{"id":25961,"date":"2022-06-10T08:00:15","date_gmt":"2022-06-10T08:00:15","guid":{"rendered":"https:\/\/www.comicsreview.co.uk\/nowreadthis\/?p=25961"},"modified":"2022-06-08T17:11:03","modified_gmt":"2022-06-08T17:11:03","slug":"david-bowie-in-comics","status":"publish","type":"post","link":"https:\/\/www.comicsreview.co.uk\/nowreadthis\/2022\/06\/10\/david-bowie-in-comics\/","title":{"rendered":"David Bowie in Comics"},"content":{"rendered":"

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\nBy Thierry Lamy<\/strong> & Nicolas Finet<\/strong>; illustrated by Bast<\/strong>, Martin Trystam<\/strong>, Thomas Gilbert<\/strong>, Marcello Quintanilha<\/strong>, Christelle P\u00c3\u00a9cout<\/strong>, J\u00c3\u00a9r\u00c3\u00a9mie Royer<\/strong>, Nicolas Pitz<\/strong>, Monsieur Iou<\/strong>, Christopher<\/strong>, Claire Fauvel<\/strong>, L\u00c3\u00a9onie Bischoff<\/strong>, Jo\u00c3\u00abl Alessandra<\/strong>, Samuel Figui\u00c3\u00a8re<\/strong> & various: translated by Christopher Pope <\/strong>(NBM)
\nISBN: 978-1-68112-298-4 (HB) eISBN: 978-1-68112-299-1<\/p>\n

In recent years graphic biographies have become a major component of publishers’ output. This one – originally released on the continent in 2020 – will appeal to a far larger mainstream audience than comics usually reach: unlocking some secrets of someone with many identities; a musician and performer who changed popular culture and modern society and an agent provocateur <\/em>ushering in a digital age\u00e2\u20ac\u00a6<\/p>\n

Gathered in this fetching account are context-providing photo-enhanced essays bookending individual comics sections. Each chronological article and attendant comics vignette is written by French author\/comics scripter Thierry Lamy and author, filmmaker, journalist, publisher, educator and music documentarian Nicolas Finet – who has worked in comics for three decades, generating a bucketload of reference works like Mississippi Ramblin’<\/strong> and Forever Woodstock<\/strong>).<\/p>\n

In this vivid exploration of a one-man cultural revolution, they are supported by an army of illustrators crafting vividly vibrant strips, beginning with ‘The 1950s: Plastic Saxophone’.<\/em> An introductory text briefing leads to a comic strip nativity scene limned by Martin Trystam, as David Robert Jones<\/em> is born in post-war Brixton on January 8th<\/sup> 1947. What follows traces his middle class boyhood in Bromley, South London, introduction to music and science fiction by his tragic step-brother Terry<\/em>, and how his new dad got the little \u00e2\u20ac\u0153spaceboy\u00e2\u20ac\u009d his first instrument and lessons\u00e2\u20ac\u00a6<\/p>\n

Following a context-packed essay on the birth of Rock ‘n’ Roll, Thomas Gilbert illustrates ‘1962: A Unique Gaze’<\/em> as schoolboy David and classmate\/best friend George Underwood<\/em> clash over a girl, inadvertently gifting the future star with his signature look. Another text piece – on the star’s appearance and early relationships – segues into ‘1962-1966: First Bands’<\/em>, with Marcello Quintanilha delineating how music obsessed Jones and Underwood pursue their dream in a succession of blues bands (The Hooker Brothers<\/strong>, The Konrads<\/strong>, King Bees<\/strong> and others) and cut their first single. Following further text and photo details on those heady days, Christelle P\u00c3\u00a9cout’s strip ‘1966: When David Jones Became David Bowie’<\/em> heralds the moment everything changed\u00e2\u20ac\u00a6<\/p>\n

An essay on personal reinvention moves the story along to when Bowie studied with theatrical legend Lindsay Kemp<\/em>, visualised by J\u00c3\u00a9r\u00c3\u00a9mie Royer in ‘1969: Ground Control to Major Tom’<\/em> and highlighting the role the first Moon Landing played in Bowie’s breakout hit. A feature on the influence of Stanley Kubrick’s 2001: A Space Odyssey<\/strong> closes one era as Nicolas Pitz illustrates the meeting of Bowie and his new inspirational inamorata Angela Barnett<\/em> in ‘1969-1971: Angie’<\/em>. Her freewheeling lifestyle and attitudes would liberate her eventual husband and drive his rise, as seen in a prose feature and Monsieur Iou’s strip ‘1972: Top of the Pops: The Birth of a Legend’<\/em>\u00e2\u20ac\u00a6<\/p>\n

Bowie early realised the power of image tied to story and his first musical alter ego is examined in ‘1972-1973: An Alien Named Ziggy Stardust’<\/em>, courtesy of Christopher, after which Claire Fauvel details the growth of the major musical theoretician behind the stage performer. ‘1972-1973: Bowie the Producer: Lou Reed & Iggy Pop’<\/em> sees David save the careers of two fading American icons and gain friends who will save him in his troubled years to come\u00e2\u20ac\u00a6<\/p>\n

