Was Y2K an Unfixable Problem, Hysteria, or an Easy Fix?


“You never get credit for the disasters you avert,” Technology forecaster Paul Saffo told the New York Times in 2013. 

The greatest fear of the Y2K (Year 2000) bug was the fear of the unknown. In 1999, we thought the unfixable” Y2K bug was a first step in our dystopian future. We can all have a laugh about it now, but very few of us were laughing in December 1999. We didn’t know, and that’s what scared us.

The crux of the fear, for those who didn’t live through it, was that computer programmers didn’t bother listing the full four numbers of a year. 1995, for example, was listed by most computers as 95. 1996 was listed by computers as 96, and so on and so forth. The fear was that when the calendar flipped from 1999 to 2000, computers might not be able to distinguish between 1900 and 2000, because computers, in computer-reliant industries, might not be able to distinguish between the years, since they had, to this point, only listed years as two digits.

If it was fixed, did it require a collective effort from private companies, government expenditures that some estimate in the range of $400 to $600 billion, and independent engineers, or was this largely exaggerated problem a relatively easy fix? Was the problem greatly exaggerated and overhyped?

Some of us had our own, internalized doomsday clock in December of 1999, because we feared the unknown. Did we fear it from the comfort of our own home, because we were told to fear it? We were told it would affect every human’s daily life in one way or another. Large or small, we thought every day life wouldn’t be as great as it once was in December 1999. Some of us thought the electricity grid might go down, we heard planes might fall from the sky, our cars and unprepared computers would become inoperable, and our bank’s automatic teller machines (ATMs) would not dispense money. We all laugh about it now, but some maintain that tragedy was averted, and when tragedy is averted without a noteworthy event, we quickly forget how tragic it could’ve and probably should’ve been.

If any problem solver fixes a problem before it ever becomes a problem, they receive no credit for it. If they’re concerned with receiving some form of credit, the most advantageous route is to forestall a solution to allow noteworthy events to occur, and then fix it and save the world. As we all know, this did not happen in the Y2K scare.

I knew people who stocked their pantries with bottled water and grain pellets, I knew others who withdrew extra cash from their bank’s ATM, and I knew a number of people who bought Y2K software updates for their computers. No one knew everything, but we all knew some things, and everyone knew that we had to be prepared for anything. Our reaction to the scare defined us in 1999, but it further defined us on January 1, 2000, as it was noteworthy what we did to avoid becoming a victim of something that never happened. Whatever you did became the subject of ridicule.

The theoretical question we asked one another in 1999 was not when it would affect us, because we all knew that. The question was how much would it affect our daily lives? Few reasonable and rational adults asked the question if it would affect us. Due to the fact that computers were still relatively new to us, we considered it a fait accompli that it would affect us. We grew up with science fiction movies that revolved around a plot that that which can help man today could one day, and in some way, ruin man in a dystopian manner that no one saw coming.

In those movies, the proverbial, street corner bell ringer was always the best-looking actor in the movie (which lends their character more gravitas) warning the less attractive (and thus less aware) side characters of impending doom. None of the average-to-ugly actors in the movies recognized the true, impending threat for what it was until it was too late. We didn’t want anyone to consider us average-to-ugly, so we mentally prepared for the day when an attractive person lofted a preposterous notion to us.

In 1985, someone posed a theoretical question about how Y2K might affect computers when the century switched, but the problem for us was we didn’t know how attractive that theoretician was, so we didn’t take it seriously. Their theoretical notion hinged on the idea that for decades computer programmers wrote the year in shorthand. They didn’t write out the year 1985, they wrote 85. Some claimed the shorthand was done to save memory space. Thus, when the year flipped from 99 to 00, we feared that all of our computers would believe the year was 1900, 1800, or even year 00? Most of us didn’t believe that computers would transport us bedside, next to the baby Jesus, but we feared that our computers would fail to recognize the logic of the switch, and that the bug it created might introduce such internal confusion in the computer’s mainframe that they would simply shutdown. We feared any human input introduced to combat this inconsistency would prove insufficient, and that human interference could lead to some unforeseen complications, and we feared our computers would be unable to sort it out? The theoretical question reached hysterical proportions in the fourteen years between 1985 and 1999, as America grew more and more reliant on computers for everything from its most important activities (travel) to its most basic (ATMs and the electrical grid).

