1. Mirror Contract
The photograph shows a room in a flat in West Berlin—155 Hauptstraße, Schöneberg. David Bowie lies on his side on his bed. Thirty years old, his face is that of a beautiful sleeping child.
This is Bowie-in-Berlin, in a stolen moment (or was it? was the photograph staged for possible use? I don’t know who took it). A man gone from the world, hiding in his bedroom. The headboard is a wooden sunrise. All that’s on the yellow (not electric blue) wall is an enormous canvas: Bowie’s portrait of the Japanese writer Yukio Mishima.
One of Bowie’s favorite paintings, arguably his best, it’s a severe crop of Mishima’s head, which seems carved from stone. The almond eyes have a penetrating sadness.
Well before he first toured the country in spring 1973, Bowie had immersed in Japan (he always did the research). He loved its art, photography (Sukita), fashion (Yamamoto), food, music (Toru Takemitsu), kabuki (Bando), film (Oshima), temples, and likely more than a few of its citizens. Perhaps above all, the work of Mishima, whose last books were being translated into English in the early Seventies.
For Bowie, Mishima was the extremity of Japan’s artistic culture. He stands most openly in Bowie’s “Berlin” songs. A tributary of “Heroes” is The Sailor Who Fell From Grace With the Sea, of whose sailor Mishima wrote “he was perfectly aware he would leave [his lover] in a day yet he was ready to happily die for her sake” (and recall that “sailor” was Bowie’s internet handle in the Nineties).
The sailor washes up in Lodger (“Red Sails”), an album with a Mishima counterpoint in “Fantastic Voyage” (Mishima, of the samurai: “there is dignity in serenity, there is dignity in clenched teeth and flashing eyes”; Bowie: “dignity is valuable, but our lives are valuable, too”), Mishima’s decayed angel in “Look Back in Anger” and reference in “Yassassin” (“Look at us—sun and steel“). “Because You’re Young” and “Teenage Wildlife” tick to the quickened pulse of Mishima novels like Thieves, with their passionate, beautiful young suicides.
Consider Mishima’s description of a samurai preparing for seppuku (“the sense of beauty was always connected with death…the samurai was requested to make up his face by powder or lipstick, in order to keep his face beautiful after suffering death“) and Bowie’s makeup for the last Ziggy Stardust shows.
At dinner with Arcade Fire in New York in 2005, Bowie talked of his love of Mishima’s work and said he’d been in Tokyo when Mishima died. Like many Bowie stories, it was a perfect synchrony and quite untrue: on 25 November 1970, Bowie was likely sitting at his piano in Beckenham while Mishima stabbed himself in an army commander’s office in Tokyo.
2. Entrance to the Stage
I had a desire to turn myself into my own opposite, even in real life…I cannot be certain whether I actually created my own opposite or merely an aspect of myself which until then had been ignored.
Mishima, The Sound of Waves.
Like David Bowie, Yukio Mishima is a stage name. He was born Kimitake Hiraoka in 1925, to a family of samurai heritage. Fifty days after his birth, his formidable grandmother essentially kidnapped him, having his cradle moved into her sickroom. He lived in her house, rarely seeing his parents or siblings, until he was 12 years old.
Allowed dolls and origami for playthings, his few friends (all girls) severely vetted, he was left alone to dream and read fairy tales. When his grandmother determined she finally was going to die, she returned him to his parents. His siblings saw him as a lodger; his father considered the would-be decadent scribbler a disgrace.
During World War II, Mishima was in college, waiting to be called up for the last battles of the Pacific. “A genius destined for death,” he described his 20-year-old self. “It was a rare time when my personal nihilism and the nihilism of the age perfectly corresponded.” His memory of 1945, the year of the atom bomb and surrender, was of merciless sunlight. “The summer sunlight poured down prodigally on all creation alike. The war ended yet the deep green weeds were lit exactly as before.” A sympathetic army recruiter rejected him (Mishima had played up a recent bout of tuberculosis), so Mishima never fought. The world gained a writer who wished he’d died a soldier.
What people regarded as a pose on my part was actually an expression of my need to assert my own true nature. And it was precisely what people regarded as my true self which was masquerade.
Mishima, Confessions of a Mask.
