I should clarify that the title is a paraphrase, since just because the song to which he alludes is one that few know: in effect, "John and Elvis Are Dead" and would be distributed as a single exclusively digital in 2005, which, in this time of technological transition, would prevent their inclusion in the lists of popularity. What is more, for then its author and performer, George Michael, had left behind the great popularity: its international success more recently, "Fastlove", he was by fulfilling a decade, and while the british public had been reasonably faithful to you, allowing you to place your last album, Patience (2004), in the first place of their list, and four of its singles in the Top 20, what is certain is that the time of his great victories ca me to an end. In the eleven years left of life would not bring out an album of unreleased material and will only be distributed to eight new songs isolated, none of which reached the Top 10 in any country and only four of which would be inserted in the Top 20 of the british. Death to creative wore to advertise anything from the start of his solo career, when he signed a autobiography too early —Bare (1991), translated as Bare into English, and published some absurd 28 years— in which, referring to his musical production of the ten preceding years, would have to declare "to What was then and who I am now… … one of the two must be an imposter!".
over 35 years of career, George Michael appeared in front of the world under different rigs: those of an adolescent working-class rebellious to the point of anarchy (in the first album of Wham!, the duet that he formed with Andrew Ridgeley in 1981), a heartthrob pop preproducido to feed the lubricity of teenage girls (his solo album debut, Faith) or less (in the second stage of Wham!) sophisticated, a singer-songwriter from face anonymous and spiritual personality (with Listen Without Prejudice), of a mature man devastated by the loss and avoided in the marijuana (with Older), a crooner in the old-fashioned way (with Songs from the Last Century but also with his latest concert tour, Symphonica), the of a gay activist politicized and provocative (with Patience and, in particular, at that stage, with the videos of the songs "Outside" and "Shoot the Dog", challenges enshrined from an identity orondamente transgressive). Th e many changes, the fluidity of sexual identities, political and aesthetic deployed, would be sufficient to fellowshipping him with David Bowie, another of the greats of popular music british dead this year, if not outside because, beyond the transformations
in the image and in speech —or precisely because of them—, could not be more different in essence.
If something always knew Bowie is an artist is, by definition, an impostor: as the dj of the eponymous song of her album the Lodger, was aware at every stage of be what he played ("I am the DJ, I am what I play"), tested the identity of Major Tom or Ziggy Stardust, or the
Thin Duke White, or the berlin adopted with low morals or popstar, plethoric, or of a metalhead wearing a suit or even a legend dying with the clarity of the actor that represents a character of his own creation, the playwright who turns to fiction to question the reality but not —impossible undertaking— to access the truth. Very different would be that Michael less worship and less intelectualizado —not less talented— that would look at his creative work a way if not to truth, yes to an I intimate that you would resolve once and for all its internal contradictions. Explorers both of the own identity and with it of the sexual identities, cultural, social, political, Bo wie would bet on the reason and for the questions, Michael by emotion and responses. The first, the renunciation of the hope inherent in the idea of the lighting, you would die quiet and productive, with a personal life stable and respect to his legacy creative intact; the second, determined to find himself, it would fail in the attempt, would die without sustained production in more than a decade, overshadowed his legacy by the media scandal and your everyday life by addiction.
do Not think, however, that I apply this to David Bowie as an artist more important than George Michael or as a human being more accomplished: one from the artifice intelectualizante and the other from the sincerity of emotional showed us the unfathomable of almost all, the impossibility of knowing who we are and where we are. If jesus Christ was to save us from ourselves, how is it possible that the peace and love and George and David are dead?
No comments:
Post a Comment