My guess is that the recipient of that first theoretical question brought it to a closed-door boardroom, and some of those board members took that question out to other parties, until someone in the media heard the question and thought it might prove to be an excellent ongoing question to ask an audience in ongoing features every week. They could start a Tuesday Tech story of the week in which they asked the informed and uninformed what they thought of a problem that wasn’t a problem yet, but could be a problem when the calendar flipped.

Media figures play two roles in our lives, they tell us what we need to hear, read, and see, and they tell us what we want to hear. We don’t want to hear eggheads talk 1s and 0s, unless they can make it apply to our lives with a quality presentation. That, in my opinion, provides stark clarity on our mindset, because we prefer the presentations inherent in science fiction to the hard science of the actual factual.

“Nobody cares about computer programming,” we can guess a network executive informed that ambitious reporter’s Tuesday Tech proposal. “Why should I care about this?”

“The angle we’re proposing is more granular,” this reporter said. “The first network focused on the larger question of computer technology in their Tech Tuesday reports. In our Tech Thursday features, we’ll explore how much of our lives are now dependent on computers. Our energy grid, the tanks at the gas station, and the ATMs. We plan on bringing this theoretical problem home to where people live. We will say this Y2K bug is not just going to affect Silicon Valley and Wall Street, it could have far-reaching implications for citizens watching from Pocatello, Idaho to Destin, Florida, and here’s how …”

As usual with hysterical premises of this sort, the one component most news agencies, and the word-of-mouth hysteria that follows, fail to address is human ingenuity. Rarely, do we hear a reporter say, “We’ve all heard the problem called the Y2K bug, but we rarely hear about proposed solutions. Today, our guest Derrick Aspergren will talk about proposed solutions to comfort the audience at home.” The problem for news agencies is that the Derrick Apergrens of the world are often not very attractive or charismatic, and they speak in ones and zeroes. Even though most computer problems and solutions involve a lexicon of ones and zeroes, no one wants to hear it, and few will remember it. As a result, news agencies rarely give Derrick Aspergrens airtime, and they focus on the dramatic and provocative, proverbial bell ringers standing on a street corner.

In 1999, we rarely heard the question, can hardware engineers and electrical engineers fix a problem they created? The learned fear we’re conditioned to believe, based on the plot lines of so many science fiction movies, is that if we dig deep enough, we’ll discover that this isn’t a human problem at all, but a problem generated by a scary conglomeration of ones and zeroes we call AI (artificial intelligence). We knew little-to-nothing about the potential of AI in 1999, but we feared it, and its potential, because we feared the unknown. “AI is here, and there’s nothing we can do about it!” was (and is) the battle cry of conspiracy theorists on radio, in our neighborhoods, and in our work place. The truth is often much less dramatic.

The truth, we now know, was somewhere south of the hype. The truth lived somewhere in the question of whether the Y2K fear was real. If it required a big, worldwide fix, as some suggest happened, how come there were no Nobel Prizes handed out? “That’s because it required a collective effort from so many minds, around the world that there was no individual to accord credit.” Or, was the fix so easy that any hardware engineer, worth half of his college tuition payments, was able to do it?

Was the Y2K scare a tragedy averted by hardware engineers enduring mind-numbing hours of editing, or was the entire affair hyped up through media mis, dis, or mal-information? I don’t remember the reports from every media outlet, but how much focus did the round robin hysteria generated by the media place on possible and probable fixes? Some suggest if there was a need for a fix, it could be easily accomplished by hardware programmers, and others suggest it was never this world-shaking threat we thought it was.

The problem for us was that the problem was so much more interesting than the fix. Take a step back to December 1999, and imagine this news report, “Here we have a man named Geoffrey James, who says, “If Y2K experts (some of whom have a software background but none a hardware background) ask some electrical engineers about date checking in embedded systems, they will learn that only a complete idiot would do anything resembling the conversion and comparison of calendar dates inside a chip. We use elapsed time, which is a simple, single counter; it takes ten seconds to add to a circuit.

“I may oversimplifying but ultimately the reasoning doesn’t matter,” Geoffrey continues, “the unfixable system problem either isn’t real or isn’t significant enough to spawn a disaster. Because there aren’t any.” That rational and reasonable explanation from someone purportedly in the know would’ve gone in one ear and out the other, because for some of us there are no absolutes, and there are no quick fixes. When someone dangles the prospect of a simple solution to the simplest problems, we swat them away:

“You mean to tell me that all they have to do is add to a circuit. I ain’t buying it brother, and if I were you, I wouldn’t buy it either. I wouldn’t go out into the world naked with the beliefs of some egghead. We all have to prepare for this, in one way or another, we must prepare.”