By the Fifties, he was Japan’s best-selling author. His books, full of death, scandal and glamour, were so popular that slang for an adulterous woman, yoromeki fujin (“lady misstep”), came from his novel A Misstepping of Virtue. He wrote and directed plays; he wrote, directed and/or starred in dozens of films (he liked playing toughs and gangsters) and once sang a film’s theme despite being tone deaf. “How wonderful to be a star!” he once said while sprawled upon a sofa backstage at one of his plays.
“In whatever little compartment—as a clown (which he liked to be), as an actor, as a gangster, as an aristocrat—every little thing he tried be, he also resisted,” the writer Nobuko Albery said. To the actress Hideko Muramatsu, Mishima said human beings are made of opposite halves: love and cruelty, tenderness and hatred. “Try to express both sides at the same time. Then the personality you create will be more profoundly expressed.”
He was a gay man who married a woman and had two children; a Europe-loving aesthete obsessed with restoring traditional Japanese culture, the sovereignty of the emperor and the Japanese army (now with nuclear weapons). His dogged, precise work schedule was that of a banker while he dressed, as his biographer John Nathan described, in a “blend of Hollywood cool and Roman drugstore cowboy,” favoring shades, loud sport shirts, black pegged trousers, gold chains. (Nathan, who went to discos with Mishima in the Sixties, said “it was like watching a studied imitation of a dancer; he always looked horrifyingly sober“). Within his Western-style house with a statue of Apollo in its garden (“my despicable symbol of the rational“), Mishima wrote on a metal desk in a small, spartan room. At parties, he’d roll on his back to do impressions of a dog treeing a cat, would imitate Marlon Brando in One-Eyed Jacks. Then he’d dismiss everyone before midnight so he could get in his writing hours.
Frail in build after the hothouse years of his childhood, driven by his shame of failing the draft (and being kidded in gay clubs about being so skinny), Mishima began exercising and weight-training until he had the body of a lean Charles Atlas. He seemed to have custom-designed each muscle as he had each room of his house.
In Sun and Steel, he wrote that he began life as nothing but mind. “I was to learn the language of the flesh, much as one might learn a foreign language.” Once he’d learned it, he knew he would lose it—the idea of his body’s inevitable decay appalled him. “I was the final heir to the tradition of Japanese beauty.”
By the mid-Sixties, he’d set upon two goals: he would write his masterpiece and would die by ritual suicide. At first he thought these irreconcilable, but found a means to entwine them and bring them to fruition.
While writing Spring Snow, the first of his quartet of novels The Sea of Fertility, he befriended a group of nationalist students, whom he’d incorporate into his next book, Runaway Horses. He joined the Army Self-Defense Force (roughly Japan’s equivalent to the National Guard), going to boot camp at age 42. As he wrote The Temple of Dawn he created a civilian counterpart to the ASDF—-a private 90-man army called the Shield Society (he wrote their theme song). He debated left-wing students, starred as a terrorist in a film, hoped a leftist uprising would cause his civilian army to be activated.
“He was playing war, which had a special excitement for him because he hadn’t been allowed to do so as a child,” his brother later said.
On the 25th of November 1970, Mishima and four Shield Society disciples went to the ASDF headquarters and held the commander hostage. Mishima stood on the balcony to orate to the soldiers. He called on them to overthrow the Japanese government and restore the emperor; they mostly jeered him: “Stop trying to be a hero!” “We can’t act in common with fellows like you!” He’d contacted the media to be sure the news cameras were there. Returning to the commander’s office, he knelt and drove a foot-long dagger into his left side, then drew it across his abdomen. His disciple fumbled the killing blow, failing twice to decapitate him as Mishima shook in pain and gushed blood and intestines. Another would-be hero finished the job.
That morning, Mishima had left home wearing his dress uniform. On his desk was the finished manuscript of the last book of his quartet, The Decay of the Angel, and a note: “Human life is limited, but I want to live forever.”
3. Sightseer’s Misfortune
Then we saw
Trapped between the rocks
Blocking the waterfall
The first lines of “Heat,” the last song on Bowie’s The Next Day (the last next day), refer to a scene early in Mishima’s Spring Snow.
Mishima’s quartet is the life of Japanese man, Shigekuni Honda, and his friend, Kiyoaki Matsugae, who dies each novel to be reincarnated in the following book. Kiyoaki, dead of heartbreak and illness in 1914, is reborn as Isao, a nationalist fanatic who commits seppuku in 1931. Isao is reborn as Ying Chan, a Thai princess who barely seems to exist in the world until she no longer does (snake bite, 1952). She reincarnates as Tōru, an arrogant shipping clerk whom an aged Honda adopts in 1970.
