The Occult Universe of David Bowie and the Meaning of “Blackstar”

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Source: VigilantCitizen.com
January 14, 2016

In the wake of David Bowie’s death, his last album, “Blackstar”, is his swan song, an enigmatic conclusion to a career punctuated by otherworldly alter-egos and esoteric symbolism. We’ll look at the meaning of “Blackstar” in the context of David Bowie’s career.

Very few artists can boast the longevity of David Bowie in the music industry, as his career spanned over five decades and produced 28 albums. Throughout the decades, Bowie migrated from one musical genre to another, and even from one persona to another, but a constant remained: He was surrounded by an otherworldly aura.

Through his work, Bowie turned himself into a musical ‘ascended master’, a Gnostic Christ-like figure who achieved a high level of illumination and who sought to communicate a cryptic message to humanity. While many of Bowie’s eccentricities could be attributed to drugs and rock and roll, one cannot paint a complete picture of this artist without mentioning his most enduring obsession: Western occultism.

David Bowie, born as David Robert Jones in 1947, is seen by some as a sort of ‘Renaissance Man’ whose professed ‘universality’ is an attempt to show the apex of evolution by reassembling the fragmentary pieces of our society; thus, he resembles many occultists.

However unlike most occultists, Bowie has considerable wealth, critical acclaim, penetrating intelligence, and enduring good looks; he seems set to go on to even greater heights and achievements. What next, godhead? There is a Faustian/Mephistophelean element here. How else can one explain the absolute zenith of this man’s worldly trajectory? In fact, there are people who are convinced that his brobdingnagian success is not without some kind of otherworldly assistance. (…)

Nevertheless, it can not be ignored that Bowie has constructed his public persona from the various parts of the puzzle that are at the roots of modern occultism. He was summoning up some of these pieces at the early age of 16.
– Peter R. Koenig, The Laughing Gnostic – David Bowie and the Occult

Throughout his career, Bowie often turned himself into a mere vessel as he lent his body to various personas who spoke through him, often communicating messages of deep occult significance.

Bowie’s final album Blackstar is no exception. In fact, it is a “meticulously planned” final chapter to the “Book of Bowie”, one that confirms the true meaning of his work and the occult inspiration behind it. Therefore, in order to understand Blackstar, one must first understand some of his most iconic imagery.

Continue Reading At: VigilantCitizen.com

Celebrity Versus Literacy – You Decide

Source: DailyBell.com
January 18, 2016

Bowie’s death marks the Twilight of the Rock Gods …With David Bowie’s final curtain-call, we are witnessing the end of an era, as the original stars of the explosive rock culture that convulsed the world in the second half of the 20th century are slowly extinguished. We are entering the Twilight of the Rock Gods. – UK Telegraph

Dominant Social Theme: Where will we turn for greatness now?

Free-Market Analysis: We do not wish to speak ill of the dead but David Bowie’s passing does allow us an opportunity to pause and examine popular culture.

This UK Telegraph article does what most journalism does, which is accept the values of popular culture at face value. From the article’s point of view, there is no reason to question the reality of “Rock Gods” or why they came to be. The article takes another point of view entirely, which is what their passing will mean. In other words, what cultural import will it have.

Here’s more:

Deaths of the famous compel us all to contemplate the meaning of our own lives and times, and the deaths of rock stars carry a very particular sting. Its most iconic figures – those great, symbolic archetypes of an age whose art, lifestyle and spirit was substantially defined by the egotistic and energetic values of youth – have turned into old men.

Whatever your reaction to Bowie’s death (the most elegantly stage-managed exit in pop history), we can be sure of one thing: that there is more of this to come. And for a while, at least. I don’t want to tempt fate – indeed, I try not to even think about it – but when Bob Dylan, Paul McCartney, Mick Jagger and Keith Richards eventually shuffle off this mortal coil, we may have to mark the entire rock and roll era over. Who knows what forces of collective shock and sadness that will unleash?

The article goes on to explain that as “icons” age, their record companies are planning whole campaigns around their deaths to maximize sales.

Musicians like Michael Jackson are worth far more dead than alive. It is far easier, unfortunately, to manage the image of someone who is deceased than to create a marketing campaign surrounding a live person who is subject to arrest, a messy divorce or some other inconvenient episode.

Of course, the larger issue here is not the evolution of musical marketing but its significance. Over at Taki’s Magazine, Theodore Dalrymple has posted a commentary on Bowie’s death that attempts to put the recent coverage into perspective.

He writes:

I was astonished at the amount of coverage given to the death of David Bowie … On the day after his death, the supposedly serious newspaper that I take most often when I am in Britain, The Guardian, ran a special 12-page supplement on his life and activity, as well as five pages in its normal section. There have been articles about him on the two subsequent days. I wait patiently for the tide to turn.

Dalrymple makes it clear that the most puzzling element of Bowie’s death has to do with why he is seemingly so venerated. Dalyrmple even quotes one of his lyrics to make a point about the “banality” of Bowie’s output:

There’s a brand new dance
But I don’t know its name
That all people from bad homes
Do it again and again…

Dalrymple adds that he reviewed other Bowie lyrics but “did not find any that were of a much higher or deeper quality.” He closes his article with the “interesting question,” which is “why a newspaper [like the Guardian] … should devote so much space to the posthumous adulation of such a person as David Bowie, and why his activity should be treated with such breathlessly awed veneration.”

Continue Reading At: DailyBell.com