Some of us thought the Y2K bug would force us to back to the primal life of the cavemen, or at least to the latest and greatest technology of the McKinley administration of 1900. Friends of mine thought those of us who know how to hunt and forage for food would once again take their rightful place atop the kingdom of those who grew so accustomed to the comfy life of a visit to the neighborhood grocery store. More than one person I knew thought our appliances might explode, and that Americans might finally know what it’s like to live in the poorest third-world nations in the world. They thought we would return to our primal life, and our TV shows and movies reflected that fear, anxiety, and (some say) desire to return to our primal roots.

News reports stated that hardware engineers and other electrical engineers were working on the problem, but they’re not sure they’ll have a workable in time. We knew the line: “For every problem there is a solution,” but when you’re in the midst of hysteria, lines like, “This was a man-made problem that requires a man-made solution” provide no comfort. We all know that tangled within mankind is a ratio of geniuses who not only know how to propose solutions, but they know how to apply and implement them. We know this, but humans suffer from an ever-present inferiority complex that suggests no mere mortal can resolve a crisis like this one. We know this because no self-respecting science fiction writer would ever be so lazy as to suggest that a mortal, whether they be a military leader with a blood lust who wants to detonate a warhead on the monster, a policeman who believes that a bullet can kill it, or an egotistical scientist can resolve this particular dystopian dilemma.

Even though this was a man-made problem, few outside the halls of hardware engineer offices believed man could solve the problem. We heard about geniuses who brought us incredible leaps of technology so often that it was old hat to us. We knew they could build it, but there was this fear, borne in the human inferiority complex, and propagated by the sci-fi movies we loved, that technology had spiraled so out of our control that it was now beyond human comprehension to fix it.

Was Y2K overhyped as an unfixable problem, was the solution so elementary that it simply took a mind-numbing number of man hours to implement it, or was it a simple hardware fix? I don’t know if the numerous media outlets who ran their Tech Tuesday features ever focused on the idea that the Y2K problem, of two digits vs. four, was generated by a theoretical question someone asked fifteen years before, but I told my terrified friends as much. “If this whole thing is based on a theoretical question, what is the theoretical answer?” With fellow uneducated types, I furthered, “And if we search through the theoretical answers, we might find an actual one.” The theme of my response involved the hope that we weren’t so terrified by the questions that we failed to seek answers, and I was shouted down. I was shouted down by uneducated types, like me, and I was, am, and forever will be woefully uninformed on this subject. They told me that I didn’t understand the complexities involved, that this situation was far more serious, and that I was underestimating it. I’d love to say that I adjusted the focus of my glasses, as I attempted to adjust theirs, but when the screaming majority in your inner circle is convinced to consensus those who are relatively uninformed either silence or buckle. I cowered, and I regrettably conformed to some of their fears, but I didn’t know any better. None of us did. The one takeaway I have from the hysteria we now call Y2K is that we should use Y2K hysterica’s fears as a precedent. If we have theoretical questions based on theoretical questions we should ask them of the more informed, more educated “experts”, because theoretical questions could eventually lead to some actual answers. The alternative might result in us shutting down the world over some hysterical fear of the unknown.

Guiteau Gets Garfield


“I am a Stalwart of the Stalwarts … Arthur is President now,” an assassin named Charles Julius Guiteau said after shooting the 20th President of the United States, James Abram Garfield in the back at the Baltimore and Potomac Railway station in Washington D.C., on July 2, 1881. (New York Herald, July 3, 1881).  

Charles Guiteau believed he played an instrumental role in the presidential election of James Garfield, and he thought the administration owed him a job. He believed he was a Stalwart, a hard working, supporter of the cause, and when the administration decided not to reward him for his efforts, he decided to shoot the president. He dressed the motive up later, saying that he was on a mission from God to save the party and the country, but the motive that drove him to borrow money for a gun, practice target shooting, and stalk the president arose because the president wouldn’t give him a job.  

There are no records of a meeting between Garfield and Guiteau, so there were no personal rejections, but Garfield’s Secretary of State told Guiteau to “Never bother me again about the Paris consulship so long as you live.” There are also no records of a direct relationship between Guiteau’s annoying persistence and the Garfield administration’s decision to end the practice of offering positions to Stalwarts, also known as the patronage or spoils system. Ending this practice, encouraged Guiteau to believe he should assassinate a president.  