Honda—rational, dull, slave to routine, dedicated worker, faithful husband in a loveless marriage, reader, voyeur, survivor—is the control. The experiment is his reincarnated friend, whose various lives embody passion, beauty, bravery, depravity, improvisation, a will for death. Honda “was certain he had played a part in the crystallization of Kiyoaki and Isao’s transparent lives…he was a kind of harbor and not a ship,” (The Temple of Dawn). The quartet is Mishima’s life of opposites split into two beings—one continual, one reoccurring, each needing the other.
Spring Snow begins with Honda and Kiyoaki as teenagers on the latter’s family estate in 1912. They’re part of an entourage walking to a waterfall on a hill overlooking the manor. “It’s a beautiful day,” Honda says. “In all our lives, we may not have many like this.”
Though the hill has been sculpted to provide a gently-flowing waterfall, water is being diverted midway up the slope. A black dog that “probably had been mortally sick or wounded when it came to the stream to drink, had fallen in. The force of the current had wedged the corpse into the cleft of rocks at the top of the falls…[Honda] felt oppressed by the sight of the dog hanging dead in the falls under a bright sky only faintly flecked with cloud.” The party gives the dog a burial, an abbess leads the funeral blessing.
A water-washed corpse of an aimless dog spoils the careful designs of human beings. It harbingers Kiyoaki’s death, his subsequent deaths, and the slow corruption of his various reincarnations; it foretells the Kiyoaki estate being bombed to pieces by American planes during the war and Honda’s sad withering. It is time and doom.
Bowie uses “we”: his perspective both Honda and Kiyoaki, Mishima’s halves in a single eye. But the oppressive mood of “Heat” is far from that of Spring Snow, whose setting is a jewel of a prewar Japanese world. “Heat” is more a blasted landscape.
Referencing a Mishima novel was in keeping with how Bowie wrote much of The Next Day. His circle reduced, since the mid-2000s, to his family and a few friends, Bowie seems to have retreated into books (in a way, he lived Mishima’s childhood as an older man). So lines from Nabokov and Evelyn Waugh turn up in “I’d Rather Be High,” Carole Anne Duffy and Svetlana Alliluyeva in “How Does the Grass Grow?,” Robert Palmer (writer, not singer) in “The Next Day,” Mishima here.
It was an older type of songwriting—he’d written many of his first album’s songs by taking stories and characters from Alan Sillitoe and Keith Waterhouse. But it’s done far more obliquely and disjointedly here: a traceable reference links to an untraceable one, forming a lattice of broken images. The dog in the waterfall is the first square on the board; the rest of Bowie’s words are a series of jumps.
4. Hailstones From a Clear Sky
So in the first verse of “Heat,” after the Mishima lines, come some purgatorial images—songs of dust, the night always falling. Then “the peacock in the snow,” suggesting a shot from Fellini’s Amarcord (a film about children growing up in a surreal Fascist Italy):
Which in turn, as the artist Tanja Stark noted, has echoes in one of Jimmy King’s photo shoots of Bowie, from winter 2013:
And jump-cut to Scott Walker’s “Jolson and Jones,” from 2006’s The Drift:
Gardens with fountains where peacocks had strutted
Where dead children were born
It’s not that Bowie set out a map and said, “all right, x will take you to y, from which you can find z.” He’d always worked at angles, in shadows, never spelling things out (even to himself), making the listener do the work. It was a holdover from his glam rock years. The crowd had made Ziggy Stardust; here, the crowd (no longer a crowd, but a group of solitudes listening to his songs on computers or phones) decides which path a song like “Heat” takes.
There was a parallel in the work of an old influence. The later songs of Scott Walker are full of lines with little to tether them but their being sung by the same keening voice. Walker wrote bloody histories via arcane words quarried from the OED or from art movies, set to apocalyptic music.
5. Calamity To Jane Is Calamity To John
The exile thing is within yourself.
This blog’s gone at length into the connections between Scott Walker and David Bowie (see “Nite Flights” and “The Motel”; pack a lunch). For Walker, Bowie was of interest while he was making his 1978 album Nite Flights. For Bowie, Walker was nearly a lifelong influence.
