the purpose driven music paradigm - Escape Babylon's Demons
the purpose driven music paradigm - Escape Babylon's Demons
the purpose driven music paradigm - Escape Babylon's Demons
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Eno and David Bowie<br />
"I believe rock 'n roll is dangerous, it could very well bring about a very evil feeling in <strong>the</strong> west ...<br />
it's got to go <strong>the</strong> o<strong>the</strong>r way now, and that's where I see it heading, bringing about <strong>the</strong> dark era ..."<br />
"I feel that we are only heralding something even darker than ourselves."<br />
"Rock 'n' roll lets in lower elements and shadows that I don't think are ne cessary. Rock has<br />
always been <strong>the</strong> Devil's <strong>music</strong>, you can't convince me that it isn't."<br />
(David Bowie, Rolling Stone Magazine, 1972)<br />
Eno has produced David Bowie. In a interview containing David Bowie’s remarks on<br />
Brian Eno in Andy Warhol's Interview Magazine SEPTEMBER 1995 written by Ingrid<br />
Sischy, Bowie comments on <strong>the</strong> unity of mind that he and Eno share. Chapter 8<br />
points out that Bowie is influenced by Gnosticism and Aleister Crowley’s Thelema.<br />
Because of that meeting, we realised that we were thinking in very similar ways about experimenting<br />
in popular <strong>music</strong>, and that our interests were converging again, which really gave us <strong>the</strong> impetus to<br />
work toge<strong>the</strong>r again. Over <strong>the</strong> next few months we wrote each o<strong>the</strong>r mini manifestos about what we<br />
would and wouldn't do in <strong>the</strong> studio, so that at least when we went in we'd have a set of concepts<br />
that would enable us to avoid all <strong>the</strong> things we find boring and bland in popular <strong>music</strong>. We didn't<br />
want parameters.(source:.http://www26.brinkster.com/brianeno/index.html?eno_int_rsmay78.html~frameHOME_)<br />
Ano<strong>the</strong>r source reveals <strong>the</strong> extent of Eno’s impact upon David Bowie.<br />
There are those that argue Brian Eno never bettered <strong>the</strong>se four releases and, in a way, <strong>the</strong>y are<br />
right. They still define his career; <strong>the</strong> roots of Bowie’ s's future direction is here, as is most good 80s<br />
alternative pop (and <strong>the</strong>re was some). Deliciously sinister, sensuously warped, and sounding and<br />
looking so great, this is pop as it's meant to be corrupted. (SINISTER Record Collector MAY 2004 - by<br />
Darly Easlea) source:http://www26.brinkster.com/brianeno/index.html?eno_int_rs -<br />
may78.html~frameHOME<br />
Bowie credits production success to Eno’s cybernetics.<br />
“Everything that came toge<strong>the</strong>r on this album came about through accident and syn<strong>the</strong>sis and<br />
through Brian’s take on cybernetics that you take systems and, in destroying <strong>the</strong>m, you recover <strong>the</strong><br />
pieces that seem to work and make <strong>the</strong>m into something new. Brian is a born cybernetician.”<br />
(source:.http://www26.brinkster.com/brianeno/index.html?eno_int_rs-may78.html~frameHOME_)<br />
Eno is a serious student of cybernetics. He believes what people find in <strong>the</strong>ir <strong>music</strong> is<br />
what <strong>the</strong>y think <strong>the</strong>y ought to find in <strong>the</strong>ir lives. He believes people are drawn to<br />
<strong>music</strong> that presents <strong>the</strong>m with a way of dealing with <strong>the</strong> world that <strong>the</strong>y enjoy.