year.[21] After Kemp cast Bowie with Hermione Farthingale for a poetic minuet, the pair began dating; they soon moved into a London flat together. Playing

acoustic guitar, she formed a group with Bowie and bassist John Hutchinson; between September 1968 and early 1969, when Bowie and Farthingale broke up, the trio gave a small number of concerts combining folk, Merseybeat, poetry and mime.[22]

篇二：David Bowie - space oddity

Intro: Fmaj7 Em Fmaj7 Em

C (C/G) Em C Em

Ground control to Major Tom Ground control to Major Tom

Am Am/G Am/F# D

Take your protein pills and put your helmet on

C Em C Em

Ground control to Major Tom commencing countdown engines on Am Am/G D ....

Check ignition and may God's love be with you

C E F

This is ground control to Major Tom you've really made the grade Fm C F

And the papers want to know whose shirt you wear

Fm C F

Now it's time to leave the capsule if you dare

C E F

This is Major Tom to ground control I'm stepping through the door Fm C F

And I'm floating in a most peculiar way

Fm C F

And the stars look very different today

Fmaj7 Em Fmaj7 Em

For here am I sitting in a tin can far above the world

Bb Am G F

Planet earth is blue and there's nothing I can do [C F G A A]2X

F C D E

C E F

Though I'm cross one hundred thousand miles I'm feeling very still Fm C F

And I think my spaceship knows which way to go

Fm C F

Tell my wife I love her very much she knows

G E Am C

Ground control to Major Tom your circuits dead there's something wrong G

Can you hear me Major Tom? Repeat.......

篇三：David Bowie 62年之前的短小履历

David Bowie was born David Robert Jones in Brixton, London, on 8 January 1947. His mother, Margaret Mary "Peggy" (née Burns), of Irish descent,[3] worked as a cinema usherette, while his father, Haywood Stenton "John" Jones was a promotions officer for Barnardo's. The family lived at 40 Stansfield Road, located near the border of the south London areas of Brixton and Stockwell. A neighbour recalled that "London in the forties was the worst possible place, and the worst possible time for a child to grow up in." Bowie attended Stockwell Infants School until he was six years old, acquiring a reputation as a gifted and single-minded child—and a defiant brawler.[4][5]

In 1953 the family moved to the suburb of Bromley, where, two years later, Bowie progressed to Burnt Ash Junior School. His voice was considered "adequate" by the school choir, and his recorder playing judged to demonstrate above-average musical ability.[6] At the age of nine, his dancing during the newly introduced music and movement classes was strikingly imaginative: teachers called his interpretations "vividly artistic" and his poise "astonishing" for a child.[6] The same year, his interest in music was further stimulated when his father brought home a collection of American 45s by artists including Frankie Lymon and the Teenagers, The Platters, Fats Domino, Elvis Presley and Little Richard.[7][8] Upon listening to "Tutti Frutti", Bowie would later say, "I had heard God".[9] Presley's impact on him was likewise emphatic: "I saw a cousin of mine dance to ... 'Hound Dog' and I had never seen her get up and be moved so much by anything. It really impressed me, the power of the music. I started getting records imm(来自:WWw.SmhaiDa.com 海达范文网:david,bowie)ediately after that."[8] By the end of the following year he had taken up the ukelele and tea-chest bass and begun to participate in skiffle sessions with friends, and had started to play the piano; meanwhile his stage presentation of numbers by both Presley and Chuck Berry—complete with gyrations in tribute to the original artists—to his local Wolf Cub group was described as "mesmerizing ... like someone from another planet."[8] Failing his eleven plus exam at the conclusion of his Burnt Ash Junior education, Bowie joined Bromley Technical High School.[10]

It was an unusual technical school, as biographer Christopher Sandford writes:

Despite its status it was, by the time David arrived in 1958, as rich in arcane ritual as any [English] public school. There were houses, named after eighteenth-century statesmen like Pitt and Wilberforce. There was a uniform, and an elaborate system of rewards and punishments. There was also an accent on languages, science and particularly design, where a collegiate atmosphere flourished under the tutorship of Owen Frampton. In David's account, Frampton led through force of personality, not

intellect; his colleagues at Bromley Tech were famous for neither, and yielded the school's most gifted pupils to the arts, a regime so liberal that Frampton actively encouraged his own son, Peter, to pursue a musical career with David, a partnership briefly intact thirty years later.[10] Bowie studied art, music, and design, including layout and typesetting. After Terry Burns, his half-brother, introduced him to modern jazz, his enthusiasm for players like Charles Mingus and John Coltrane led his mother to give him a plastic alto saxophone in 1961; he was soon receiving lessons from a local musician.[11] Bowie received a serious injury at school in 1962 when his friend George Underwood punched him in the left eye during a fight over a girl. Doctors feared he would become blind in that eye.

