Across the Bowie-verse: Eight One-of-a-kinds I interviewed in 2024
Much as Bowie himself was difficult to categorize, the eight individuals I interviewed in 2024 that I haven’t featured in one of my previous 2024 roundups don’t fit neatly into a grouping. This isn’t to say that there aren’t other playwrights, but Melissa “PK” Tonning-Kollwitz was the only playwright I interviewed in 2024 (and what a great interview that was!) I launched the interview segment of this blog in February of last year. With new weekly interviews planned indefinitely, this has really become the orienting feature of the blog itself. There’s a line in the song, “Scary Monsters,” that goes, “She opened strange doors that we’d never close again.” That’s what this larger project has done for me. Bowie, of course, is the foundation of this blog, but because he was so multifaceted, because he addressed so many topics, and because so many others have been inspired by him to take their own talents in all sorts of directions, exploring Bowie takes me in all kinds of directions as well. The following guests demonstrate what I mean. If you click on the bolded names, arranged in chronological order based on when the interviews took place, you will link to the original interviews. So, take a look, and come back tomorrow for a totally new interview:
Anthony DeCurtis. Anthony DeCurtis is one of the most influential chroniclers of rock music, with a career spanning over three decades as a Rolling Stone contributing editor, a Grammy-winning writer, and a professor at the University of Pennsylvania. In this interview, he shared insights on Bowie, whom he personally interviewed, as well as Lou Reed, with whom he was friends and about whom he wrote a biography. He also discussed teaching Bowie at one of the most prestigious universities in America.
Eugene Kibets. A remarkable concert called “Bowie Night” took place in Kyiv, Ukraine, where musicians found strength and unity through David Bowie’s music despite the ongoing war. Intrigued by this, I sought out and interviewed Eugene Kibets, the event’s organizer, who also runs a war-time cat rescue shelter named “Cats on Mars.” This interview not only explores Eugene’s story but also serves as a powerful reminder of how music transcends borders, generations, and even conflict. At the time, Eugene expressed uncertainty as to whether or not there would be a future Bowie Night in Kyiv, but as above logo indicates, I’m glad to report that Bowie Night will return later this year.
David Pichilingi and Alan Horne. The David Bowie World Fan Convention 2024 took place in Liverpool, England, celebrating Bowie’s legacy with the theme “The Year of the Diamond Dogs.” In this interview, event organizers David Pichilingi and Alan Horne shared insights into the convention’s origins, the planning behind its star-studded lineup—including Bowie collaborators like George Murray, Carlos Alomar, and Woody Woodmansey—and their mission to create an inclusive, immersive experience for fans. This interview offers a behind-the-scenes look at the dedication and passion that brought Bowie’s global fan community together for an unforgettable celebration.
Bill Childs. In this interview, Bill Childs, owner of Spare the Rock Records and producer of Let All the Children Boogie, discusses the making of this David Bowie cover album for children, its role in benefiting the It Gets Better Project, and Bowie’s cultural impact on gender identity and inclusion. Childs, known for his long-running radio show Spare the Rock, Spoil the Child, shares his approach to crafting family-friendly music that respects young listeners without condescension. Even years after its release, the album remains a great Bowie tribute, proving that quality music can engage both children and lifelong fans alike.
Melissa “PK” Tonning-Kollwitz. Melissa “PK” Tonning-Kollwitz, a theater professor and playwright, discusses her upcoming Bowie-inspired play, Turn and Face the Strange, which explores themes of chronic pain, self-discovery, and artistic transformation, with Bowie serving as a guide in the protagonist’s journey. In this two-part interview, she shares how Bowie’s creative process and boundary-pushing artistry influenced her own work, as well as her teaching methods that empower actors to embrace confidence and authenticity. The play, featuring Bowie speaking only in direct, actual quotes, reflects his legacy as both an artist and a spiritual guide, blending personal healing with his enduring influence on identity and reinvention.
Hannah Breschard. Hannah Breschard, the “original Space Cadet” who became a music journalist and editor, shared her journey from being a Bowie fan featured in the 1975 BBC documentary Cracked Actor to interviewing rock legends like Lou Reed, Iggy Pop, and Patti Smith. She reflects on Bowie’s influence on her career and intellectual growth, recalling how his music, literary references, and interviews shaped her perspective and inspired her work. Now working on a memoir, Hannah is a beloved figure in the Bowie community and is a great storyteller.
Frank Housh. Frank Housh, an arts and music critic, discusses his approach to criticism, the evolving role of the arts in society, and David Bowie’s lasting cultural impact. He explores how Bowie’s work remains both timeless and reflective of the eras in which it was created, addressing themes of identity, belonging, and transformation. The conversation also examines the challenges of criticism in a rapidly changing world and the importance of thoughtful, accessible analysis in helping audiences engage with art and music.
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And that wraps up my review of this blog’s contents in 2024, which really began with a roundup of the Drive-in Saturday Tuesday movie Review series when the drive-in season ended in November. So, I did a lot of reflecting on an extraordinary year — 2024 was really the year that this blog went from what amounted to a writing exercise without much of an audience, to a destination site with global reach. Yes, yes, I defied Bowie’s musical advice– “never look back” (“Golden Years,” 1976) and “don’t look back” (“Prisoner of Love,” 1989) but Bowie himself looked back, albeit in anger (“Look Back I Anger,” 1979), which I also didn’t do. Quite the opposite. And with 2025 well underway, I’m already experiencing some future nostalgia for next year’s review!