Why did Charles Guiteau do it? What drove this man to want to commit such a violent? What was his motive? Inquiring rubberneckers of history want to know. We could say people just have a natural curiosity, but that would suggest that once we have our answer, we all walk away. We’re obsessed with serial killers, mass murderers, psychopaths, sociopaths, and assassins. We want to know what drives them to violence. 

Is our drive to find out what drove them all about intrigue, or do we have a motive behind wanting to know the motive? Who cares why a man kills people? Who cares why a man tries to assassinate a world leader? Some suggest that if we know the motive, we might be able to prevent future incidents of a similar nature. To do that, we need to understand the criminal mind. To do what? What if the violent perpetrator has no motive? What if he lies? What if he realizes that assassinating a president, because that president wouldn’t give him a job is a pretty stupid reason to kill a man? What if he invents a motive to assign some level of importance to what he did? What if the truth is that he always wanted to commit a random act of violence?  

Do we appreciate it when a killer provides a specific motive for his actions? Does knowing a motive provide us some level of comfort? Some accept the fact that someone shot a bunch of people, because a dog told him to do it. It’s better to believe that than it is to think that they did it because they just wanted to commit a random act of violence.   

In service to his Stalwart duties, Guiteau gave poorly attended speeches on candidate Garfield’s behalf. The audience to these speeches suggest Guiteau thought President Ulysses S. Grant was going to seek a third term. They thought he simply crossed out the name Grant and replaced it with Garfield. They said this because Guiteau accidently attributed Grant’s accomplishments to Garfield. The mentally unstable Guiteau still believed he proved instrumental in Garfield’s victory, and he wrote numerous letters to Garfield, and he visited the White House and the State Department numerous times, to argue that they should reward him for his efforts with a position in Garfield’s administration. When these efforts failed, the narcissist Guiteau decided he needed to assassinate the president to save his party and his land. 

“[S]aved my party and my land. Glory hallelujah!” Guiteau wrote in a poem he recited, as his last words before execution. “But they have murdered me for it, and that is the reason I am going to the Lordy.”  

Before the assassination attempt [Guiteau] wrote an “Address to the American People,” making the case for Garfield’s assassination. In his address, Guiteau accused Garfield of “the basest ingratitude to the Stalwarts” and said the president was on a course to “wreck the once grand old Republican party.” Assassination, Guiteau wrote, was “not murder; it is a political necessity.” He concluded, “I leave my justification to God and the American people.”  

Guiteau wrote a second justification for his planned assassination or, as he called it, “the President’s tragic death.” Guiteau, claiming himself to be “a Stalwart of the Stalwarts,” wrote that “the President … will be happier in Paradise than here.” He ended his note with the words, “I am going to jail.” 

Guiteau arrived at the station about 8:30. He felt ready for the job, having practiced his marksmanship on a riverbank on the way to his destination. Garfield entered the nearly empty station at 8:25 with Secretary Blaine and a bag-carrying servant. They walked several steps into the carpeted “ladies’ waiting room” when Guiteau fired his first shot. It grazed Garfield’s arm. Guiteau moved two steps and fired a second shot. The bullet entered Garfield’s back just above the waist. The president fell as the back of his gray summer suit filled with blood. 

After shooting the president, Guiteau tried to calm the onlookers, “It’s all right, it’s all right,” he said before the police officer on duty arrested him. 

“I did not kill the President,” Guiteau said during his trial. “The doctors did that. I merely shot him.” Though a laughable defense in a criminal proceeding, historians suggest that when used as a defense against execution in a murder in the first-degree case, it might merit some consideration. Esteemed historians, such as Candace Millard, author of the excellent Destiny of the Republic, suggests that if President James A. Garfield’s doctors did nothing, Garfield might have recovered. Her assumption is based on the idea that the doctors who attempted to locate Guiteau’s bullet were untrained in Listerian antiseptic methods that would be in widespread use a decade later. Historian, and Garfield biographer, Allan Peskin disagrees. He stated, “That medical malpractice did not contribute to Garfield’s death; the inevitable infection and blood poisoning that would ensue from a deep bullet wound resulted in damage to multiple organs and spinal bone fragmentation.” An autopsy identified the cause of death as a rupturing of an aneurysm in the splenic artery. 