[12]After a series of operations during a four-month hospitalisation, his

doctors determined that the damage could not be fully repaired and Bowie was left with faulty depth perception and a permanently dilated pupil. The latter condition has misled some to believe that Bowie has different coloured eyes, when in reality both irises are the same blue colour.[13] Despite their altercation, Underwood and Bowie remained good friends, and

[14]Underwood went on to create the artwork for Bowie's early albums.

篇四：架子鼓爵士鼓谱——Suffragette City(David bowie)

架子鼓爵士鼓谱——Suffragette City（David

bowie）

篇五：Heroes

《Heroes》

很偶然地在电影壁花少年中听到这首David Bowie的，这首歌的旋律,歌词和David Bowie迷幻的声音深深的扎进了我的脑子里，使我便深醉其中。 之后我一遍又一遍重复这首歌曲，却总是不厌其烦。 I, I wish you could swim Like the dolphins Like dolphins can swim We can be Heroes, just for one day.

我是如此喜欢这些歌词，每当自己迷茫和被生活逼的喘不过气的时候，这些歌词就像充满魔力的咒语一般将你变成一只海豚，在大海中自由游泳的海豚，在天空中飞的海豚，给你无限的力量和勇气。

很喜欢一个David Bowie 02年在Berlin的现场演唱Heroes的视频，彼时的Bowie已经55岁，视频里的他一头不花哨但很潇洒的金发，头发被风轻轻吹起，带着满脸的微笑，穿着一身笔挺的西装，一点也不像个传说中殿堂级的摇滚明星。 甚至他不像个摇滚明星，他既跳不起来，也躺不下去，也不会拿起一把吉他狠狠的摔在地上。

他的声音既不圆滑，也不高亢，没有震撼的高音，也没有百转千回的转音。 可他的声音在这首歌里却又是如此无可挑剔的完美。

他只是一个讲故事的人，用心将一个故事娓娓道来。

曾经有那么一道墙横穿一个城市，将一个国家分割两边，所有试图越过这堵墙从东德逃往西德的人都都会被无情枪杀，无数爱人和亲人分居两地，虽相隔咫尺，确如远在天涯。

David Bowie在柏林的时候，经常去一个咖啡馆，这个咖啡馆在一个很高的建筑上，透过窗户，他可以往下看到柏林墙。

他发现每天日落的时候，都有一个西德的男子爬上一个瞭望塔，站在瞭望塔上，他可以看到墙的另一边。他就是静静的站在那里，凝视着东方。 于此同时，一个东德的女人也会爬上一个瞭望塔，回视着那个男子。 他们不出声，不挥手，他们什么也不做，只是看着对方，然后默默离开。 在次日的同一时间，他们会再次回来。

David Bowie知道这是一对被铁幕分隔的爱人，无视分隔的高压，他们的爱持续着，他们的爱就像阳光一般，穿过高墙，安静的泼洒在对方的身上。

他们是真正的英雄，是一天的英雄，是每一天的英雄。

这是关于David Bowie写这首歌的由来,看起来很像个传说。

可这个故事是不是传说，是真是假，谁又在乎呢？

即使这个故事的结尾，是David Bowie看到他们变成了海豚，会飞的海豚，飞过了柏林墙，我也愿意相信。 And the guns, shot above our heads And we kissed, as though nothing could fall And the shame, was on the other side We can beat them, for ever and ever Then we could be Heroes, Just for one day

这个冷战中的爱情故事也许是David Bowie写这首的初衷。

可是好像每个人都能从这首歌里听到属于自己的东西。

NIKE认为他是一首励志歌曲，把它作为了自己的广告歌。英国人觉得自己运动员的力量源泉，把它作为了奥运会时自己运动员的入场歌曲。壁花少年的创作者把它当成了自然对人的倾述之歌，把它作为自己影片的核心，主人公在这首歌的背景下喊出“We are infinite!”,同时歌曲也给予主人公无限的力量。

这首歌是如此的神秘，浪漫，富有激情和活力又让人愉悦。

有人说，不限于David Bowie,不限于Glam Rock ,这首歌是他所有音乐中的最爱。

有人说，我想嫁给这首歌，不知道这合不合法？。

有人说，我愿意听着这首歌死去，在群星陨落，世界终结之时。

摇滚乐是什么？有人说，摇滚是一种精神，关乎叛逆，自由和解放。 对我来说，有一首歌给了我最纯粹的生活热情。

所谓摇滚，不过如此这般。

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