david bowie live reality tour

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David Bowie - Reality Tour Live 2003 Dublin

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• "Blackstar" is a pentagram symbolizing "no energy of Christ/life" and David Bowie's sufferings as part of me taking on the sins of man as my sufferings.
• The song ”Blackstar” is PURE ART that made me SHIVER all over when I discovered that it is about Bowie and me as the Source bringing our New World.
• "Major Tom" started the countdown of the Old World and my mission to bring all life home to the Spaceship of the Source containing all force and creation.
• "Blackstar" is from the TV-series "The Last Panthers" symbolising the last darkness of our Old World before we will become the diamond of our New World .
• David Bowie IS the last part of me as the Source, and when I now finish work to my Bowie “Blackstar” website, I am becoming my new self.
• David Bowie was part of my father as darkness, a product of mass brainwash and hysteria, before changing over to my side.

• For more than 10 years, I have dreamt about David Bowie being a symbol of God, “the cleanest, which is”, which is my new self :-).
• In 2008, I was told by my spiritual voice that Jeff Lynne and David Bowie are symbols of “God and the divine”, “the cleanest which is”.
• Spiritual speech, 2006: “My friend Bowie is here, this is me”, “I have made this song”, “You'd better not mess with MajorTom”, i.e. follow me as God :-).
• Dreams: Bowie = the Source (God) = me, bringing people home to the Source, is “a junkie” (suffering), playing the guitar via my book (creating our New World).
• Bowie and I speak with the same spiritual voice of the Source: My book brings the end of darkness of the Old World and the opening of light of our New World.
• Part 1: The light of God is at the centre of darkness just before Ragnarok, faith of man brings the dead "Major Tom" to start our New World on the other side of light.
• Part 2: My old self and our Old World is dying, I am becoming my new self including all force and the diamond of our New World in my eyes - " I'm the great I am ".
• Part 3: We were born the wrong way around seeing light as a Blackstar, the dark monster tried to destruct me, but I saved you taking on your sins as my sufferings.
• "Lazarus" analysis: You cannot see my sufferings, man tried to make me crazy and steal my energy , I had to write my book to set me/us all free via my resurrection.
• Ziggy Stardust was Bowie's alter ego as Christ telling man about the end of the world and predicting that he would be killed by his fans sucking up his energy.
• The Ziggy Stardust album is about the end of the world, worship, salvation, the rise of Christ and the fall of man leading to the crucifiction of Christ.
• Everyone saw Ziggy Stardust as merely a fictional character, but Bowie told the truth about darkness of man emptying his (my) energy as the Messiah.
• Dreams etc. about Ziggy Stardust being God as part of my old self - "stardust" is the golden dust of the Source from where all life originates.
• Quicksand (1971): Bowie's interest was in cabbala and Crowleyism, the dark never–world of the wrong side of the brain, and since the Gnostics.
• "New Killer Star" (2003) is also about the "Blackstar" running out of energy - what will happen, will we survive or not?
• The Next Day (2013) - Listen! This is about the moral decay of the church and man leading to the end of the world before our New World in light opens :-).
• Never get old (2003): Bowie sang "I'm never ever gonna get old" already in 2003 knowing that we don't get old in our business absorbing darkness of man.
• I published my Bowie website to the Bowie Facebook group on January 8, 2016, and was met by ignorance and negativity until I was finally banned by the group!
• David Bowie was killed because of darkness of the David Bowie Facebook group to me, faith opened to the final location of our New World inside the Source.
• After Bowie's death absorbing energy of darkness for me, I received darkness myself also almost killing me, and making me feel worse than ever before.
• Receiving the skull of Major Tom and coming out through the rocket, this is what Bowie's death symbolises, the end of darkness and the opening of the Source.

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• David Bowie albums

A Reality Tour

Released: 25 January 2010

David Bowie: vocals, guitar, Stylophone, harmonica Earl Slick: guitar Gerry Leonard: guitar, vocals Gail Ann Dorsey: bass guitar, vocals Mike Garson: piano, keyboards Catherine Russell: guitar, keyboards, mandolin, percussion, vocals Sterling Campbell: drums, vocals

• ‘Rebel Rebel’
• ‘New Killer Star’
• ‘Sister Midnight’
• ‘All The Young Dudes’
• ‘Be My Wife’
• ‘The Loneliest Guy’
• ‘The Man Who Sold The World’
• ‘Fantastic Voyage’
• ‘Hallo Spaceboy’
• ‘Under Pressure’
• ‘Life On Mars?’
• ‘Battle For Britain (The Letter)’
• ‘Ashes To Ashes’
• ‘The Motel’
• ‘Loving The Alien’
• ‘Never Get Old’
• ‘I’m Afraid of Americans’
• ‘Bring Me The Disco King’
• ‘Slip Away’
• ‘Heathen (The Rays)’
• ‘Five Years’
• ‘Hang On To Yourself’
• ‘Ziggy Stardust’
• ‘Fall Dog Bombs The Moon’
• ‘Breaking Glass’
• ‘China Girl’

