As I drove back from a work trip to pick up the teenager from a college prep class, I found the beginning of David Bowie’s ‘Moonage Daydream’ flowing through my head. This flow was quickly transferred from there to the car stereo via my iphone, and soon I was lost in a collection of his greatest (as dictated by me) material.
I grew up with David Bowie. His poster stared out from under my Dad’s desk in the corner of our living room, with it’s Jetsons-cool white pedastal TV and funky yellow, brown and cream beanbags (no sofa, no chair, no convention). My Dad would get his special stylus out, take ‘Ziggy Stardust…’ from it’s plastic-protected sleeve and soon the flat would be filled with those songs. Or sometimes ‘Low.’ Or sometimes ‘Heroes.’ Yes, Bowie was a presence in my childhood, make no mistake.
I would get out the ‘Aladdin Sane’ album when I was 7 or 8 and stare at the image on the front. That face. That hair. That zig-zag. Those colors. And I would look around our living room, with it’s ‘future feel’ (well, it’s ‘not-3-piece-suite-and-big-boring-box-telly’ feel) and my Dad’s desk, his typewriter sitting still, waiting for him to come home, piles of pages massed beside it, and think how wonderful our life was. I would think of my Mum and her constant engagement, her smiles and the lilt of her voice, always with a pep of positivity, and I would think of going to the football with my Dad. I would look around and think of the family friends who dropped in, Pat Doust, a wild and warm and crazy and exciting and engaging dervish of a hippy woman, someone who lived outside the box, and Nuala and Gene from Ireland, open, friendly and unconventional. We had no normal living room furniture, no phone in the house and no big ugly boob tube. We went to the National Film Theatre and the South Bank. We made strong coffee in a little copper colored turkish coffee pot. And we listened to music by the likes of David Bowie, in all his beautiful androgyny, with all his fantastic musical layers, with all his futuristic clairvoyance.
The summer of ‘77 saw a summer heat-wave in London, and I remember staring at the cover of ‘Low’ which had come out that January. An explosion of orange and a robotic profile shot of Bowie. It lured me over and over for the following 32 years. ‘A New Career In A New Town’ for some reason sticks out. And as for ‘Warszawa’, well, when I told Neville Wright in top top secret that my Dad had not done his Persian military service and that if they ever found out he told me they’d take him away (and when Neville Wright then said he’d tell everyone he could find -Neville’s father had left him at birth- in the hope that would happen) I sat and listened to it over and over, tears streaming down my face, convinced my Dad would be taken away. Thinking about it, David Bowie’s Berlin-era music was the first time I ever really experienced the power of the minor key, and the emotions and tears that well crafted minor-key driven music can evoke.
I went to Berlin in 1989 about 6 months before the Wall came down, and the first thing I did was put a tape of ’Low’ and ‘Heroes’ on my walkman and stroll around Tiergarten and Bahnhoff Zoo, I successfully looked for the Neukolln neighborhood and Hansa Studios. I took a hundred black and white photos of anything and everything I saw. I wanted to feel how this music had happened, and in my mind I was doing precisely that.
Later that year I was presented with the chance to interview David Bowie. It was for his Tin Machine project, and I was told I could not ask about any of his solo career material or experiences. I listened to the Tin Machine album over and over again to find pathways which would bring me to legitimate questions about the Berlin-era. I saw parallels in the work. And as I sat in the absurdly long stretch limo, trundling to the interview, I felt I was representing my family, my childhood, my Mum but as much as anything, my Dad. I had not long turned 22 years old. I was proud. It felt like a proper barometer of success.
The interview went exceedingly well. Bowie warmed to my somewhat complicated questions, took them on and gave me what he knew I was after. We discussed Berlin in relation to the present. I felt like an invitee into some world which no other journalist would get access to. He waved the PR off twice telling her we needed more time. And as I packed my things to leave, he said, “You really did your homework, those were great questions.”
I froze for a moment, for the first time that day actually, and replied, “I grew up with your music, I grew up with you in our house, if I hadn’t done my homework it would’ve been wrong.” I forgot to say thank you. And he smiled back, reiterated that he’d enjoyed our conversation, and moved on to his next appointment. I, meanwhile, sat in the back of said-same absurdly long limo and started shaking ever so lightly. There was a phone back there, but my parents didn’t have a phone so I couldn’t call and talk to them about it.
Music defines families. What you heard growing up never leaves you, and if you shared that with your parents, then it resonates even more strongly. I spent a lot of time playing music for the teenager, and now he’ll play me music of his that I end up liking. And I spend a lot of time driving and listening to music with the pre-schooler. We run the table, from Rob Zombie to Underworld, from The Beatles to Madonna. And my favorite moment is always when she asks to hear something and I ask her, in return, to be patient and let me introduce her to something I know she’ll like. Like Leftfield perhaps. Or Massive Attack. Or David Bowie. And when she does like it, when she punches the air to ‘Suffragette City’ or when we bumps and grind in our seats to ‘Rebel Rebel’ a small but very very bright bright light inside me suddenly switches on. And when I catch her face, grinning, making the faces, shaking her head in time to the ‘hot tramp, I love you so’ line, the world is pretty fucking fine.
Sometimes we dance to ‘Blue Danube Waltz’ and sometimes we dance or draw to ‘Dragula’ or ‘Rebel Rebel’ (no stylus necessary, just plug and play today). And I think of the power in it all, the unity of these songs, and the fact that David Bowie has spanned generations of my family. And then I wonder if my Dad listens to him anymore. My Dad, in his apartment by himself, speaking with no-one and buried in stacks of philosophy books. My Dad and all the friends in his head that no-one else will ever meet. My Dad who isn’t remotely like the man who had the yellow, brown and creme beanbags or white pedastal TV anymore…even the typewriter went years ago…but he does still have a special stylus for that stereo. And some vinyl in a corner somewhere.
Maybe I should call him and ask…
