{"id":10378,"date":"2016-02-09T00:45:20","date_gmt":"2016-02-08T23:45:20","guid":{"rendered":"http:\/\/culturedarm.com\/?p=10378"},"modified":"2022-11-22T00:11:08","modified_gmt":"2022-11-21T23:11:08","slug":"behind-the-song-david-bowie-subterraneans","status":"publish","type":"post","link":"https:\/\/culturedarm.com\/staging\/5793\/behind-the-song-david-bowie-subterraneans\/","title":{"rendered":"Behind the Song: David Bowie &#8211; &#8216;Subterraneans&#8217;"},"content":{"rendered":"<div class=\"youtube-embed\" data-video_id=\"IevwLPV86os\"><iframe loading=\"lazy\" title=\"David Bowie -  Subterraneans\" width=\"696\" height=\"522\" src=\"https:\/\/www.youtube.com\/embed\/IevwLPV86os?feature=oembed&#038;enablejsapi=1\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<p>&#8216;Subterraneans&#8217; is the\u00a0closing\u00a0song on what has become perhaps David Bowie&#8217;s most critically acclaimed album:\u00a0<a href=\"http:\/\/pitchfork.com\/features\/staff-lists\/5932-top-100-albums-of-the-1970s\/10\/\">Pitchfork placed <em>Low<\/em> at number 1 on their &#8216;Top 100 Albums of the 1970s&#8217;<\/a>, on <a href=\"http:\/\/www.muzieklijstjes.nl\/Q100british.htm\">Q&#8217;s list of the &#8216;100 Greatest British Albums Ever&#8217;<\/a>\u00a0<em>Low<\/em> was Bowie&#8217;s highest entry at number 14, and while elsewhere it vies with\u00a0<a style=\"font-style: italic;\" href=\"http:\/\/www.pastemagazine.com\/blogs\/lists\/2012\/05\/the-70-best-albums-of-the-1970s.html?a=1\">Ziggy<\/a> <a style=\"font-style: italic;\" href=\"https:\/\/rateyourmusic.com\/charts\/top\/album\/all-time\">Stardust<\/a>\u00a0and\u00a0<em><a href=\"http:\/\/www.uncut.co.uk\/blog\/the-view-from-here\/some-further-thoughts-on-uncuts-200-greatest-albums-of-all-time-72252\">Hunky<\/a>\u00a0<a href=\"http:\/\/www.nme.com\/photos\/the-500-greatest-albums-of-all-time-100-1\/324644#\/photo\/87\">Dory<\/a><\/em>, and occasionally\u00a0<em>Station to Station<\/em> and <em>&#8220;Heroes&#8221;<\/em>,\u00a0<em>Low<\/em> is the constant, a work of abstract art whose crashing three-minute fragments of soul, funk, and rock on side one, and whose blurred electronic soundscapes on side two, seem equally to\u00a0point the way for so much of modern music.\u00a0Philip Glass wrote a 1992 symphony based on the work, but when <em>Low<\/em> was released in 1977 its reception was more mixed, marking yet another change in direction for the artist following the &#8216;plastic soul&#8217; period of <em>Young Americans<\/em> and <em>Station to Station<\/em>.<\/p>\n<p>While\u00a0they alienated some of his British fanbase, critically and commercially both\u00a0albums were a success. After moving from London first to New York, before settling in Los Angeles, <em>Young Americans<\/em> was Bowie&#8217;s most thorough engagement yet with distinctly American forms: recorded in Philadelphia in the autumn of 1974 during a break in the <em>Diamond Dogs<\/em> tour, its sound\u00a0&#8211; described by Bowie as &#8216;the squashed remains of ethnic music as it survives in the age of Muzak rock, written and sung by a white limey&#8217; &#8211; drew upon the local dance halls, soul, and R&amp;B, with Andy Newmark, previously a member of Sly and the Family Stone, on drums and a young Luther Vandross providing backing vocals. Issued in March 1975, the album went to number 9 on the <em>Billboard<\/em>\u00a0200, while the single &#8216;Fame&#8217;, featuring vocals from John Lennon, became\u00a0Bowie&#8217;s first US number 1.