Digital download bonus tracks:

• ‘5:15 The Angels Have Gone’

A Reality Tour was David Bowie’s world tour in support of his Reality Tour, which visited Europe, North America, Asia, New Zealand and Australia in 2003 and 2004. His concerts at the Point Depot in Dublin on 22 and 23 November 2003 were filmed and recorded, and released on DVD in 2004 and on CD, vinyl and digital download in 2010.

The audio version contains several key differences from the film. Bowie’s cover version of Pixies’ ‘Cactus’ is longer in the audio edition, and more of his between-song banter is retained.

Moreover, a number of bonus tracks were included on the audio releases. The CD and vinyl versions added three songs to the end of the set, and the digital download – which went on sale two weeks after the physical edition – added two extra songs.

Bowie’s concert set list spanned his repertoire from 1970’s The Man Who Sold The World to the new millennium, with particular weight given to his newer releases Heathen and Reality . There were also outings for ‘Sister Midnight’ and ‘Under Pressure’ , Bowie’s collaborations with Iggy Pop and Queen respectively.

A Reality Tour was released on 25 January 2010 . It was not a great seller – its highest chart placing was in Belgium, where it peaked at number 18 on the Wallonia albums chart. It also reached the top 40 in Austria, Ireland, Portugal and Switzerland. In the UK it got to number 53, but in the US it peaked at 191 on the Billboard chart.

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A Reality Tour (Live)

David Bowie

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A Reality Tour (Live)

David Bowie

35 SONGS • 2 HOURS AND 43 MINUTES • JAN 25 2010

• TRACKS TRACKS
• DETAILS DETAILS

One of the greatest stars of the rock & roll era, David Bowie evaded easy categorization throughout his career, operating as the artiest rocker within the mainstream and the most accessible musician on the fringe. Bowie may have trafficked in ideas cultivated in the underground, but he was never quite an outsider as far as rock & roll was concerned. From the outset of his career in the 1960s, he attempted to break into the Top 40, playing British blues, mod rock & roll, and ornate pop before finally hitting paydirt as a hippie singer/songwriter. "Space Oddity" gave Bowie his breakthrough in the U.K., reaching the Top Ten in the summer of 1969 -- the summer of Apollo 11 -- and it belatedly performed a similar feat in America, giving him his first Top 20 hit early in 1973. By that point, Bowie had traded his folkie persona for the glam-rock alien Ziggy Stardust, one of the many shifts of sound and image that came to define his career. Ziggy Stardust & the Spiders from Mars were a sensation in Britain and a cult phenomenon in the U.S., the foundation of a decade that would see Bowie attempting blue-eyed soul, avant-pop, and experimental electronic rock recorded with Brian Eno. He had hits during this period -- the sleek disco-rock of "Fame" gave him his first American number one in 1975 -- but he didn't become a superstar until Let's Dance, a stylish dance-rock album recorded with Nile Rodgers and designed with MTV in mind. Stardom achieved, Bowie entered a period of uncertainty, righting himself in the 1990s by reconnecting with his hard rock and art roots. As the 21st century arrived, he had settled into a comfortable schedule of touring and recording, a routine that ended in 2003 as he retreated from public view. After a decade of silence, he re-emerged in 2013, beginning a final act that culminated with Blackstar, an album released on his January 8 birthday in 2016. He designed Blackstar as a farewell to an audience who didn't realize he was dying of liver cancer. Two days after its release, Bowie died, leaving Blackstar as his final grand theatrical gesture.

David Jones began performing music when he was 13 years old, learning the saxophone while he was at Bromley Technical High School; another pivotal event happened at the school, when his left pupil became permanently dilated in a schoolyard fight. Following his graduation at 16, he worked as a commercial artist while playing saxophone in a number of mod bands, including the King Bees, the Manish Boys (which also featured Jimmy Page as a session man), and Davey Jones & the Lower Third. All three of those bands released singles, which were generally ignored, yet he continued performing, changing his name to David Bowie in 1966 after the Monkees' Davy Jones became an international star. Over the course of 1966, he released three mod singles on Pye Records, which were all ignored. The following year, he signed with Deram, releasing the music hall, Anthony Newley-styled David Bowie. Upon completing the record, he spent several weeks in a Scottish Buddhist monastery. Once he left the monastery, he studied with Lindsay Kemp's mime troupe, forming his own mime company, the Feathers, in 1969. The Feathers were short-lived, and he formed the experimental art group Beckenham Arts Lab in 1969.