A pop star in the Sixties, Walker spent much of his artistic life on the margins, while Bowie remained a genial mainstream presence (with some exceptions) whose secret ambitions were to be something like Scott Walker. In 1997, Bowie exhibited a painting titled The Walker Brothers Triptych. The three “brothers” were x-rays of himself, bracketed by then-collaborator Reeves Gabrels and the artist Tony Oursler. It’s a remnant of his most Walker-esque avant-garde period, the years of Outside and Modern Painters.
Then a funny thing happened in the 21st Century—the two swapped places. Bowie grew furtive, was out of the public eye; his life became speculation. Walker was, by his standards, a public figure.
Walker cut a song for a Pierce Brosnan Bond film, soundtracked Leos Carax’s Pola X, curated the Meltdown Festival in 2000, produced Pulp’s final album We Love Life, recorded a song with Bat For Lashes. He participated in a documentary about himself which he said he’s never watched, and let cameras into the studio as he recorded The Drift. Thanks to a sympathetic generation of music journalists, there are more interviews promoting The Drift and Bish Bosch than there are for the whole of his solo career pre-2006. He patiently explained what his intentions were, how the albums were recorded, how he was using his voice.
He’s become, at 73, something of a cultural institution. While a few older fans may still harass him on the tube because “the stuff you’re doing now I fucking hate,” he’s mostly escaped at last being the glamorous Mod London Scott. Sporting skinny jeans and caps like a Williamsburg grandfather, he makes inscrutable albums that critics generally like.
Signing with 4AD in the 2000s, Walker was free to do whatever he wanted (if anything, 4AD pushed for “weird”). His late albums are as much a brand identity as the Scott albums of the Sixties. Their covers have muted colors, with photographs that could be lunar surfaces or microbe slides; tracks have titles like “Epizootics!” and “Psoriatic” and “Herod 2014.” You come to expect the sudden shifts in dynamics, esoteric percussion as primary rhythmic pulse, keening lead vocals that follow melodic lines unsupported by the backing music (or noises), abstract violence as organizing principle.
The Drift is a slasher film as art rock record. Listening to each track, you wait for the blow to strike—Satanic Donald Duck voice, horse-massacre horn, winter armies, massed strings summoned like ringwraiths. Walker’s voice is the only constant in a sequence of rapid set changes, his plaintive, haunted phrasings fall over telltale-heartbeat drums or gales of atonal strings. The Drift is the culmination of what he’d been moving towards since “The Electrician.” His masterpiece, it’s a brutalizing album to endure from start to finish.
Bish Bosch, from 2012, works along the same lines, but there’s a growing sense of absurdity, as if the Walker project has reached its red giant phase (the title, Walker said, meant in part “job done, sorted”). Songs are longer, more ridiculous, goofier—the dog barks, fart and piss noises in “Corps de Blah” or how Walker’s ode to the fall of the Ceaucescus, “The Day the ‘Conducator’ Died,” has a lyric of multiple-choice personality test questions and ends with a snatch of “Jingle Bells.” At the same time, there’s a paring down—fewer strings, diminished basslines. “We just need to find silence and stillness to experience it,” Walker said.
Its gonzo peak is the 21-minute “SDSS14+13B (Zercon, A Flagpole Sitter),” an oblique history of a 5th Century jester dwarf, stuck on a pole, who becomes a brown dwarf star. Much of the lyric is a historical catalog of insults, from Catullan digs like “for gross Gauls, who won’t leave our sheep alone” to Don Rickles jibes like “does your face hurt? Cause it’s killing me.” What best survives the long centuries? The put-down jokes.
After decades of frustration, Walker had found a way of working that suited him. Keeping to a tight budget (he had to record all the strings in a single day, would have to wait months for a few days of studio time to open up), he would use a small group of studio pros who knew what to expect from him, and could process his instructions quickly. Machetes as percussion? Electroshock guitar? Crickets? It got done.
His albums sold enough to justify their production costs; he got enough press. He was as free as any artist can be in the 2010s. So he could sit at home and write his dark Saturday-crossword-clue lyrics (there’s a similarity to Mishima’s prose: Mishima “knew the exact word for everything,” friends recalled, and loved archaic and obscure terms, making his books difficult to translate). Then he’d map out chords on his keyboard, get much of the song set in his head, go to the studio and have his musicians give the rest of it to him.