In the hours after his arrest, Guiteau acted strangely. On the way to city jail with a police detective, Guiteau asked the officer if the detective was a Stalwart. When the detective replied that he was, Guiteau promised to make him chief of police. In jail, he balked at removing his shoes, complaining that if he walked barefoot over the jail’s stone floors “I’ll catch my death of cold.” When a photographer snapped his photo, he demanded a royalty payment of $25.  

Prosecutor John K. Porter demanded to know whether Guiteau was familiar with the Biblical commandment, “Thou shalt not kill.” Guiteau responded that in this case “the divine authority overcame the written law.” He insisted, “I am a man of destiny as much as the Savior, or Paul, or Martin Luther.” 

Guiteau approached his hanging with a sense of opportunity, but he eventually abandoned his plan to appear for the event dressed only in underwear (to remind spectators of Christ’s execution) after being persuaded that the immodest garb might be seen as further evidence of his insanity. 

The problem for Guiteau, as it applied to a first-degree murder case, was that he displayed the characteristics of malice and forethought. He stalked President Garfield, he practiced shooting the gun he purchased at a riverbank, and he abandoned a previous attempt to assassinate the president, because the president was with his wife at the time, and Guiteau didn’t want to upset the wife.  

The trial of Charles Julius Guiteau was what some call “the most celebrated insanity trial of the century” with many alienists (psychiatrists) debating whether Guiteau was sane. Many historians, and almost all neurologists, now agree that, by today’s standards, Guiteau was clinically insane. After Guiteau’s execution, public opinion on the issue of insanity shifted.  

Although modern and future readers, who sit in the proverbial jury room, might sympathize with some of the antiquated measures used to determine sanity in 1881, but they might also calculate some of Charles Guiteau’s premeditated calculations into the equation. Months prior to the 100-year anniversary of Guiteau’s assassination attempt (March 30, 1981), John Hinkley provided a case similar to Guiteau’s, as Hinkley premeditated his assassination attempt (on President Ronald Reagan), and he did not kill the president either (reagan would live 23 more years, but Garfield died 8 weeks after Guiteau’s attempt). We might consider a stereotypical clinically insane individual to act on impulse, but the more modern jury of his peers, declared Hinkley clinically insane, and he spent 35 years in a psychiatric institution before being released. Hinkley now uploads love songs on YouTube. 

Further Reading

David Bowie was Just Too Weird


“He’s just so weird,” my mom said when David Bowie took the stage on a 1970s, variety show called The Midnight Special. Before the marketing teams learned how fascinating weird could be to us, being weird was not a good thing. We strove to avoid the weird, so no one would call us weird. I didn’t want my mom to think I was weird, I didn’t want my friends to think that, and I didn’t want to be seduced into thinking I could be weird if I watched him, so I shut it off. We writers love to rewrite our past to suggest that we were so hip that we were bucking the system at eleven-years-old, so we can fortify our artistic bona fides. I wasn’t. I was a normal eleven-year-old who wanted to learn how to be more normal, so other kids would like me, and my primary conduit to absolute normalcy was my mom.  So, when Bowie walk out onto the stage, I was floored by his appearance. My mom must’ve sensed how confused I was, so she quickly told me to turn the channel. I asked why, she said, “He’s just so weird,” and I turned the channel.

David Bowie was weird, there’s no point trying to argue, minimize, or qualify it. He even admitted as much, telling TV on the Radio’s Dave Sitek to, “Stay Strange.” Thanks to artists like David Bowie, we’re all a little weirder, stranger, and everything outside the mainframe. The typical narrative might depict me in front of that TV, experiencing an epiphany, with a “That’s me, mama,” explosion of excitement that she never could quell. It might just be me, but I needed to establish a solid foundation of normal before I could start exploring the weird, strange and just plain different avenues of my otherwise immature and fragile psyche. So, before we continue, let me send out a shout out to my mom for all the effort she put into giving me the most normal upbringing she could before I could explore the other side with more maturity. 

David Bowie feared he was a weird person at a very young age. He believed that he was susceptible to the schizophrenia that haunted his half-brother, Terry Burns. We can only guess that before he embraced the fears of falling prey to that mental disorder that haunted his mother’s side of the family Bowie sought the comfort of normalcy. This duality, as anyone who has worked their way through Bowie’s catalog can attest, would affect his artistic output.   

