an old rock and roll alien angel in a perfect grey suit

I have only seen a tiny sliver of a fraction of the various reactions people have had to the death of David Bowie (which is fine), but there have been a few which have really caught my attention

St. Vincent gave the perfect tweet:


From an A.V. Club commenter:

He kept a lot of weird kids alive through a lot of shitty years.

From Lorde, who met Bowie when she was 16:

“I realized everything I’d ever done, or would do from then on, would be done like maybe he was watching,” she wrote. “I realized I was proud of my spiky strangeness because he had been proud of his. And I know I’m never going to stop learning dances, brand new dances. It’s not going to change, how we feel about him. For the rest of our lives, we’ll always be crashing in that same car. Thank you, David Bowie.”

From The Guardian:

“Almost from the start, Bowie’s career raised questions to which a definitive answer seemed elusive. If he was, as he loudly claimed in 1971, gay, then what was the deal with the very visible wife and the son he’d just written a touching little song about? If he was, as he dramatically announced from the stage of the Hammersmith Odeon in July 1973, retiring – either from music, or from live performance, or from the character of Ziggy Stardust – then what was he doing back onstage in London three months later, belting out The Jean Genie in full Ziggy drag? How does anyone in the state Bowie was, by all accounts, in by 1975 – ravaged by cocaine to the point where he seemed to have genuinely gone insane; paranoid and hallucinating – make an album like Station to Station: not a messily compelling document of a mind unravelling, like the solo albums of his great idol Syd Barrett, but a work of precision and focus and exquisitely controlled power that’s arguably his best? In a world of cameraphones and social media, how could anyone as famous as Bowie disappear from public view as completely as he seemed to between 2008 and 2013: moreover, how could anyone as famous as Bowie record a comeback album in the middle of Manhattan without anyone noticing or leaking details to the media? How does anyone stage-manage their own death as dramatically as Bowie appears to have done: releasing their most acclaimed album in decades, filled with strange, enigmatic songs whose meaning suddenly became apparent when their author dies two days later?”

And from Slate:

‘Under Pressure’ Is a Reminder That David Bowie Could Also Be Wonderfully, Powerfully Human

There’s a lot of snark around these days, but, just so we don’t forget, this is how you write about great music.

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