<\/p>\n<p>Recorded in Los Angeles towards the end of\u00a01975 before its release in January 1976,\u00a0<em>Station to Station<\/em>\u00a0took the soul and R&amp;B of <em>Young Americans<\/em> into dark obscurity, containing several of Bowie&#8217;s longest compositions, its lyrics rooted in occultism and the mysticism of Christianity and the Kabbalah, while displaying the artist&#8217;s first musical engagement with avant-garde electronics and krautrock. <a href=\"http:\/\/www.robertchristgau.com\/get_album.php?id=958\">Robert Christgau in <em>The Village Voice<\/em> gave the record an A rating<\/a>, writing that Bowie &#8216;can merge Lou Reed, disco, and Huey Smith&#8217; and &#8216;Miraculously, Bowie&#8217;s attraction to black music has matured; even more miraculously, the new relationship seems to have left his hard-and-heavy side untouched&#8217;.<\/p>\n<p><a href=\"http:\/\/www.sheilaomalley.com\/?p=74354\">In <em>Creem<\/em> Lester Bangs &#8211; the champion of Bowie&#8217;s early idols and later collaborative partners Lou Reed and Iggy Pop &#8211; regarded\u00a0<em>Station to Station<\/em> as the star&#8217;s best record yet<\/a>. Readily admitting to his previous dismissal\u00a0of the artist &#8211; his sense that &#8216;all that Ziggy Stardust homo-from-Adelbaran business was a crock of shit&#8217;, that Bowie &#8216;wrote the absolute worst lyrics&#8217; and musically was no more than an &#8216;accomplished eclectician (a.k.a. thief)&#8217; &#8211; he nevertheless described <em>Young Americans<\/em> as a breakthrough, and <em>Station to Station<\/em> as:<\/p>\n<p style=\"text-align: center;\"><em>&#8216;an honest attempt\u00a0by a talented artist to take elements of rock, soul music, and his own idiosyncratic and occasionally pompous showtune\/camp predilections and rework this seemingly contradictory melange of styles into something new and powerful that doesn&#8217;t have to cop either futuristic attitudes or licks from Anthony Newley and the Velvet Underground because he&#8217;s found his own voice at last.&#8217;<\/em><\/p>\n<p><em>Station to Station<\/em> reached number 3 on the <em>Billboard<\/em> 200, becoming Bowie&#8217;s highest charting album in the US until <em>The Next Day<\/em>\u00a0signalled an all-too-brief return in 2013. But at the time, with its roots extending back to the <em>Diamond Dogs<\/em> tour, Bowie was in the throes of a serious addiction to cocaine.\u00a0Some of his regular musicians\u00a0of the period, including the guitarists Carlos Alomar and Earl Slick, would describe the sessions for <em>Station to Station<\/em> as among his most experimental, but Bowie later confessed to remembering nothing of the album&#8217;s production, stating \u00a0<a href=\"http:\/\/7ec%26pg%3Dpa291%26lpg%3Dpa291%26dq%3Dbowie+i+know+it+was+in+la+because+i%27ve+read+it+was%26source%3Dbl%26ots%3Dy9uz9kekt0%26sig%3Df-jaj4cihcjncjpzgxq66eq-huo%26hl%3Den%26sa%3Dx%26ved%3D0ahukewjs3jfxynxkahxbfq8khetrdckq6aeiidab\/#v=onepage&amp;q=bowie%20i%20know%20it%20was%20in%20la%20because%20i've%20read%20it%20was&amp;f=false\">&#8216;I know it was in LA because I&#8217;ve read it was&#8217;<\/a>.<\/p>\n<p>Tony Visconti suggested that by the recording of <em>Young Americans<\/em>, Bowie was <a href=\"http:\/\/score.addicaid.com\/david-bowie-and-cocaine-psychosis\/\">&#8216;taking so much cocaine it would have killed a horse&#8217;<\/a>. In the guise of his character The Thin White Duke, in Stockholm a &#8216;totally crazed&#8217; Bowie told a reporter\u00a0that &#8216;Britain could benefit from a fascist leader&#8217;, while in London, waving at crowds from an open-top Mercedes, he made what was construed as a Nazi salute. <a href=\"http:\/\/www.telegraph.co.uk\/music\/artists\/david-bowie-interview-from-1996-i-have-done-just-about-everythin\/\">He later recalled<\/a>:<\/p>\n<p style=\"text-align: center;\"><em>&#8216;I blew my nose one day in California and half my brains came out.