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Bowie Style

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INFLUENCES & HEROES: FANTASTIC<br />

VOYAGE<br />

The Doors<br />

Sometimes the most telling influences are rarely<br />

revealed. Jim Morrison’s apocalyptic rock theatre,<br />

which swept America during the late Sixties, was<br />

literate, cinematic, manipulative, steeped in the<br />

politics of insanity and conclusive proof that artistic<br />

pretensions and rock music could co-exist – and<br />

become successful. <strong>Bowie</strong> ad-libbed The Doors’<br />

‘Hello, I Love You’ during ‘Aladdin Sane’ on a 1996<br />

festival tour.<br />

Friedrich Nietzsche<br />

Nietzschean elitism (and attendant misanthropy) was<br />

an underlying force throughout <strong>Bowie</strong>’s work in the<br />

Seventies. “I’ve always thought the only thing to do<br />

was to try and go through life as Superman, right<br />

from the word go. I felt far too insignificant as just<br />

another person,” insisted Super-<strong>Bowie</strong>.<br />

Kenneth Anger<br />

<strong>Bowie</strong> devoured Anger’s scandalous Hollywood<br />

Babylon book, and spent some time with the<br />

notorious Crowley devotee during the mid-<br />

Seventies. Rumours that <strong>Bowie</strong> wrote ‘Look Back In<br />

Anger’ for Ken are apparently untrue.

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