There was a theory that one creates a doppelganger and then imbues that with all your faults and guilts and fears and then eventually you destroy him, hopefully destroying all your guilt, fear and paranoia. And I often feel that I was doing that unwittingly, creating an alternative ego that would take on everything that I was insecure about.
Bowie, Arena interview, 1993.
So you are what’s been manipulated in each of these pieces [segues]?
Bowie: Yes, they’re all based on me.
Interview with Moon Zappa, Interview, 1995.
The five characters Bowie invented for Leon, and which he later imported into Outside, allegedly came out of his “orgiastic” improvisation session with the band in March 1994, with Bowie pulling together voices, intentions and actions by reading lines from sheets of paper scattered across a table. (Later interviews established that there had been some preparatory work done before this, with Bowie using his “Verbasizer” (an automatic cut-up lyric generator) computer program, among other things.)
In what seems like the “final” version of Leon, Bowie’s characters crept in and out of three suites: “Leon Takes Us Outside” focused on the detective Nathan Adler and the cipher Leon Blank, while “Enemy Is Fragile” was a revue, with all the characters making appearances. And “I Am With Name” was devoted, in spirit at least, to Ramona A. Stone, the villain of the piece. This was the most disturbing and weird of the suites, featuring two unnerving/irritating “anxiety raps,” where Bowie sounded like a man who believes rats are climbing all over his body, and a SF fascist sequence involving the “Leek Soldiers.” “Bit of a dark spiral with no end,” as old Touchshriek mutters at the close.
What survived of this suite on Outside was a re-recorded, edited version of one of Ramona’s two segues: her appearance on “I Am With Name.” This piece was mixed over the backing track of “I Am With Name” and then segued directly into the latter song. While it was Ramona’s only appearance on the album, she was elsewhere as a specter/object of malice and lust (“Hearts Filthy Lesson,” for example).
There’s a hierarchy of sorts in the Outside crew: Leon is kept the farthest distance away; Baby Grace and Touchshriek, victim and witness, are miniature character studies; Adler and Ramona, an interlocked pair, seem most like twisted self-portraits of Bowie. We’ll get to Adler in a bit, but it’s worth looking at Ramona here.
I won’t go as far as Steele Savage, who wrote that Ramona “represents everything that Bowie hates about himself,”*but there is the sense that Bowie’s using the character of Ramona—a futurist fascist, white supremacist and aesthetic murderer (an art critic who kills!), a vain “high priestess” of art (“I was an artiste!…in a tunnel”), someone so disgusted by aging that she dreams of becoming a machine—in the vein of the ugly parallel self he’d created with the Thin White Duke character. She’s a highbrow version of another reappearing Bowie doppelganger: the emotionally void, possibly homicidal creep of “Running Gun Blues” and some of the Tin Machine songs. As Momus said (in the comments to “I Can’t Read”), “this parallel self is a fink, a fish, an automaton, a killer-zombie, a wife-beater, a conformist, empty and dead inside.”
It’s not that grim, though (I mean, the picture of Ramona alone, with Bowie’s face imposed on a She-Hulk cyborg figure wearing a Mohawk, is pretty barmy). Ramona’s also a parody of Bowie as High Artist and cultural vampire. She first appears in Adler’s diary in “Kreutzburg, Berlin,” 1977, where she’s running a Caucasian Suicide Temple, “vomiting out her doctrine of death-as-eternal-party into the empty vessels of Berlin youth.” She turns up around the millennium in London, Canada, running a “string of body-parts jewelry stores,” and in her song, “I Am With Name,” she seems reduced to a pure automaton, a “good time drone” that, in Adler’s words, says “in the future, everything was up to itself.”
For the Ramona character, Bowie triple-tracked (or more) his voice, altering each with a vocoder and/or other harmonizing synthesizers, possibly Eno’s Eventide H3000. Bowie winds up sounding like a premonition of Andy Serkis’ “Gollum” voice. The only thing that’s not synthetic on “Name,” which is built on sounds generated by, among others, Eno’s Yamaha DX-7, E-mu Procussion Module and Lexicon JamMan, is Mike Garson, whose fleeting bursts of piano are a last bit of humanity left in the matrix.
Recorded ca. May-November 1994, Mountain Studios, Montreux, and Westside Studios, London (with overdubs at Brondesbury Villas Studio, London, January 1995). “Stone”/”I Am With Name” was released on Outside, September 1995.
* See also Angela Bowie’s typically barbed comment to Peter Koenig: “David wants to be a dictator, not God. His fixation is with himself and he strives to ignore his own self-loathing.”
Top: Bowie dresses in battle gear as Ramona.