Having cycled through two performer personalities – Ziggy and Aladdin Sane<\/em> – Bowie endured creative ennui and branched out into theatre, as seen in L\u00c3\u00a9onie Bischoff’s ‘1974: A Hint of Science Fiction’<\/em>. When his proposed adaptation of Orwell’s 1984<\/strong> foundered, Bowie reinvented key elements for his Diamond Dogs show before the Quintanilha strip ‘1975: Turning to Soul: Young Americans’<\/em> outlines the next step in the musician’s mercurial career. Christelle P\u00c3\u00a9cout’s comics contribution reveals how drug abuse and legal struggles with his embezzling manager left Bowie burned out and ready for another reinvention in ‘1976: The Thin White Duke’<\/em>\u00e2\u20ac\u00a6<\/p>\n

With this chapter’s essay concentrating on Bowie’s role in Nick Roeg’s film The Man Who Fell to Earth<\/strong>, Christopher’s encore art act ‘1976-1979: A Date with Berlin’<\/em> focusses on relocation to West Germany at the height of Cold War tensions and creation of a landmark series of albums comprising \u00e2\u20ac\u0153The Berlin Trilogy\u00e2\u20ac\u009d.<\/p>\n

Discussions of minimalism and masterpieces are complemented by Monsieur Iou’s cartoon coverage of the performer’s golden years as ‘1980-1984: The Global Icon: Let’s Dance’ <\/em>detail Broadway acting triumphs and collaboration with Funk genius Nile Rodgers<\/em>. Always with his mismatched eyes on the future, Bowie was the first mega-star to grasp the potential of a new phenomenon. MTV’s launch shifted his focus to musical videos and his status grew even more\u00e2\u20ac\u00a6<\/p>\n

Illustrated by Jo\u00c3\u00abl Alessandra, ‘1983: Bowie in Film: Merry Christmas Mr. Lawrence’<\/em> explores his astounding performance and heralds his gradual move away from pop stardom towards musical exploration and personal experimentation. Trystam returns for ‘1989-1992: Forever Innovating: Bowie and Tin Machine’<\/em>\u00e2\u20ac\u00a6<\/p>\n

By then, Bowie’s car-crash home life had steadied and Samuel Figui\u00c3\u00a8re shares the happiest times as the music man finds his true life partner in ‘1992: Iman’<\/em>, after which Alessandra illustrates ‘1992-1999: Experiments in Genre’<\/em> as Bowie increasingly explored digital technology (in 1997, he released the first digital music single for fans to download) before Figui\u00c3\u00a8re visually catalogues ‘2004-2014: Quiet’<\/em> as the star’s progressively poor health ends his performing career\u00e2\u20ac\u00a6<\/p>\n

The story ends with one final essay appreciation, supplementing Pitz’s fantasy montage ‘2014-2016: The Last Dance’<\/em> commemorating the last work and The End of All The Songs<\/em>\u00e2\u20ac\u00a6<\/p>\n

A human agent of social change, David Bowie made sublime music, offered groundbreaking and pioneering advocacy of the barely post-natal internet and provided an example for generations of confused kids seeking to fit their own personally perceived oddities into a binary world that never really existed except in the minds of a few hidebound religious bigots.<\/p>\n

In so many ways, he inspired and reshaped people on the margins and did so by example. Always aware of what could be, he even patterned the way modern social media and eCommerce evolved. He also made life extraordinary and much of that is captured here.<\/p>\n

Also equipped with a Discography<\/em>, Filmography<\/em>, Sitography<\/em> and Recommended Reading<\/em> list, David Bowie in Comics <\/strong>is an astoundingly readable and beautifully rendered treasure for comics and music fans alike: one to resonate with anybody who loves to listen and look. It can’t actually play you the songs, but you can read it while listening to them on your aural medium of choice, so everything’s Hunky Dory,<\/p>\n

\u00c2\u00a9 2020 Petit as Petit. \u00c2\u00a9 2022 NBM for the English translation.
\nDavid Bowie in Comics<\/strong> is scheduled for UK release June 16th<\/sup> 2022 and is available for pre-order now. For more information and other great reads see http:\/\/www.nbmpub.com\/<\/a><\/p>\n

Most NBM books are also available in digital formats.<\/p>\n","protected":false},"excerpt":{"rendered":"

By Thierry Lamy & Nicolas Finet; illustrated by Bast, Martin Trystam, Thomas Gilbert, Marcello Quintanilha, Christelle P\u00c3\u00a9cout, J\u00c3\u00a9r\u00c3\u00a9mie Royer, Nicolas Pitz, Monsieur Iou, Christopher, Claire Fauvel, L\u00c3\u00a9onie Bischoff, Jo\u00c3\u00abl Alessandra, Samuel Figui\u00c3\u00a8re & various: translated by Christopher Pope (NBM) ISBN: 978-1-68112-298-4 (HB) eISBN: 978-1-68112-299-1 In recent years graphic biographies have become a major component of … <\/p>\n

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