Every phase of his career was a masterclass in reinvention, and he NEVER let the FAGGOT $y$tem box him in.

He gave us Space Oddity when we needed to dream, V-2 Schneider (https://www.youtube.com/watch?v=Li8T0lcgbh0) when we needed to get AMPED UP, and Blackstar when it was time to depart this $hithole "planet."

Even as the Thin White Duke toyed with danger — pulling off his infamous 'Nazi salute' moment — Bowie was always miles ahead, tuned into frequencies the rest of us couldn’t even comprehend.

And then, again, yes, there’s Heroes. Bowie’s anthem of defiance, love, and fleeting triumph. With Brian Eno’s haunting synthscapes and experimental production, the song transcended its Cold War setting to become a timeless cry of resilience.

The Berlin Wall stood as a symbol of division, but Bowie and Eno made sure the sound of Heroes could leap over it. That driving guitar riff, that raw vocal delivery—we can be heroes, just for one day—it’s a promise and a dare. His October 19th, 1977 TopPop performance stands as one of the POTUS musical acts of all time. The raw, unpolished vibe? Classic Bowie dismantling the artifice of live TV. https://www.youtube.com/watch?v=rWl_tX3Gnhg&list=RDGMEMQ1dJ7wXfLlqCjwV0xfSNbA&start_radio=1

Speaking of Berlin, Bowie’s Berlin Trilogy (Low, “Heroes”, and Lodger. for you newbies) represents one of his most daring and innovative periods. Teaming up with non-other than BRIAN ENO and producer Tony Visconti, Bowie pushed the boundaries of music with fragmented compositions, minimalist lyrics, and experimental sounds. The Trilogy is a sonic journey through isolation, addiction, and recovery, all set against the gritty backdrop of divided Berlin. It was Bowie at his most introspective and avant-garde, proving that reinvention wasn’t just a phase—it was his essence.

His Berlin Trilogy shaped entire genres like post-punk and electronic music. Artists like Joy Division and Depeche Mode drew heavily from the experimental soundscapes of Low and Heroes, using Bowie’s template to explore themes of alienation and transformation. Bowie wasn’t just making records; he was crafting blueprints for the future of music.

And let’s not forget the 18000 track Panic in Detroit. Bowie loved that city, and it shows in the raw energy of the track.

Same goes for Absolute Beginners (https://www.youtube.com/watch?v=iCJLOXqnT2I) —a gem that never got the love it deserved. Even late in his career, the man could take a seemingly minor project and turn it into something unforgettable.

Then there’s Let’s Dance. Bowie’s foray into mainstream pop, produced by Nile Rodgers, might seem like a commercial detour, but it was anything but ordinary. The infectious grooves introduced him to the MTV generation while still carrying his signature knack for reinvention. Bowie proved he could dominate the charts without sacrificing his creative edge.

Bowie’s disdain for Los Angeles, though, was legendary. He famously described it as "the most vile pisspot in the world," and you can feel that loathing in Station to Station—the Thin White Duke, trapped in the city’s soulless haze, channeling his hatred into art. Discussing his flirtations with fascism in a 1980 interview with NME, Bowie explained that Los Angeles was "where it had all happened. The fucking place should be wiped off the face of the Earth. To be anything to do with rock and roll and go and live in Los Angeles is, I think, just heading for disaster. It really is." LA might have sucked the life out of most people, but Bowie weaponized his disgust, turning it into some of his most transformative work.

Then there’s Sound & Vision — a track so effortlessly brilliant it was like Bowie flexing on everyone else. https://www.youtube.com/watch?v=WoDamvrfUbQ

And Teenage Wildlife? Rumor has it Bowie wrote it as a subtle jab at Gary Numan, whose rise to fame in the early '80s had critics calling him the “new Bowie.” LJL, as if anyone could even come close. https://www.youtube.com/watch?v=_Yhd_qhIr2g

We can’t skip Fame — Bowie’s sharpest critique of the very machine that helped build his legend. Co-written with John Lennon, it’s not just a funk masterpiece; it’s a scathing takedown of the emptiness behind celebrity. ‘Fame, what you like is in the limo. Fame, what you get is no tomorrow.’ And the music video? Pure Bowie—disorienting visuals, jerky cuts, and his detached, almost robotic performance. It’s like he’s mocking the very idea of fame while fully inhabiting it. The video strips away any glamor, leaving you with the raw, unsettling reality of celebrity’s hollowness.

