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The day David Bowie read “On the Road”



Brett Morgen in “Moonage Daydream” summarizes the artist’s mystical “beatnik” philosophy, indicating the center of the moment in which the Creator was born, and how he does it, without being fully aware of the miraculous.

Brett Morgan was born in Los Angeles, California, in 1968. His parents wanted to name him Brett, after a famous football player, but they misspelled the name on the registry. Since he was a child he loved cinema. Tell everyone that when he grows up he will be a manager. And when he got older, he became a director. Documentary director. Of a very specific kind. There is a documentary that tries to displayas does a historian indicates what to notice, part of the world – understanding the world in a very broad sense: someone, or something, whether it is a conflict, a history, a place, or a moment -, Then there is the one who extracts the essence of what is documented and turns it into a small museum piece. Morgan does the latter. And he was about to stop doing it.

The year he began collecting material that would become his latest documentaries, The Deep and Luscious Moonage Daydream, so, at times, Linxian —There is darkness and above all a cosmic meaning, and if the way of telling stories embraces chaos, it is because it speaks of how life is nothing more: chaos – which would have been complex David Lynch himself, suffered a heart attack. He was then 49 years old. He spent a week in a coma. Fortunately, he recovered. Daydream Monaj It’s the kind of piece that can’t exist. It condenses David Bowie into becoming, yes, what has always been, a step forward from the idea of ​​what is human, almost a magical formula, someone who is very human, and thus from another planet.

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as before an animated canvas, a huge and changing canvas in which time is not treated like the one Bowie used to refer to – for him it was time from the beginning, the character, and the main character, which allowed him to they change: “I’m obsessed with what he does with us, how one day something can mean nothing, and the next, it’s everything—as he said at one point in the documentary—but just as a way of thinking, he portrays Morgan Boy who was behind Bowie that the world thought she was watching –“The artist doesn’t exist, the audience makes them. There’s no Bob Dylan, there’s no Mick Jagger, I don’t exist either. We’re an unreal thing.”which takes shape in the mind of those who want to believe that we exist, he says, at another time, and what he captures is his essence, and what was before him.

Was that? Someone is on the way. “Art consists not in searching but in searching. It would be heartbreaking for me to find anything. I want to continue searching, he says, in that small group of intertwined and luminous moments, which constitute Daydream Monaj. Bowie settled in cities of all sorts of countries to see how, he said, they influenced his writing. Sometimes it was cities he hated, like Los Angeles, at other times, cities that would allow him to isolate himself – and above all, paint portraits of reclusive people – like West Berlin. “I’m kind of Bitnik Sophie ” As he says, another time. a Bitnik My existence moves in and outwhich becomes short trip himself, realizing that fate is the only thing that does not matter.

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“Read on my way by Jack Kerouac changed my life” Bowie’s voice says At the height, in many ways, from Daydream Monaj. I am fascinated by the way the artist is born, and at the same time, made, and it seems that in that moment – in which Bowie talks about his childhood, how the marriage of his parents was a planet from which he always felt excluded, above all, from the influence of his half-brother – this What happens. It was his way of being in the world not exactly becoming in it, or inhabiting it in as many different ways as possible. got it Bitnik Until the idea of ​​the trip became the same. “The artist must ask himself what he can contribute to the universe”says Bowie, and act accordingly, illuminating a myriad of other outlets.

Kerouac may be said to have held the door through which Bowie had entered, and that Bowie–who had Neal Cassady: this half-brother whom he adored because he was more free than he was at the time, and who left him his first recordings, including one of Coltrane, who launched it all – taking his legendary saying, epilogue on my waywhich – which “I can offer no more than my own perplexity”, immersed himself in it, trying to extract what shone within him, in his own perplexity. “I write because writing allows me to navigate without any danger,” Bowie says, and offers unbeatable advice to anyone who wants to do it: “If you want to know if what you’re doing is OK, and you think you’re safe wherever you are, Walk a short distance, go to the sea, and stop touching your feet. Only then will it be & rdquoor;.

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