Bowie needed to finance the Arts Lab, so he signed with Mercury Records that year and released Man of Words, Man of Music, a trippy singer/songwriter album featuring "Space Oddity." The song was released as a single and became a major hit in the U.K., convincing Bowie to concentrate on music. Hooking up with his old friend Marc Bolan, he began miming at some of Bolan's T. Rex concerts, eventually touring with Bolan, bassist/producer Tony Visconti, guitarist Mick Ronson, and drummer Cambridge as Hype. The band quickly fell apart, yet Bowie and Ronson remained close, working on the material that formed Bowie's next album, The Man Who Sold the World, as well as recruiting Michael "Woody" Woodmansey as their drummer. Produced by Tony Visconti, who also played bass, The Man Who Sold the World was a heavy guitar rock album that failed to gain much attention. Bowie followed it in late 1971 with the pop/rock Hunky Dory, an album that featured Ronson and keyboardist Rick Wakeman.

Following its release, Bowie began to develop his most famous incarnation, Ziggy Stardust: an androgynous, bisexual rock star from another planet. Before he unveiled Ziggy, Bowie claimed in a January 1972 interview with Melody Maker that he was gay, helping to stir interest in his forthcoming album. Taking cues from Bolan's stylish glam rock, Bowie dyed his hair orange and began wearing women's clothing. He called himself Ziggy Stardust, and his backing band -- Ronson, Woodmansey, and bassist Trevor Bolder -- were the Spiders from Mars. The Rise and Fall of Ziggy Stardust and the Spiders from Mars was released with much fanfare in England in late 1972. The album and its lavish, theatrical concerts became a sensation throughout England, and helped him become the only glam rocker to carve out a niche in America. Ziggy Stardust became a word-of-mouth hit in the U.S., and the re-released "Space Oddity" -- which was now also the title of the re-released Man of Words, Man of Music -- reached the American Top 20. Bowie quickly followed Ziggy with Aladdin Sane later in 1973. Not only did he record a new album that year, he also produced Lou Reed's Transformer, the Stooges' Raw Power, and Mott the Hoople's comeback All the Young Dudes, for which he also wrote the title track.

Given the amount of work Bowie packed into 1972 and 1973, it isn't surprising that his relentless schedule began to catch up with him. After recording the all-covers Pin-Ups with the Spiders from Mars, he unexpectedly announced the band's breakup, as well as his retirement from live performances, during the group's final show that year. He retreated from the spotlight to work on a musical adaptation of George Orwell's 1984, but once he was denied the rights to the novel, he transformed the work into Diamond Dogs. It was released to generally poor reviews in 1974, yet it generated the hit single "Rebel Rebel," and he supported the album with an elaborate and expensive American tour. As the tour progressed, Bowie became fascinated with soul music, eventually redesigning the entire show to reflect his new "plastic soul." Hiring guitarist Carlos Alomar as the band's leader, Bowie refashioned his group into a Philly soul band and re-costumed himself in sophisticated, stylish fashions. The change took fans by surprise, as did the double-album David Live, which featured material recorded on the 1974 tour.

Young Americans, released in 1975, was the culmination of Bowie's soul obsession, and it became his first major crossover hit, peaking in the American Top Ten and generating his first U.S. number one hit in "Fame," a song he co-wrote with John Lennon and Alomar. Bowie relocated to Los Angeles, where he earned his first movie role in Nicolas Roeg's The Man Who Fell to Earth (1976). While in L.A., he recorded Station to Station, which took the plastic soul of Young Americans into darker, avant-garde-tinged directions, but it was also a huge hit, generating the Top Ten single "Golden Years." The album inaugurated Bowie's persona of the elegant "Thin White Duke," and it reflected Bowie's growing cocaine-fueled paranoia. Soon, he decided Los Angeles was too boring and returned to England; shortly after arriving back in London, he gave the awaiting crowd a Nazi salute, a signal of his growing, drug-addled detachment from reality. The incident caused enormous controversy, and Bowie left the country to settle in Berlin, where he lived and worked with Brian Eno.

