DAVID BOWIE
The decision for the present dedication was made easily and quickly on that black Monday of January this year, but without ease. After all, David Bowie wouldn't like a Sonik that would reproduce the same ones over and over again, that is, the stories about the Berlin Trilogy, Ziggy, the Slim White Duke and the other personas of the great Briton. You know all this, you can find it easily on the internet, you have heard it recently to the point of saturation.
We thus let the discography retell what parts of these stories made sense as a background to Bowie's work in each period, which we did satisfactorily, knowing firsthand how much music fans love to read about records. And we focused the rest of the issue on important but often under-lit aspects of the Duke's varied career, from swingin' 1960s London to 2016's Blackstar.
We thus examined his relationship with the public of our country, from the years of the "Pop Club" of Yannis Petridis to this year's historic front page of the Journal of Editors, we placed his contribution in the general spirit of androgyny of the 1970s, we looked carefully at the his fashion in every era, we remembered the boys and girls in his life but also the guitarists who stood by his side, we put down his lyricism, but also the various stages he went through philosophically, sometimes leading to ugly, dark statements we anthologized his quiet, parallel film career and we looked at who he covered, who covered him, and which hip-hop stars sampled him.
We invested in a few words in texts that would not simply convey information, but would deposit something real, intertwined with the perspective of our partners who sign them. What is generally lacking in cultural reporting today, that is, but also what we aspire to do in every Sonik.