\u00a0I was in a serious decline, emotionally and socially I think I was very much on course to be just another rock casualty \u2013 in fact, I\u2019m quite certain I wouldn\u2019t have survived the Seventies if I\u2019d carried on doing what I was doing. But I was lucky enough to know somewhere within me that I really was killing myself, and I had to do something drastic to pull myself out of that. I had to stop, which I did.&#8217;<\/em><\/p>\n<p style=\"text-align: left;\">Bowie\u00a0departed\u00a0Los Angeles, afterwards remarking <a href=\"http:\/\/www.bowiegoldenyears.com\/articles\/800913-nme.html\">&#8216;The fucking place should be wiped off the face of the Earth.\u00a0To be anything to do with rock and roll and go and live in Los Angeles is, I think, just heading for disaster&#8217;<\/a>. His destination was continental Europe, where he stayed initially around Paris, before purchasing a seven-bedroom villa\u00a0at Clos des M\u00e9sanges near Vevey in the hills north of Lake Geneva. He began a self-improvement course in painting, classical music, and literature, and became an avid collector of expressionist art, until in late 1976 he moved to West Berlin, where he shared an apartment on the Hauptstrasse with Iggy Pop.<\/p>\n<p style=\"text-align: left;\">In fact while Bowie&#8217;s next three albums would become known as the &#8216;Berlin Trilogy&#8217;, work had begun near Paris at the <span lang=\"fr\" xml:lang=\"fr\">Ch\u00e2teau<\/span><span lang=\"fr\" xml:lang=\"fr\"> d&#8217;H\u00e9ro<\/span><span lang=\"fr\" xml:lang=\"fr\">uville. The ch\u00e2teau, once painted by Vincent van Gogh, had been converted in 1969 into a deluxe residential studio by the French film composer Michel Magne. There in the summer of 1976, an early surge of creative energy went towards\u00a0Iggy Pop&#8217;s debut solo album <em>The Idiot<\/em>. The recording of <em>Low<\/em>\u00a0commenced in September, and Bowie, the album&#8217;s producer Tony Visconti, and chief collaborator Brian Eno all reported strange experiences with the supernatural, with the rumour that the ch\u00e2teau was haunted by the ghosts of Chopin and George Sand. <a href=\"http:\/\/www.bowiegoldenyears.com\/low.html\">Visconti said<\/a>:<\/span><\/p>\n<p style=\"text-align: center;\"><em>&#8216;There was certainly some strange energy in that chateau. On the first day David took one look at the master bedroom and said, &#8220;I&#8217;m not sleeping in there!&#8221; He took the room next door. The master bedroom had a very dark corner, right next to the window, ironically, that seem to just suck light into it. It was colder in that corner too. I took the bedroom because I wanted to test my meditation abilities. I never admitted this before. I had read that Buddhists in Tibet meditated all night in a graveyard to test their level of fear\/no fear. Milarepa, the Tibetan saint, sat on his dead mother&#8217;s body all night and meditated. It felt like it was haunted as all fuck, but what could Frederic and George really do to me, scare me in French? I loved the look of the room so I decided to spend one night there. If something happened I planned to shout so loud I&#8217;d wake up the village.\u00a0Eno claims he was awakened early every morning with someone shaking his shoulder. When he opened his eyes no one was there.