A workable aesthetic. One that Bowie followed as if using a blueprint when making Blackstar.
6. The First Step Toward Salvation
Don’t confuse the stage with the dressing room.
Mishima, Forbidden Colors.
I think authors should be sought in the books they put their names to, not in the physical person who is writing or in his or her private life. Outside the texts and their expressive techniques, there is only idle gossip.
Elena Ferrante, 2015.
As I write this, on a nearby table is Mick Rock’s photo collection of Bowie’s Ziggy Stardust period. The book is the size of a small tombstone. It’s a public life in glam stills, whether Bowie applying makeup backstage, on a train somewhere, or out on stage. A record of Bowie assembling a grand personality, as if building a temple, then walking around in it.
The critic Donald Richie once said of his friend Mishima: “He knew one of the great and best-kept secrets of being alive is that if you behave the way you want to be, you will become it. You become who you are by practicing it and, little by little, you will turn into who you want to be.”
Bowie’s Ziggy Stardust period was him rigging himself into being a star. For the rest of his life, he’d tear down the stage dressing and do it again, and again. It wasn’t the way of Mishima, who’d spent the whole of his life building to his suicidal climax. His books, films, plays, interviews, actions feel aligned in a single rising movement, a unified performance, all his halves fusing to form the man standing on the balcony in 1970. When he killed himself, the Japanese were stunned; he had acted. “Mishima has gone and actually done what these rightists only talk about,” a Japanese policeman told journalists. “And it is not only the rightists who are stirred. Here in Japan, there must be thousands of frustrated people. They have no outlet for their pent‐up feelings.”
Mishima doing karate, practicing kendo, flying in subsonic aircraft, plotting revolutions, gutting himself, making sure the camera caught his right profile. For Bowie, he existed as image: heat and light, sun and steel. By contrast, there was Scott Walker, hiding in London studios, having drummers thwack sides of meat. Existing, as he had since the early Walker Brothers singles, as voice, as form without being, artist without biography. “I’m just trying to be a person singing without any personality or anything else particularly,” Walker said.
‘A rare outcry
makes you lead
a larger life’
Scott Walker, “Cossacks Are”
In 1982, in the months before he made Let’s Dance, Bowie starred in Merry Christmas Mr. Lawrence, directed by Nagisa Oshima. Oshima had been Mishima’s leftist political rival in the Sixties. Bowie said he once saw a TV interview in which the two fervently argued with each other for what boiled down to the same ideals. “I qualify that by saying that the Japanese left and right are quite different from Western ideas of left and right, where it is estranged left and estranged right,” Bowie said in 1983. “In Japan both would have probably have roots in the same source than they might have over here. They both say, let’s stay Japanese. And when you’ve got that, you’re almost cancelling out everything else!”
In Mr. Lawrence, Oshima cast the musician Ryuichi Sakamoto as Captain Yonoi, head of a World War II prison camp for British soldiers. Sakamoto essentially plays Mishima (call the movie a battle for aesthetic supremacy between Bowie and Mishima, a war fought via actors). Yonoi is a pop star out of time, obsessed with his own honor and Bowie’s character, the prisoner of war Jack Celliers; he’s consumed by Celliers’ blond purity, his beauty, his refusal to obey. Both characters are driven by past shames: Celliers’ betrayal of his younger brother, Yonoi failing to die honorably after the failure of a coup he participated in.
At the film’s climax, to prevent the POW commander from being executed, Celliers breaks ranks and walks up to Yonoi, kissing him on both cheeks. Yonoi, outraged and in love, can’t act. He collapses in disgrace. Celliers is killed by being buried alive; Yonoi is executed at the end of the war, perhaps with the lock of hair he’d cut from Celliers still in his pocket.
7. The False Account and the True
With its austere F-sharp major key, “Heat” seems like an outpost when compared to the rest of its loud, compressed album. It seems to play the curtain-closing role that “Bring Me the Disco King” did on Reality.
It’s a mix of Walker tropes. The usual “Electrician” moods, the Climate of Hunter fretless bass (Gail Ann Dorsey, playing an instrument she was unfamiliar with), the blurred instrumentation and semitonal shifts in melody and chords. The latter’s been a Walker trait since the Sixties—his hope of making “new chords” by binding contrasting tones together, strings hovering between tones.