Once in Berlin, Bowie sobered up and began painting, as well as studying art. He also developed a fascination with German electronic music, which Eno helped him fulfill on their first album together, Low. Released early in 1977, Low was a startling mixture of electronics, pop, and avant-garde technique. While it was greeted with mixed reviews at the time, it proved to be one of the most influential albums of the late '70s, as did its follow-up, Heroes, which followed that year. Not only did Bowie record two solo albums in 1977, he also helmed Iggy Pop's comeback records The Idiot and Lust for Life, and toured anonymously as Pop's keyboardist. He resumed his acting career in 1977, appearing in Just a Gigolo with Marlene Dietrich and Kim Novak, as well as narrating Eugene Ormandy's version of Peter and the Wolf. Bowie returned to the stage in 1978, launching an international tour that was captured on the double-album Stage. In 1979, Bowie and Eno recorded Lodger in New York, Switzerland, and Berlin, releasing the album at the end of the year. Lodger was supported with several innovative videos, as was 1980's Scary Monsters, and these videos -- "DJ," "Fashion," "Ashes to Ashes" -- became staples on early MTV.

Scary Monsters was Bowie's last album for RCA, and it wrapped up his most innovative, productive period. Later in 1980, he performed the title role in the stage production of The Elephant Man, including several shows on Broadway. Over the next two years, he took an extended break from recording, appearing in Christiane F (1981) and the vampire movie The Hunger (1982), returning to the studio only for his 1981 collaboration with Queen, "Under Pressure," and the theme for Paul Schrader's remake of Cat People. In 1983, he signed an expensive contract with EMI Records and released Let's Dance. Bowie had recruited Chic guitarist Nile Rodgers to produce the album, giving the record a sleek, funky foundation, and hired the unknown Stevie Ray Vaughan as lead guitarist. Let's Dance became his most successful record, thanks to its stylish, innovative videos for "Let's Dance" and "China Girl," which turned both songs into Top Ten hits. Bowie supported the record with the sold-out arena tour Serious Moonlight.

Greeted with massive success for the first time, Bowie wasn't quite sure how to react, and he eventually decided to replicate Let's Dance with 1984's Tonight. While the album sold well, producing the Top Ten hit "Blue Jean," it received poor reviews and was ultimately a commercial disappointment. He stalled in 1985, recording a duet of Martha & the Vandellas' "Dancing in the Street" with Mick Jagger for Live Aid. He also spent more time jet-setting, appearing at celebrity events across the globe, and appeared in several movies -- Into the Night (1985), Absolute Beginners (1986), Labyrinth (1986) -- that turned out to be bombs. Bowie returned to recording in 1987 with the widely panned Never Let Me Down, supporting the album with the Glass Spider tour, which also received poor reviews. In 1989, he remastered his RCA catalog with Rykodisc for CD release, kicking off the series with the three-disc box Sound + Vision. Bowie supported the discs with an accompanying tour of the same name, claiming that he was retiring all of his older characters from performance following the tour. Sound + Vision was successful, and Ziggy Stardust re-charted amidst the hoopla.

Sound + Vision may have been a success, but Bowie's next project was perhaps his most unsuccessful. Picking up on the abrasive, dissonant rock of Sonic Youth and the Pixies, Bowie formed his own guitar rock combo, Tin Machine, with guitarist Reeves Gabrels, bassist Hunt Sales, and Hunt's brother, drummer Tony, who had previously worked on Iggy Pop's Lust for Life with Bowie. Tin Machine released an eponymous album to poor reviews that summer and supported it with a club tour, which was only moderately successful. Despite this, Tin Machine released a second album, the appropriately titled Tin Machine II, in 1991, and it was completely ignored.

Bowie returned to a solo career in 1993 with the sophisticated, soulful Black Tie White Noise, recording the album with Nile Rodgers and his by-then-permanent collaborator, Reeves Gabrels. The album was released on Savage, a subsidiary of RCA, and received positive reviews, but his new label went bankrupt shortly after its release, and the album disappeared. Black Tie White Noise was the first indication that Bowie was trying hard to resuscitate his career, as was the largely instrumental 1994 soundtrack The Buddha of Suburbia. In 1995, he reunited with Brian Eno for the industrial rock-tinged 1. Outside. Several critics hailed the album as a comeback, and Bowie supported it with a co-headlining tour with Nine Inch Nails in order to snag a younger, alternative audience, but his gambit failed; audiences left before Bowie's performance and 1. Outside disappeared. He quickly returned to the studio in 1996, recording Earthling, an album heavily influenced by techno and drum'n'bass. Upon its early 1997 release, Earthling received generally positive reviews, yet the album failed to gain an audience, and many techno purists criticized Bowie for allegedly exploiting their subculture. hours... followed in 1999. In 2002, Bowie reunited with producer Toni Visconti and released Heathen to very positive reviews. He soldiered on with Visconti for Reality in 2003, which was once again warmly received.