“I’m not so sure how much of it is madness,” Bowie would ruminate to Yentob. “There’s an awful lot of emotional and spiritual mutilation that goes on in my family.”

He was “too weird” for my people. He was even too weird for me when I was too young to fight that two-word condemnation. My mom told me he was “too weird”, and even if I had the moxie to fight everyone else, I couldnt fight her. I was too young to know how different I was, and even I if did, I wouldn’t acknowledge it, because I didn’t want to be weird. I wanted to have friends, and when my friends told me something was not only weird, but “too weird,” I backed away, into them, and their more comfortable groups.  

High brow, low brow, or no brow?

David Bowie shocked in an era that didn’t want to be shocked. Shock value was not commodity in Bowie’s peak years. The New York Dolls were shocking people in New York, Marc Bolan was doing it to England, and Alice Cooper and KISS were putting it to the United States, but shocking people was not yet part of an artist’s marketing package. Those guys tapped into a tongue-in-cheek definition of the weird, but it was all a part of their schtick. There was something unnerving about Bowie’s strain of strange that made it feel a bit more organic. When we saw it, we could tell he wasn’t having a laugh. It was a part of him, the alien part, and perhaps the schizophrenia part.   

Watch the shows of David Bowie on YouTube, circa 1972, and try to put yourself in that audience. It’s hard to do now, now that we’re so accustomed to performers playing around in the more customary borders of shock value now, but in 1972 Bowie had people actively avoiding him and his alien nature. 

Even after I made it past my mom’s “too weird” block, I still wasn’t attracted to him artistically. I thought he sang songs to make tons of money, become a rock and roll star, and then become a celebrity. All the power to those who do that, but it wasn’t for me. I thought he was the artistic equivalent of a beautiful person who is fun to look at, but doesn’t have much more to them. My attraction to his music is a love story, and to sum up that story, it wasnt love at first sight. It took him a long time to win me over, but I have been in a relationship with David Bowie’s music for about 30 years now.  

I already knew most of his hits by the time I discovered Bowie, so I wasn’t blown away by those songs. The genius of his deep cuts did not blow me away either, in the manner the Beatles’ deep cuts did. I don’t know how anyone else characterizes Bowie’s genius, but it wasn’t immediate for me. His subtle artistic creativity required repeated listens, until I found myself working through his constructs when I wasn’t listening to the music. 

I now liken listening to Bowie to sliding a foot into a great pair of socks. I’ve never met anyone who was absolutely blown away by a pair of socks. Slipping into a great shirt, and finding a pair of pants that fit just right can be mind blowing, but I never went nuts over a pair of socks, not when I slipped them on for the first time anyway. There are some socks that fit so well that when we put them on, they just feel like us, and we begin wearing them every day. When I began seriously listening to Bowie on a daily basis, I found philosophical artistry that fit me like a great pair of socks. Art is relative of course, and I’m sure some identify with Elvis Costello in the same ways, but I’ve heard numerous people recognize Costello for who he was in the music world for decades. Up until about the last ten years, very very few listed Bowie in their elite artists’ discussions. It didn’t affect what I thought of him, but I couldn’t understand it. The only answer I could come up with was that he was just “too weird”.

*** 

I appreciated Bowie’s reincarnation on MTV from afar, as a kid, but the Let’s Dance, China Girl songs seemed more like period pieces in the Madonna/Whitney Houston mold. Pop stars buy great songs from great songwriters, I thought, but a weird, music freak seeking deep, multi-faceted artists doesn’t dive deep into the catalog of pop stars like David Bowie. We wait until the radio stations play their singles. I thought David Bowie was just another good-looking pop star who bought great songs that were probably written by someone else. It was important to me, even back then, that an artist write their own music, because, to my mind, that was the difference between a star and an artist. I thought Bowie was just another 80s pop star who had a 70s catalog that I had no real interest in exploring, until an unusually perceptive friend of mine, named Dan, dropped this line on me.   

“This crazy, weird musical path you’re on all points to one man, David Bowie,” Dan said. 

David Bowie?” I asked with disdain. “The Let’s Dance, China Girl guy?” I couldn’t believe Dan, the guy who had a long history of introducing me to deep, powerful music, was now saying I should be listening to an 80s pop artist. I’d been on the other end of his “if you like those guys, you’ll love these guys” suggestion so many times that I always gave his recommendations a shot. Over the years, Dan proved to be one of the few people I’d ever met who knew more about music than I did, but he didn’t know “my music”. He introduced me to Miles Davis, King Crimson, and Frank Zappa in the past, and while I liked and respected those incredible artists, they didn’t reach me on that other, “my music” level.  