The chord structure of “Heat” is sparse: a long stay on the home F# chord, then moving to the IV chord (B major, “songs of dust”) to a D major refrain (“I tell myself”); it’s a shift between E and F# for the coda (“I am a seer..”). But the F# chord shades, sometimes every two bars, to an alteration with a flattened fifth (so where an F# chord is F#-A#-C#, here it’s F#-A#-C). It creates tension throughout the track; it’s as if a landscape is being shrouded in mist, then uncovered.
Bowie sings a handful of notes, making pawn’s moves (rising only by second or third intervals). He does this often on The Next Day, hunkering down on a few notes instead of writing his usual octave-spanning lines, as if unwilling to stray out of his confines. A movement repeats like Morse code: a two-note rise for each phrase, F# to G# (“Mi-shima’s dog,” “tell my-self,” “love is theft“)). He only moves to a third note to close a section, whether circularly (“blocking the water-fall” is F#-G#-F#) or ambiguously (“pea-cock in the snow” ends on an A note).
The arrangement clouds things further. The rhythm is a brusque acoustic guitar (Bowie?), the drums embellish (cymbals hiss on the chord changes), Dorsey’s bass is a softly persistent querying voice. Despite Bowie’s dominant position in the mix, the background—meshes of keyboards that hold on a wavering chord, guitars making solitary gestures, vocal loops, wary strings that finally burst into flight in the coda—is as much central to the track.
And while Walker is there in “Heat,” it’s a frozen conception of him. This is still the Scott of “It’s Raining Today” and “Nite Flights,” not the man howling and laughing on his latter records. The 21st Century’s Walker doesn’t exist here. Much of The Next Day is Bowie assessing his past, “sampling” it, playing cut-up with it. He does the same to Walker here—“Heat” feels like the end of a long admiration. A man finally packing things up, starting to look beyond the horizon.
8. Problems Spiritual and Financial
All art is like the evening glow. It’s the burnt offering of all the best things of an era. Even the clearest logic that has long thrived in daylight is completely destroyed by the meaningless lavish explosion of color in the evening sky, even history, apparently destined to endure forever, is abruptly made aware of its own end. Beauty stands before everyone; it renders human endeavor completely futile…The present moment is all; the air is filled with a poison of color. What’s beginning? Nothing. Everything is ending.
Mishima, The Temple of Dawn.
Of “Heat,” Tony Visconti said “the lyrics are so bleak that I asked David what he was talking about. ‘Oh, it’s not about me,’ he said. None of these songs are. He’s an observer…He’s singing in his handsomest voice, a very deep, very sonorous voice. I can’t give too much away about it because honestly, I don’t know exactly what it’s about, if it’s about being in a real prison or being imprisoned in your mind.”
“Tragic, Nerve, Mystification” are the last words in the list that Bowie gave the writer Rick Moody, in what would be his only public statement on The Next Day. The 42 words, in order, seem to have a structure: each three-word set corresponds to the equivalent song on the LP sequence. If this is “Heat” in miniature, the words fit. A tragic loss of nerve. Making an end by fading into the mystic.
The violence throughout The Next Day—dying men shoved in trees, high school shooters, traitors dangling from ropes—comes to a rest in “Heat,” which is a world bled free of killing as much as anything else. If The Next Day is a war album, the sad tale of how the 21st Century became more like the religious-war-plagued 16th Century than the world of Major Tom and the Saviour Machine, “Heat” is its tattered epilogue, its cease-fire.
It has one of Bowie’s winking self-epitaphs: I am a seer, and I am a liar. A pun: a see-er, a seer. A man who only sees what’s right before him, or a prophet. And a liar, which he always claimed he was.
My father ran the prison. I’m not guilty, but you can’t believe a word I say, mind. I never wanted to be a rock star, he said in 1974. But I was there, that’s what happened.
“It became a personal song in the sense of Self. Not ego-self or knowable self but in the way of whatever the Self is,” Walker once said of his song “Cue.” Who is singing “Heat”?
If much of The Next Day is a romp with his touring band, getting the gang back together for one last caper, “Heat” points to the end of Bowie’s recording life. You could call it a dock, from which he went off on a last trip.
Or a pier, which, as James Joyce once wrote, is a disappointed bridge.