Bowie supported Reality with a lengthy tour but it came to a halt in the summer of 2004 when he received an emergency angioplasty while in Hamburg, Germany. Following this health scare, Bowie quietly retreated from the public eye. Over the next few years, he popped up at the occasional charity concert or gala event and he sometimes sang in the studio for other artists (notably, he appeared on Scarlett Johansson's Tom Waits tribute Anywhere I Lay My Head in 2008). Archival releases appeared but no new recordings did until he suddenly ended his unofficial retirement on his 66th birthday on January 8, 2013, releasing a new single called "Where Are We Now?" and announcing the arrival of a new album. Entitled The Next Day and once again produced by Visconti, the album was released in March of 2013. Greeted with generally positive reviews, The Next Day debuted at either number one or two throughout the world, earning gold certifications in many countries.

The following year, Bowie released a new compilation called Nothing Has Changed, which featured the new song "Sue (Or in a Season of Crime)." This track turned out to be the cornerstone of Bowie's next project, Blackstar. Arriving on January 8, 2016, the album found Bowie re-teaming with Tony Visconti and exploring adventurous territory, as signaled by its lead single, "Blackstar." Just two days after its release, it was announced that David Bowie had died from liver cancer. In a Facebook post, Tony Visconti revealed that Bowie knew of his illness for at least 18 months and created Blackstar as "his parting gift." It topped several national charts -- including the Billboard 200, which made it his first number one album in the U.S.

By the autumn of 2016, posthumous projects began to surface, including Who Can I Be Now? -- a collection of his mid-'70s albums that functioned as a sequel to the previous year's box set Five Years -- and the release of the cast recording to Lazarus, the Broadway musical he completed in his final years. On January 8, 2017 -- the year anniversary of the release of Blackstar -- the No Plan EP, containing Bowie's versions of songs heard in the Lazarus musical, was released. A New Career in a New Town -- the third volume of retrospective box sets, this installment focusing on his recordings of the late '70s -- appeared in September 2017. The following year, the fourth retrospective box -- Loving the Alien -- was released, featuring albums issued between the years 1983 and 1988. Included was Bowie's biggest-selling '80s album, Let's Dance -- alongside a selection of live releases -- as well as a 2018 production of his 1987 album Never Let Me Down, featuring string arrangements by Nico Muhly and production from Mario McNulty. Over the course of 2019, Parlophone released a series of limited-edition vinyl sets spotlighting demos Bowie recorded in 1969. At the end of the year, these recordings were collected alongside a new mix of David Bowie (Space Oddity) in the box set Conversation Piece. The Metrobolist, a revised version of The Man Who Sold the World released under its original title, appeared late in 2020, followed in 2021 by The Width of a Circle, a double-disc collection of non-LP Bowie recordings from 1970. Late in 2021, the fifth "era" retrospective box set Brilliant Adventure (1992-2001) was released. Among its highlights was the unreleased album Toy, a collection of modern reworkings of early, pre-"Space Oddity" songs from Bowie. Toy received its own separate release in January 2022. ~ Stephen Thomas Erlewine

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A Reality Tour (Live)

January 25, 2010 35 Songs, 2 hours, 43 minutes Under exclusive license to Parlophone Records Limited, ℗ 2010 Jones/Tintoretto Entertainment Company LLC

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The Moscow Metro Tour is included in most guided tours’ itineraries. Opened in 1935, under Stalin’s regime, the metro was not only meant to solve transport problems, but also was hailed as “a people’s palace”. Every station you will see during your Moscow metro tour looks like a palace room. There are bright paintings, mosaics, stained glass, bronze statues… Our Moscow metro tour includes the most impressive stations best architects and designers worked at - Ploshchad Revolutsii, Mayakovskaya, Komsomolskaya, Kievskaya, Novoslobodskaya and some others.

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The guide will not only help you navigate the metro, but will also provide you with fascinating background tales for the images you see and a history of each station.

And there some stories to be told during the Moscow metro tour! The deepest station - Park Pobedy - is 84 metres under the ground with the world longest escalator of 140 meters. Parts of the so-called Metro-2, a secret strategic system of underground tunnels, was used for its construction.

During the Second World War the metro itself became a strategic asset: it was turned into the city's biggest bomb-shelter and one of the stations even became a library. 217 children were born here in 1941-1942! The metro is the most effective means of transport in the capital.

There are almost 200 stations 196 at the moment and trains run every 90 seconds! The guide of your Moscow metro tour can explain to you how to buy tickets and find your way if you plan to get around by yourself.