David Bowie (August 9, 1979) The Incomplete David Bowie – Rolling Stone

A two‑page feature from Rolling Stone reviewing David Bowie’s album *Lodger* and examining his artistic evolution through the 1970s. Written by Greil Marcus, the piece situates Bowie’s work within the broader cultural and aesthetic landscape of the decade.

Writer: Greil Marcus

Artist: David Bowie

Date: August 9 1979

Length: ~10 min read

The article opens with a full‑page illustration of Bowie by artist S. Begg, depicting him in a leather jacket against a muted background — a visual echo of the *Lodger* era’s introspective tone. Marcus’s essay, titled “The Incomplete David Bowie,” explores Bowie’s constant reinvention and his refusal to conform to expectations of pop stardom. He traces Bowie’s trajectory from *Hunky Dory* through *Ziggy Stardust*, *Young Americans*, and the Berlin Trilogy (*Low*, *“Heroes”*, *Lodger*), arguing that Bowie’s art is defined by fragmentation, ambiguity, and aesthetic distance. The review positions *Lodger* as both culmination and continuation — a record that resists closure while reaffirming Bowie’s restless creativity.

PUBLICATION

Publication: Rolling Stone

Date: August 9 1979

Country: United States

Section / Pages: Records – pp. 53–54

Title: The Incomplete David Bowie

FEATURE HIGHLIGHTS

Event: Critical review of Bowie’s *Lodger*

Era: 1979 – Berlin Trilogy period

Tone: Analytical and philosophical

Photography: Illustrated portrait by S. Begg

Audience: Rolling Stone readers and music critics

“David Bowie’s albums are not events, though given the aura he insists on, they’re halfheartedly presented as such time and again.”

THE STORY BEHIND IT

By 1979, Bowie had completed his Berlin Trilogy and was preparing to enter a new phase of his career. *Lodger* closed the experimental chapter that began with *Low* and *“Heroes”*, blending avant‑pop with global influences. Greil Marcus’s essay reflects the critical tension surrounding Bowie’s work at the time — admiration for his innovation tempered by questions about his emotional detachment. The piece captures the intellectual climate of late‑’70s rock criticism, where Bowie’s art was viewed as both visionary and elusive.

WHAT THE CLIPPING SHOWS

Event: Rolling Stone review of *Lodger*

Era: 1979

Tone: Reflective and critical

Photography: Full‑page illustration of Bowie

Audience: US music press readers

CONTEXT AND NOTES

Marcus’s writing situates Bowie within a lineage of artists who treat pop as conceptual art. The essay’s title, “The Incomplete David Bowie,” suggests that Bowie’s identity and output remain perpetually unfinished — a theme echoed in his later work. The accompanying illustration reinforces this idea, portraying Bowie as both iconic and enigmatic. The feature stands as one of Rolling Stone’s most intellectually rigorous treatments of Bowie’s music.SECONDARY QUOTE

“Perhaps Bowie has met his match in Berlin.”

“Perhaps Bowie has met his match in Berlin.”

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