&#8217;<\/em><\/p>\n<p style=\"text-align: left;\">The sessions continued in October at the Hansa Tonstudio in Berlin, often referred to by anglophone\u00a0acts of the time as &#8216;Hansa by the Wall&#8217;. Carlos Alomar and Ricky Gardiner on rhythm guitar, Dennis Davis on percussion, George Murray on bass, and Roy Young on piano and organ, all contributed to the record&#8217;s first side; Iggy Pop provided backing vocals on &#8216;What in the World&#8217; and Mary Visconti on &#8216;Sound and Vision&#8217;; the cello of Eduard Meyer enhanced &#8216;Art Decade&#8217;; and Brian Eno played synthesizers throughout.<\/p>\n<p style=\"text-align: left;\">Eno was largely responsible for the composition of the record&#8217;s second side. He had written the theme and instrumentation for &#8216;Warszawa&#8217; at the <span lang=\"fr\" xml:lang=\"fr\">Ch\u00e2teau<\/span><span lang=\"fr\" xml:lang=\"fr\"> d&#8217;H\u00e9ro<\/span><span lang=\"fr\" xml:lang=\"fr\">uville<\/span>\u00a0while Bowie was away in Paris attending court hearings against his former manager Michael Lippman, making good use of Visconti&#8217;s four-year-old son for the song, who sat beside him\u00a0playing A, B, C in a loop on the studio piano. The phrase became the basis for the &#8216;Warszawa&#8217; theme, and on his return a suitably impressed Bowie\u00a0&#8211; whose agitation over the court case had already determined his imminent move to Berlin &#8211; wrote the song&#8217;s lyrics in a matter of minutes. <a href=\"https:\/\/bowiesongs.wordpress.com\/2011\/03\/15\/warszawa\/\">Their oblique yet euphonic patterns of sound echo the &#8216;Helokanie&#8217; of Polish composer Stanislaw Hadyna and his folk band Slask, whose records Bowie had bought during a stopover in Warsaw in April<\/a>:<\/p>\n<p style=\"text-align: center;\"><em>&#8216;Sula vie dilejo<br \/>\nSolo vie milejo<br \/>\nCheli venco deho<\/em><br \/>\n<em>Cheli venco deho<br \/>\nMalio<br \/>\nHelibo seyoman<br \/>\nCheli venco raero<br \/>\nMalio<\/em><br \/>\n<em>Malio&#8217;<\/em><\/p>\n<p>Beyond Eno&#8217;s influence, the structure and composition of <em>Low<\/em> had several precedents. The record&#8217;s working title was <em>New Music Night and Day<\/em>, <a href=\"https:\/\/bowiesongs.wordpress.com\/2011\/03\/02\/subterraneans\/\">and its two discrete sides bear similarities to <em>Neu! 75<\/em><\/a>, the third album by the krautrock band Neu!, whose hybrid form &#8211; with minimal pieces\u00a0in the original Neu! style\u00a0on side one and more unconventional works, recorded with an expanded four-piece ensemble, on side two &#8211; was the result of a compromise between Klaus Dinger and Michael Rother. <em>Neu! &#8217;75<\/em> contains a song called\u00a0&#8216;Hero&#8217;, which is considered one of the inspirations for Bowie&#8217;s &#8216;&#8221;Heroes&#8221;&#8216;, the title song of <em>Low<\/em>&#8216;s successor.<\/p>\n<p>Otherwise some of the ideas on <em>Low<\/em> had their\u00a0genesis in the intended soundtrack for <em>The Man Who Fell to Earth<\/em>,\u00a0the 1976 science fiction film starring Bowie, whose score was ultimately rejected by director Nicolas Roeg. But &#8216;Subterraneans&#8217; contains the only physical remnant from the otherwise scrapped recording sessions, which comes in the guise\u00a0of George Murray&#8217;s dolorous reversed bassline. Allied to the swells and bleeps of pianos and multilayered synthesizers, played by Bowie and Eno, and to the visceral groans of a submerged chorus, &#8216;Subterraneans&#8217; became the most edited song on <em>Low<\/em>. At 0.47, the descending synthesizer melody introduces a motif from Edward Elgar&#8217;s &#8216;Nimrod&#8217;. At 3.11 Bowie&#8217;s saxophone splutters into view, weaving and whinnying and trailing off into the distance.