Recommendations of the Editorial team
The music videos of David Bowie to his unforgettable singles are a perfect tribute to the rock star, which combined effortlessly groundbreaking visuals with future -oriented music.
“Modern Love” (1983)
Bowie waived metaphors and preferred the joint aspect of the gospel -like single “Modern Love”. The singer appears in an oversized yellow suit with a complete volume. The focus on a performance at Arena level underlines the call-and-response aspect of the single inspired by Little Richard.
“Thursday’s Child” (1999)
In “Thursday’s Child” Bowie thinks about the past. And think about what could have been. He stares into a bathroom mirror while performing everyday activities. And seems to see his younger self and a younger version of his wife.
“The Hearts Filthy Lesson” (1995)
For his LP “Outside” In the mid-1990s, for which he again worked with Brian Eno, Bowie went entirely in the Gothic look.
For “The Hearts Filthy Lesson”, the half -industrial track was supplemented by a dark, dystopian video, in which bloody objects and mutilated body parts were seen in the middle of scenes of pagan rituals.
“Heroes” (1977)
Even in his simplest moments, Bowie is captivating. In the “Heroes” clip, it initially appears as an extraterrestrial silhouette in the spotlight. During the entire video he stays in the same place, fluctuates and looks stoically ahead as he sings the song.
“Blackstar” (2015)
The surreal video for “Blackstar” includes the entire almost ten -minute song. And is an intoxicating mix of politics, religion and Bowie’s own mythology. At the beginning of the video, a woman with a cock discovers the body of a dead astronaut who was interpreted as a major Tom. In the course of the clip, Bowie plays three different characters, including a priest and “Button Eyes”, which can later be seen on his deathbed in “Lazarus”.
“Let’s dance” (1983)
With the video for the hit single “Let’s Dance” from the album of the same name, Bowie started fighting western imperialism, racism and oppression with the video clip co-stained by David Mallet. In his Rolling-StoneCover story From 1983 on the creation of the album, he described the joint messages of the clips for “Let’s Dance” and “China Girl” as “very simple, very direct”.
He continued that, since the videos are like short films and can be seen everywhere, he wanted to use the “video format as a platform for a kind of social observation”. In the clip you can see an Aboriginal couple that has to struggle with imperialism in their everyday life.
“Lazarus” (2016)
His last video was also his darkest prophetic work. In “Lazarus” Bowie can be seen in a hospital room and appears from a place that could be interpreted as a deathbed. In the same hospital room you can see a more insane version of Bowie dancing and writing as he wears an outfit that the black and white striped top and the pants from his Station to station era similar. A time that he later called one of his darkest.
At the end of the clip, which was staged by Johan Renck, he withdraws into a stick -dark closet. After his death, producer Tony Visconti described Black star as “Farewell gift“For the fans. And described his death as a” work of art “.
“Life on Mars” (1973)
Bowie’s fourth music video – at that time still known as advertising videos – is a simple, beautiful accompaniment to his single “Life on Mars”. Mick Rock directed the clip, in which Bowie stands in front of a white background with a bright orange vokuhila hairstyle, an ice blue suit and almost neon-colored make-up. And does nothing more than singing his legendary song in a dramatic way, like the glamorous aliens he was.
“Jazzin ‘for Blue Jean” (1984)
Bowie went to the cinema with the 20-minute short film, which accompanied the single “Blue Jean”. Directed by Julien Temple, who two years later with the musician and actor on the film Absolute beginners Worked, played Bowie both Vic, an average citizen and Screaming Lord Byron, a rock star. He meets a girl in a bar who is a big fan of Byron. So Vic lies her and says that he knows him. At byon’s appearance, Vic persuades him to meet the girl. And in the end he steals Vics Date.
“Ashes to Ashes” (1980)
Bowies “Ashes to Ashes” clip is not just a personal best. But also one of the most iconic videos of the eighties. At the time of publication at the beginning of the decade, “Ashes to Ashes” was the most expensive music video ever shot.
In the then relatively new medium, Bowie showed the futuristic clip, which reflected his own history and childhood love how far he was ahead in all aspects. This becomes clear by the bright pier red costume that it carries throughout the clip. He also used the progress in special effects with scenes that switch between different color improvements. And something really stimulating.