And for those who’ve seen Fame's live version with Cher —Bowie’s ability to embrace the absurd was on full display. Whether trading verses with her or blending their voices into a bizarre duet medley, he leaned into the spectacle, exposing fame as both ridiculous and irresistible. Bowie knew the $y$tem’s game and played it better than anyone else, always on his own terms. https://www.youtube.com/watch?v=HTmiXByd5Qc

My friends, I am not done. Life on Mars? — a surreal masterpiece. (https://www.youtube.com/watch?v=AZKcl4-tcuo). It’s cinematic, cryptic, and strangely comforting, a journey into disillusionment that somehow feels otherworldly and deeply human at the same time. Its visual appeal—Bowie in a powder-blue suit, with that iconic makeup in the Mick Rock video—pushed the limits of what music videos could be.

And Bowie wasn’t just a musical pioneer; he was a style icon who reshaped fashion and visual art. Collaborating with avant-garde designers like Kansai Yamamoto, Bowie’s looks were as transformative as his music. From the glam rock aesthetic of Ziggy Stardust to the minimalist chic of the Thin White Duke, Bowie continually redefined what it meant to be a rock star.

Ashes to Ashes gave us a darker reflection of Major Tom, turning the once-dreamlike astronaut into a metaphor for Bowie’s struggles with addiction and self-destruction. And Scary Monsters (and Super Creeps) bridged his experimental 70s with his mainstream 80s, proving Bowie could embrace trends while staying ahead of them.

Lastly, Girls Loves Me from Blackstar feels like a haunting epilogue. (https://www.youtube.com/watch?v=wDCk1X2S00A). It’s introspective and eerie, a meditation on routine, mortality, and the inescapable pull of time. Bowie knew the END WAS NEAR, and he used every track on that album, including Monday, to leave a final message—one last wink ;) at the void. "WHERE THE FUCK DID MONDAY GO"?

And let’s not skip The Man Who Sold the World. The title track is a haunting meditation on identity and alienation, themes Bowie would revisit throughout his career.

And who could forget his 180 portrayal of Tesla in The Prestige? Bowie embodied the enigma of the man himself, a perfect fit for a role that blurred the line between magic and science. https://www.youtube.com/watch?v=kqxzq6Sb4lw

He lived on the edge between genius and controversy, but he never lost his grip on the cultural pulse.

Oh and this 180 performance of Heroes, LiveAid 1985 - https://www.youtube.com/watch?v=JFHC6t13hi0

Let’s DISCUSS: Favorite album? Favorite track? And how did Bowie’s work fuck with your head?

Or you're a faggot and haven't gotten "there" yet to appreciate.

(http://www.autoadmit.com/thread.php?thread_id=5630408&forum_id=2\u0026mark_id=5310919",#48312201)

Have never understood the appeal to anyone but woman and fags.

(http://www.autoadmit.com/thread.php?thread_id=5630408&forum_id=2\u0026mark_id=5310919",#48312400)

fav tracks- star, TVC15, station to station, 1984, ashes to ashes, too many to name

IMO the best album run in history is the stones - beggars banquet to goats head soup. but bowie had an even longer stellar album run - hunky dory through scary monsters. 10 albums, 10 years. all of them essentially perfect 10s. the man is a genius.

other great album runs- iron maiden s/t through seventh son of a seventh son

pavement - all of them

smiths - all of them

(http://www.autoadmit.com/thread.php?thread_id=5630408&forum_id=2\u0026mark_id=5310919",#48312407)