\u00a0And at 3.53, in the final third of the song, the chorus briefly finds its tongue, singing a series of short phrases that turn some of the sounds of &#8216;Warszawa&#8217; into enigmatic\u00a0images:<\/p>\n<p style=\"text-align: center;\"><em>&#8216;Share bride failing star<\/em><br \/>\n<em> Care-line<\/em><br \/>\n<em> Care-line<\/em><br \/>\n<em> Care-line<\/em><br \/>\n<em> Care-line riding me<\/em><br \/>\n<em> Shirley, Shirley, Shirley, own<\/em><br \/>\n<em> Share bride failing star&#8217;<\/em><\/p>\n<p>Bowie meant &#8216;Subterraneans&#8217; to evoke those who &#8216;got caught in East Berlin after the separation &#8211; hence the faint jazz saxophones representing the memory of what it was&#8217;. The lyrics, which have been linked to\u00a0<a href=\"https:\/\/culturedarm.com\/staging\/5793\/burroughs-u-s-drag-publication-naked-lunch\/\">William Burroughs&#8217; use of the cut-up technique<\/a>, were again impelled by Eno&#8217;s working methods, <a href=\"http:\/\/www.teenagewildlife.com\/Interact\/fc\/misc\/JG\/L.html#S\">with Bowie affirming<\/a>,\u00a0&#8216;What he&#8217;s injected into it is a totally new way of looking at it, or another reason for writing: he got me off narration which I was so intolerably bored with&#8217;. Performed live alongside co-headliners Nine Inch Nails during the 1995 <em>Outside<\/em> tour, &#8216;Subterraneans&#8217; instead incorporated the lyrics from the song &#8216;Scary Monsters&#8217;, which followed &#8216;Subterraneans&#8217; on the setlist.<\/p>\n<p>Among critics upon the release of <em>Low<\/em> in January 1977, Robert Christgau praised the &#8216;fragments&#8217; of side one as &#8216;almost as powerful as the &#8220;overlong&#8221; tracks on <em>Station to Station<\/em>&#8216;, <a href=\"http:\/\/www.robertchristgau.com\/get_album.php?id=960\">however he was less enamoured with side two<\/a>, calling its &#8216;movie&#8217; music &#8216;far from hypnotic&#8217;, before wondering &#8216;is Eno really <em>completely<\/em> fascinated by banality?&#8217;. In a similar vein, John Milward of <em>Rolling Stone<\/em> averred that &#8216;Bowie lacks\u00a0the self-assured humour to pull off his avant-garde aspirations&#8217;, and Robert Hilburn of the <em>Los Angeles Times<\/em> argued that too much of the record was &#8216;beyond mass pop sensibilities for it to build much enthusiasm&#8217;.\u00a0On the other hand, hearing beyond the distant &#8216;doggerel&#8217; of the lyrics and the &#8216;strange and spacey&#8217; instrumentals, <a href=\"http:\/\/query.nytimes.com\/gst\/abstract.html?res=9D01E5DB1F3AEF33A25757C1A9679C946690D6CF\">John Rockwell at <em>The New York Times<\/em> wrote<\/a>\u00a0&#8216;the whole thing strikes this listener as remarkably, alluringly beautiful&#8217;.<\/p>\n<p>Eno viewed\u00a0the &#8216;Berlin Trilogy&#8217; of <em>Low<\/em>, <em>&#8220;Heroes&#8221;<\/em>, and <em>Lodger<\/em> as a time\u00a0of artistic sympathy and shared exploration, noting &#8216;We&#8217;d both, quite separately, started to imagine this fusion of European electronica and funk, with a mood overlay, if you like. We were both thinking very cinematically&#8217;. Bowie said of <em>Low<\/em>:<\/p>\n<p style=\"text-align: center;\"><em>&#8216;There&#8217;s oodles of pain in the Low album. That was my first attempt to kick cocaine, so that was an awful lot of pain. And I moved to Berlin to do it. I moved out of the coke centre of the world\u00a0into the smack centre of the world. Thankfully, I didn&#8217;t have a feeling for smack, so it wasn&#8217;t a threat.