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Ten years after the death of David Bowie and his “The Final Act” of “Blackstar”, commemorating Bowie does not mean compiling an obituary, but mapping the DNA of everything we define as “relevant” today.
Bowie was not a musician in the academic and stale sense of the term, but rather a chemical reagent applied to mass culture. Bowie taught subsequent generations that identity is the basis of creative, artistic development.
His music was a constant sabotage of the banal. Bowie injected kabuki, plastic soul, Berlin electronica and avant-garde jazz into a system that didn't know it needed it. This is his authority: never having sought consensus, but having shaped it in his own image.
Bowie represents the necessary anomaly: the point where the logic of the system meets the unpredictability of genius. He is absolutely quotable because each of his verses is a visual aphorism. He didn't leave us a discography, he left us an instruction manual on how to survive the future while remaining, perpetually, the individual who looks at the Earth from a sidereal distance.
Bowie does not belong to the history of music; Bowie is the syntax through which music continues to write itself. Ten years later, the void he left is not a silence, but an echo that continues to generate new worlds.
ON NOISE
To celebrate the White Duke, on the anniversary of his birth (8 January 1947) and his death (10 January 2016), the magazine Noise dedicated the cover of the January issue.
The cover story tells us about David Bowie exactly 10 years after his death, an anniversary that falls together with the fiftieth anniversary (exact once again) of an album, “Station To Station”, which represented a series of decisive turning points for its author.
In addition to a 1987 interview by Kurt Loder (taken from the recent volume of Il Saggiatore E L'Artista parla Alla Rockstar, reviewed in the same pages together with two other books dealing with our work), you will find Letizia Bognani's interview with Earl Slick, guitarist among the protagonists of the Station To Station sessions and collaborator of Bowie also later, and a reportage by Stefania Ianne on the new futuristic museum space dedicated to the British artist, the David Bowie Center at the V&A East Storehouse in London.
THE PLAYLIST
This is not a simple anthology of successes, but a genetic mapping of restlessness. We have assembled 50 songs not to celebrate the past, but to document the future that Bowie had already foreseen. From the glam distortions to the synthetic rarefaction of Berlin, each track is a piece of a cultural hegemony that does not accept replications. Listening to this sequence means exposing yourself to a sound radiation that has irreversibly changed the concept of pop: an experience of decoding genius necessary for anyone who doesn't want to limit themselves to consuming music, but wants to inhabit it.
THE BOOK
The biography “David Bowie. Beyond space and time” by Paul Morley, one of the most authoritative biographers of the British music world, journalist for NME, also author of the successful volume “The Age of Bowie”, will be published by Hoepli on Friday 9 January 2026.
The Italian version, edited by Ezio Guaitamacchi, with the translation by Leonardo Follieri, is accompanied by a preface co-written by Manuel Agnelli and Paolo Fresu.
Not a simple biography, but a thematic journey into the universe of an artist who rewrote the rules of music, art and identity. From the seething London of the 60s to experimental Berlin, from the birth of Ziggy Stardust to the mystery of the White Duke, up to the last cosmic farewell of Blackstar: each stage reveals a different Bowie, always one step ahead of his time.
The book is organized into chapters that reflect the artist's dual nature (“Fantasy and Reality,” “Survival and Existence,” “Art and Death,” “East and West,” “Chance and Order,” etc.). Morley outlines the cultural and social landscape in which Bowie moves, recounts his encounters, inspirations, fears, also through extracts of interviews and analyzes of performances and collaborations, building a sort of existential “playlist”, which goes beyond his hits and shows how the artist was able to anticipate the aesthetics and fears of the 21st century.
WEB & SOCIAL
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