davidbowie.de

[...]He first says "Loveland, Denver, you scallywags! According to Miriam Webster, a "scallywag" or "scalawag" is "a white Southerner acting in support of the reconstruction governments after the American Civil War often for private gain." Well, not exactly akin to "redneck"--which Miriam Webster defines as "a white member of the Southern rural laboring class," but real close, in my book.

He then continues with " . . . you rascals." Miriam Webster says a "rascal" is a "mean, unprincipled, . . . dishonest [or] mischievous person." And ends with the now-familiar, ". . . you crazy motherfuckers!"

[...]David joked after Rebel Rebel that he needed to catch his breath, and at several times turned to his band and had the "breathe" as he lifted his arms as if to preside over their effort to extract oxygen from the Mile-High City's oxygen-poor air. He at one point also told the crowd they ought to consider "importing oxygen." Hey, if the oxygen-poor air had anything to do with the extra breathy panting we got during Hang Onto Yourself ("Come on, Hah! Come on, Hah!"), then Bowie ought to perform in oxygen-deprived territory far more often. He even got on the ground at one point during China Girl, suggestively holding his microphone straight out over his crotch, breathing a bit heavy, and--for the slightest of moments, while he was getting up, he was on all fours taking a couple strides toward me. I was on the Floor, Slicky's side of the stage, in Row 2, and having Bowie crawl toward me just feet away left me . . . well, let's just say "in need of more oxygen."
[...]
After signing the playbill and performing another song, David went back to the topic of The Elephant Man. He contorted himself into his "Elephant Man posture" and grimace, saying how difficult it was to convey the man's deformities without make-up or prosthetics. Then, mid-way into adopting the stance (one shoulder up and his arm dangling down from elbow, hips rotated, his face in a cross-bite grimace), he commented that it was "easier to do back then, because I was skinnier." He then recited what he stated were two of his favorite lines he could still recall from the play. One involved a statement along the lines of "I have a big head," and the other was "Please don't let Michael Jackson buy my bones!" Both were delivered in his Elephant Man voice, while he held the contorted Elephant Man posture. As he gracefully undid himself from the pose, I found myself astonished that I had watched Bowie again do mime on stage (he did a bit at the first Seattle concert in the Paramount where he mimed driving down the street while trying to impress a female passenger with the fact that his song was playing on the radio). I recalled with great vividness and affection the scene in Ziggy Stardust: The Motion Picture, where a gazelle-like, young David did his mime sequence during The Width of a Circle. I love this man!

[...]Oh--and there is another "pointy hat" connection here: When reciting the lyrics to The Supermen, David messed up! He flubbed one line and said "a chance to die to BECOME mold," and then quickly corrected himself to "a chance to die to TURN to mold," at which time the first few rows of the audience gave him the "pointy hat" sign en masse! Hysterical.

 viele Bezüge auf alles was mime betrifft in letzter Zeit ...
hm :gruebel:
remembering the "old" days?? or is there more to it.
*(hoping)*

Jemen
mit Pauken und Trompeten zurückgekehrt