identity when in Berlin, was extremely characteristic of “Berlinism” – the 20 th -century obsession
with Berlin as a haven of culture with cheap rent and in Bowie's case, the remains of
Germany’s conflicted past. The idea of Bowie’s new identity being symptomatic of “Berlinism”
is perfectly mirrored in Bloch’s theory of "Non-contemporaneity", as discussed in the earlier
part of the section. It further emphasises Bowie’s longing for or aestheticizing of the past and
how this began to shape his complex identity when in Berlin.
I believe that a lot of the myths surrounding Bowie and his “true” identity is emphasised by the
fact that popular musicians are massively dominant figures within postmodern society. They are
portrayed in a very harsh light by the mainstream media who want to get to know and scrutinize
them as they and we as the consumer are infatuated with them. This was undoubtedly the case
with Bowie, it could be argued that the fluidity of his identity that was presented to world acted
as a barrier between the “real” David Jones and the rest of the world. Bowie’s existence was
arguably a skilfully crafted collage, a postmodern simulacrum that fed off its own portrayal in
the media and the popular culture of the time.