&#8217;<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>&#8216;Subterraneans&#8217; is the\u00a0closing\u00a0song on what has become perhaps David Bowie&#8217;s most critically acclaimed album:\u00a0Pitchfork placed Low at number 1 on their &#8216;Top 100 Albums of the 1970s&#8217;, on Q&#8217;s list of the &#8216;100 Greatest British Albums Ever&#8217;\u00a0Low was Bowie&#8217;s highest entry at number 14, and while elsewhere it vies with\u00a0Ziggy Stardust\u00a0and\u00a0Hunky\u00a0Dory, and occasionally\u00a0Station to Station [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":10672,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"nf_dc_page":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2}},"categories":[4006,3880],"tags":[4227,894,1836,4226],"class_list":{"0":"post-10378","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-behind-the-song","8":"category-music","9":"tag-berlin","10":"tag-david-bowie","11":"tag-low","12":"tag-subterraneans"},"jetpack_publicize_connections":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.9 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Behind the Song: David Bowie - &#039;Subterraneans&#039;<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/culturedarm.com\/behind-the-song-david-bowie-subterraneans\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Behind the Song: David Bowie - &#039;Subterraneans&#039;\" \/>\n<meta property=\"og:description\" content=\"&#8216;Subterraneans&#8217; is the\u00a0closing\u00a0song on what has become perhaps David Bowie&#8217;s most critically acclaimed album:\u00a0Pitchfork placed Low at number 1 on their &#8216;Top 100 Albums of the 1970s&#8217;, on Q&#8217;s list of the &#8216;100 Greatest British Albums Ever&#8217;\u00a0Low was Bowie&#8217;s highest entry at number 14, and while elsewhere it vies with\u00a0Ziggy Stardust\u00a0and\u00a0Hunky\u00a0Dory, and occasionally\u00a0Station to Station [&hellip;]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/culturedarm.com\/behind-the-song-david-bowie-subterraneans\/\" \/>\n<meta property=\"og:site_name\" content=\"Culturedarm\" \/>\n<meta property=\"article:author\" content=\"https:\/\/www.facebook.com\/culturedallroundman\" \/>\n<meta property=\"article:published_time\" content=\"2016-02-08T23:45:20+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2022-11-21T23:11:08+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/i0.wp.com\/culturedarm.com\/wp-content\/uploads\/David-Bowie-Subterraneans-1.jpg?fit=1200%2C802&ssl=1\" \/>\n\t<meta property=\"og:image:width\" content=\"1200\" \/>\n\t<meta property=\"og:image:height\" content=\"802\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Christopher Laws\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@https:\/\/twitter.com\/culturedarm\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Christopher Laws\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"11 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/culturedarm.com\/behind-the-song-david-bowie-subterraneans\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/culturedarm.com\/behind-the-song-david-bowie-subterraneans\/\"},\"author\":{\"name\":\"Christopher Laws\",\"@id\":\"http:\/\/culturedarm.com\/#\/schema\/person\/9034b985ef3e4c9cea454b05beb6a4f5\"},\"headline\":\"Behind the Song: David Bowie &#8211; 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