“I’m telling you,” he added, “Bowie is T. Rex, Hanoi Rocks, and Roxy Music, and that music is Bowie in a way that you won’t understand until you hear this.” He handed me a copy of a Ziggy Stardust and the Spiders from Mars (AKA Ziggy) compact disc. I’m not going to rewrite this section either and suggest that that compact disc glowed or that there was a sound equivalent to Heaven’s Gate opening when he handed it to me, but that is how I now remember it. “This is David Bowie 101, and when you start loving the alien, I’ll introduce you to other elements of the alternate universe he created.”  

I thought Ziggy was a quality album when I first heard it, but I couldn’t get passed the pop artist and “too weird” hang ups I had with Bowie. Those hang ups led me to think the single Ziggy Stardust was so immediate that it might be too immediate. After repeated spins, I started zeroing in on the other songs on the album, and I started dissecting them in the “parts are greater than the whole” mindset. Soul Love was the first song that nabbed me, and I put that song on repeat numerous times. At the end of that week, I forgot to return the disc to my friend. The music on Ziggy Stardust became “mine” in so many ways that I forgot the actual, physical disc was not. When he reminded me that I forgot to return his disc, I did and went out and bought one of my own. 

I was already a Ziggy freak by the time Dan suggested I listen to Hunky Dory and Diamond Dogs. I was hesitant, thinking Bowie might be a one-album wonder. After a couple weeks, I was hooked on everything Bowie. The “too weird” notions I had of Bowie began to fall away, and I stopped borrowing the discs from my incredibly perceptive friend. I bought them. I did something different with my Bowie-obsession than I did with every other artist to whom I became obsessed. I bought a Bowie album, and I inhaled it. I lived each album, until I knew just about every lyric and every beat of those albums. I thought there was something different to know, feel and experience on each album that I never had before with any other artist. Each album was so different that I could see what everyone was saying when they said he was too weird, but by this time, I recognized that I was a little too weird too, and I began to think David Bowie was singing about me. I listened to each album as an art enthusiast might when examining a painting, slowly ingesting every little nuance until they discovered what it meant to the artist.  

When my excitement to buy another album overrode my good sense, I moved onto the next album, only to discover I wasn’t as done with the previous one as I thought I was. Bowie, I realized, was one of the very few musicians who could have one foot planted in the pop world and another in the world of art. My peers told me the man was weird, “too weird”, and I listened. Soon after taking a deep dive, I regretted how much I missed by refusing to listen to him for so long. There are very few artists that affect me so much that I regret not listening to them sooner. I thought of all the years I wasted listening other artists when I could’ve been listening to Hunky Dory, Alladin Sane, and Diamond Dogs. I thought he could’ve changed my world just a little bit sooner back then, and I know that sounds silly, but the effect of his music on me was that profound. 

When I finally made it past the obsession, I had with what some now call the Five Years chunk of his catalog (Man Who Sold the World through Diamond Dogs), I graduated to his Berlin Trilogy; Low, Lodger, and Scary Monsters. We listen to music, albums, and artists for a variety of reasons, and I’ve had so many obsessions that I don’t have enough fingers or toes to count them, but there was something different about my obsession with David Bowie. We could label his music in all the pedantic ways, deep, meaningful, and spiritual, but that “not just weird, but too weird” characterization that influenced my refusal to listen to Bowie became the primary reason I listened to him in my adult years. 

Whereas most singers sang about love, sex, drugs, and rocking out, Bowie sang about estrangement, an alien nature, and various other themes we deem “too weird”. In places where an artist might go over the top, and be weird for the sake of being weird, Bowie displayed restraint. In places where an artist should shows restraint, Bowie went over the top. He could write a song that that would live on in the history of FM radio (Space Oddity, Changes, and Heroes), and on the same album he would leave a deep cut to cure our longing for great, weird, and offbeat music that only aficionados love (Alternative Candidate, It’s no Game (part 1), and Lady Grinning Soul). Bowie was the consummate artist who found a way to reach me as few artists could. Most music aficionados don’t intend to downplay the effects of hits, but most quality artists have some hits in their catalog. The difference between Bowie and most quality artists is that he spent as much time perfecting his deep cuts as he did his hits. He had a conventional side and an artistic side, as most of us do, but unlike the rest of us, David Bowie managed to cultivate his normal side, coupled with the “emotional and spiritual feelings of estrangement” from his mom’s side, and this duality led him to craft some excellent pop songs and some brilliant, “too weird” deep cuts. 

