Bowie PDF Book from JFK247

The pair never discussed the subject again, but
when it came to the mix, David had reverted back to
the original. The final version eventually ended up in
a celebrated slot over the end titles to David
Fincher’s twisted serial-killer movie, Se7en –
perhaps a treatise on English landscape artists
would not have done the trick in that setting.
It was, of course, typical of the entertainment
industry that David and Brian had started the project
inspired by an artistic community who were blissfully
heedless of commercial pressures, and then had to
rework their initial concept to get a record deal. Yet
the album would soon undergo a second reworking
at David’s hands, intended to restore the art-house
element he thought had been lost. Over 1995, he
added spoken-word recordings, reshaping the
album into a concept piece based on a surreal
murder story he’d written for Q magazine in late
1994 called ‘The Diary of Nathan Adler’: what Bowie
called a ‘non-linear gothic drama hyper-cycle’. The
plot revolved around the murder and
dismemberment of fourteen-year-old runaway Baby
Grace Blue, her body parts destined for a Damien
Hirst-esque artwork, with Bowie’s Nathan Adler
providing a Philip Marlowe-style voiceover in a
dodgy Brooklyn accent.
Challenging, complex, often thrilling, over-long
and – in the spoken segues – undoubtedly selfindulgent,
1.Outside finally made it to the record
shops on 25 September, 1995, eighteen months
after the first Montreux sessions. Its release met with
a deluge of media attention, most of it effusive –