I don’t know where I’m going from here, but I promise it won’t be boring.
— David Bowie on his 50th birthday, 1997
The amazing creative ride that that’s been the half-century career of David Bowie, now celebrated in what promises to be the blockbuster David Bowie Is exhibition at Chicago’s Museum of Contemporary Art, spectacularly proves – as if further proof were needed – how the cultural icon has always been remarkably true to that promise.
Bowie’s assorted artistic personas, from The Thin White Duke to Ziggy Stardust (outrageously androgynous at a time when the concept was still considered exotic) defined reinvention in a time before Madonna. But what really put him in a league of his own, beyond his ever-nonconformist individuality, was his extraordinary impact on so many fields beyond music – fashion, film, and the graphic arts among them.
Just because, I’ll throw in some fun facts I was unaware of (or didn’t remember) about Bowie that I ran across as I read about the exhibit. He changed his real name, David Jones, in 1965, to distinguish himself from Davy Jones, later of the wildly popular group, The Monkees. (“Bowie” came from the knife of the same name.) “Space Oddity” was actually timed to coincide with the 1969 landing on the moon. (Written, incidentally, when he was only 22.) And he also played The Elephant Man on Broadway in 1980, to much critical praise.
Beyond the trivia, and back to the music, I thought about my own favorite Bowie album, Station to Station, and particularly, its two alliteratively titled arias, “Word on a Wing” and “Wild is the Wind” (the latter originally recorded by the crooner Johnny Mathis in 1957). In truth, relistening to the album in 2014 shows how far ahead of the pack Bowie was in 1976, at a time immediately prior to those lost years of pop music known as disco.
Possibly only Bowie could take the melodramatic lyrics of “Word on a Wing” (“Lord, Lord, my prayer flies like a word on a wing”) and send them soaring into art-rock territory. But he goes into full chanteuse mode with the intentionally over-the-top cover of “Wild is the Wind,” his vocal making you forget the mawkishness of such sentiments as “You touch me, I hear the sound of mandolins.” It is strangely unforgettable.
Though perhaps not the most famous tracks on Station, which also includes the chart-topping “Golden Years” and the classic “Stay,” the ballads are emblematic for me of Bowie’s chameleon-like talents – and reminders of what a versatile singer he truly was.
In another lyric from “Word on a Wing,” Bowie wrote: “I’m ready to shape the scheme of things.”
Which pretty much sums up his incredible career.
[David Bowie Is runs through January 4.]