I started listening to David Bowie obsessively about 30 years ago, and I bought his new releases on the date of their release. I enjoy a majority of them, but Bowie captured magic in a bottle during the Five Years albums and the Berlin Trilogy. Hours…, Reality, and Blackstar were my favorite late Bowie albums, but they couldn’t compare to the great eight.  

Years before his death, David Bowie experienced something of a rebirth. All of a sudden, and seemingly out of nowhere, I began hearing his peers begin listing him as one of their primary influences. I heard one or two artists do this before, but not to this degree, and I was paying attention. Fans began listing Bowie just a bit outside the greatest artists of his era. They called him revolutionary, a pioneer, and all that stuff we’re accustomed to hearing now, but save for a few artists here and there, I didn’t hear the adoration society crown him in a way he richly deserved for most of my life. I’ve often wondered why, and how, this happened.

If an artist moves into the pulse of the zeitgeist after decades of being on the outer rim, we can usually pinpoint when and where this happened. The artist probably had that one song, movie, or another momentous event that put them over the top. Unless you consider Nirvana’s acoustic cover of The Man who Sold the World that momentous event, it did not happen with Bowie for most of his career. Some of the albums in the “back nine” (or in Bowie’s case the back eight– Outside to Blackstar) of his career were good, but they weren’t so great that they should’ve moved the needle on a retrospective analysis of his career. Before I get to the primary reason I think Bowie moved from just another artist putting out music to a cultural touchstone in the zeitgeist, there were years after 1980’s Scary Monsters and before 1995’s Outside when Bowie got lost in the artistic wilderness. Having said that, I don’t think Bowie moved to us as much as we moved to him in a cultural appreciation of everything he accomplished throughout his glorious career. I think we, as a culture, became more weird, or at least we embraced the weird far more in 2002 (roughly) than we did in 1972. As I wrote, I was already a Bowie fanatic by the time Heathen came out, but others were suddenly calling Heathen his best Bowie disc since Scary Monsters. I liked, and still like Heathen, but I didn’t think it was as good as Hours…. and I didn’t understand how everyone missed what I consider the Great Eight albums from Man who Sold the World and Scary Monsters.  

If you’re one who remains on the sideline for whatever reason, I suggest that you cast that cloak aside for as long as it takes to make an individual assessment of his material. My bet is that he reaches you on a level you’ve never considered before. Music, like every other art form, is so relative that his artistry might not appeal to you on the level he did me, but if you’re anything like me, you now know, as my friend Dan predicted it would for me, my definition of “my music” all goes back to Bowie.  

Other than providing me an excellent entry point to David Bowie, with Ziggy, Dan was notoriously poor at providing me an entry point to the artists he loved. To introduced me to Frank Zappa, for example, but he loaned me an advanced Zappa album that he loved as someone who had been listening to Zappa for decades. I eventually grew to love that album, but it took me a while. I needed to start at a better entry point to appreciate what Zappa did throughout his career. With that in mind, I thought about an entry point to David Bowie. I would compile the albums Hunky Dory and Ziggy into a playlist, and I would cut the songs Eight Line Poem and It Ain’t Easy (personal preference). Best of Bowie is another great place to start to learn the more normal side, as most people prefer normal pop songs, or hits, as a point of entry, and if you’re not familiar with those songs, it’s an excellent starting point. For those who know those the hits so well that they seek deep cuts, or songs beyond the hits, I’ve compiled a list of those songs that have made it onto so many of my Bowie playlists. Some of them were marginal hits in their era, but I still consider them so deep and meaningful that I had to include them.   

1) Alternative Candidate (It’s no longer on Spotify for some reason. It’s on YouTube though.) 

2) It’s no Game (Part 1) 

3) Lady Grinning Soul 

4) Sound and Vision 

5) Kooks 

6) African Night Flight 

7) Soul Love 

8) Dodo (This song is also not on Spotify. Here’s the YouTube capture.) 

9) Thursday’s Child 

10) Queen Bitch