9. Grand Finale
You hear all these sounds that have just emerged since we started talking about the supernatural? That’s the sound of death … that’s what it sounds like when you’re dead … doors opening.
Bowie, “Bring Me the Disco King” video, 2003.
In 2014, Scott Walker recorded with a band, Sunn O))). The album, Soused, has the usual droning guitars and obscure lyrics but there’s something fresh in it. It’s an artist who’s been locked in his mind having to balance himself against a set of younger players (all members of Sunn O))) were born after the Scott albums were released). Though it’s a drone record, there’s a lightness of tone, a looseness of structure, that other Late Scott albums lack. It could be a one-off; it could be his future.
The same year, David Bowie was at a New York jazz club, sizing up a combo of musicians a generation or two younger than him. Donny McCaslin, after Bowie had hired his group for his new album, began exploring Bowie’s back catalog (he only knew the Eighties hits). But Bowie warned him off. “That’s old stuff. I’m into different things now.”
In the autumn of 1970, a few months before his suicide, Yukio Mishima mounts an exhibition of himself in a department store. It ranges from photographs of his stolen childhood to a recent series of homoerotic shots in which he’s posed as St. Sebastian, pierced by arrows.
In 2008, Scott Walker helps create Drifting and Tilting at the Barbican, in which his post-Eighties songs are performed live for the first time. He doesn’t sing them, nor does he appear on stage. Instead singers inspired by him (Jarvis Cocker, Damon Albarn) perform his songs. Walker is at the sound desk, watching his music escape him. He notes that most of the audience is well under 50.
It’s 2015. David Bowie Is, a museum exhibition of David Bowie’s life, moves from Paris to Melbourne to the Netherlands. Among the works on display is the painting of Yukio Mishima that once hung on a West Berlin wall. Bowie’s last public appearance is at the opening night of his musical; he sits and watches actors sing his songs to him.
Clear the waterfall, let the stream go where it will.
Drawing our brine cart along, how briefly we live in this sad world, how fleetingly!
Mishima, Runaway Horses.
Recorded: (backing tracks) May 2011, The Magic Shop, Soho, NYC; (overdubs) spring-fall 2012, Magic Shop, Human Worldwide, NYC. Released: 8 March 2013, The Next Day.
Credits: (Mishima) John Nathan, Mishima-A Biography (1974); Naoki Inose, Persona: A Biography of Yukio Mishima (2013); The Strange Case of Yukio Mishima (Arena, 1985); Mishima: His Life and Literature; Philip Shabecof’s “You’ve Heard of Yukio Mishima…”from the NYT, 2 August 1970, and subsequent NYT articles after Mishima’s suicide. Of Mishima’s novels, essential works include: Confessions of a Mask (1949), Thirst For Love (1950), Forbidden Colors (1951), The Sailor Who Fell From Grace With the Sea (1963) and his last quartet: Spring Snow (1968), Runaway Horses (1969), The Temple of Dawn (1970) and The Decay of the Angel (posthumously p., 1971). The essay Sun and Steel (1968) is critical for a sense of Mishima’s philosophy. Paul Schrader’s Mishima: A Life in Four Chapters (1985), a fusion of Mishima’s biography and fiction, is worth watching, as is Merry Christmas Mr. Lawrence, of course! (Walker) In addition to sources listed in the previous entries (esp. No Regrets and Anthony Reynolds’ biography), I’m indebted to articles and broadcasts, 1966-2016, that I’ve listed here. (Walker, DB and “Heat”) ‘Crayon to Crayon,’ as always. Tanja Stark’s “Confronting Bowie’s Mysterious Corpses,” collected in Exploring David Bowie, is a compelling analysis of mortality in Bowie’s work.
For Kevin Smith, 1972-2016. Tell me all about it on the next bardo, Kev. For Rahawa, defeater of mountains.
Photos inc.: 1. DB, 1977 (unknown photog.); Johannes Eisele, “David Bowie Is… exhibit, Martin-Gropius-Bau museum in Berlin,” 2014; 3. Jeff Wall, After ‘Spring Snow’, by Yukio Mishima, chapter 34 (2000-2005); 4: King, 2013; Amarcord (Fellini, 1973). All DB shots: King, 2013; 8: Mishima, 1968. 9: Bowie: self-portrait “D Head V,” ca. 1995; “Walker Brothers Triptych” 1996,”Head of Mishima” 1977.