Quicksand

Posted by Moonage | Filed under Interpretations

Got an email from a fellow in London, England, who discussed some aspects of this blog. One of the things he mentioned is how much he enjoys . Now, that struck a nerve with me because Quicksand is one of my Top 10 songs ever. Now, some of Bowie’s stuff was fluff, some was rockin’, some plain silly, some annoying, you get the picture. Quicksand is none of the above. It is COMPLEX. This is not a song to sit around and get stoned to, you’ll freak out. The music itself is OK, recorded originally in 1971 for Hunky Dory, Bowie’s last folk album. I did a much edgier version, my vision of what it could be if done today. It doesn’t feature that many instruments, but it’s constant flowing counter-melody is something that is never heard today, and I miss it. The lyrics are the heart of this one.  Click on the song and sing along:

I’m closer to the Golden Dawn
Immersed in Crowley’s uniform
Of imagery
I’m living in a silent film
Portraying sacred realm
Of dream reality
I’m frightened by the total goal
Drawing to the ragged hole
And I ain’t got the power anymore
No I ain’t got the power anymoreI’m the twisted name on eyes
Living proof of lies
I’m destiny
I’m torn between the light and dark
Where others see their target
Divine symmetry
Should I kiss the Viper’s fang
Or herald loud the death of Man?
I’m sinking in the quicksand of my thought
And I ain’t got the power anymore

Don’t believe in yourself
Don’t deceive with belief
Knowledge comes with death’s release

I’m not a prophet or a stone age man
Just a mortal with potential of a superman
I’m living on
I’m tethered to the logic of Homo Sapien
Can’t take my eyes from the great salvation
Of bullshit faith
If I don’t explain what you ought to know
You can tell me all about it on the next
I’m sinking in the quicksand of my thought
And I ain’t got the power anymore

Don’t believe in yourself
Don’t deceive with belief
Knowledge comes with death’s release

Don’t believe in yourself
Don’t deceive with belief
Knowledge comes with death’s release

Now, quite a load huh? I doubt the average person understands much more than 1/3 of what Bowie’s even talking about, much less what it means. It was songs like this that got me hooked on Bowie in the first place. After uttering wtf a few times, I had to read stuff to figure out what he was talking about. That opened up entirely new worlds to a kid living in rural Kentucky. We didn’t have MTV, HBO, 100 cable channels, or even ( gasp ) the internet. Glimpses of alternative lifestyles came to us through artists such as Bowie. So, needless to say, I had to do a lot of reading.

I’m going to borrow a LOT from “David Bowie and the Occult“. That page is a fabulous read. Once initiated, the opening line of the song is the theme to the rest of it.

“The Golden Dawn was a magical secret society which flourished at the end of the 19th century and taught a unique blend of Jewish mysticism (called Cabbala, also to be found in Bowie’s symbolism), astral travel, magic, yoga (also practised by Bowie) and how to communicate with angels and demons. For this latter communion it was first necessary to empty the mind, to make room for the unknown to enter“…..

So, Bowie has become closer to the Golden Dawn. He has emptied his mind and immersed himself in Crowley:

“Crowley’s key maxim was “Do what Thou Wilt” (as can be found on Bowie’s ‘After All’, 1970), which (among many other interpretations) is equated with the Greek word “Thelema” which stands for “Will”. In the Crowleyan world, ‘Thelema’ refers to sexmagick (which Crowley spelt ‘Magick’ to distinguish it from the purely ceremonial variety): to reach illumination while having sexual intercourse through techniques focusing the sexual energies upon a wish, a sort of an inner photography which represents the desire to be fulfilled.”

The total goal was to become the unknown. To be something completely different for a period of time. For Crowley, it was to become a sort of god. Bowie doesn’t say what his goal is. He hints at with “death’s release”. I assume he is seeking knowledge from the afterlife. To talk to angels.

He then jumps into all kinds of commercial and political symbolism. Sex is a huge part of Crowleyism. I take the “twisted name in Garbo’s eyes” to mean he wishes to have the desire of Greta Garbo, his example of the ultimate in sensuality. With using “Churchill’s lies”, he wants to be the ultimate salesman, a person everyone trusts, even if they shouldn’t.

“Portraying Himmler’s sacred realm of dream reality”. This line is profound. Never in the history of man were so many people misled into a frenzied state of murder and cruelty to man than during the Nazi reign of Germany. Second in power to Hitler, it was Himmler that designed the SS and gave it direction. He was also the man who put together the media support that turned latent racism issues in Germany into a call for murder against an entire race. It may have been Hitler’s wish, but Himmler was the Man Who Sold The World. He had the ability to turn otherwise good people into murderers based on the illusion of supremacy. Bowie is aspiring to have Himmler’s ability to control mankind.

These weren’t ordinary people. They were almost god-like in their ability to influence people. Bowie wanted to empty his mind and become these people for a short while. In the end, he realizes he’s mortal and can’t do what Crowley was claiming. Crowley’s promises were all “bullshit faith”. Realizing that, he feels he’s wiser. And, he’ll know that “on the next Bardo”. Bardo is the Tibetan Buddhist state between death and life. In other words, in his next life, he’ll know Crowley was a fake and not fool with it.

Then there’s some fluff to add to the lyrics and prop up the impression he’s making.

Bet ya didn’t think all that was crammed into that one little song now did ya?

If anyone has a different interpretation, I’d love to hear it.

To me this song very strongly defined Bowie personally. Bowie had already morphed from a clean-cut pop singer to a long-haired cross-dressing hippie. was the point Bowie would start morphing wildly from one defined personna to another, totally discarding the previous image as if it never existed. Many times killing the character off with a “retirement”. In other words, experiencing new lives after the deaths of the previous character. In simpler terms, telling us about it on his next Bardo. He recently “retired” again and promptly showed up with David Gilmour. I don’t think he’s stopped shooting for his dream reality. And, in his case, that’s a good thing.

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Permalink | June 5th, 2006

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  • Aleister Crowley

    • One Squawk to “Quicksand”

    1. Londonboy Squawked:
      June 5th, 2006 at 9:41 pm

      Wow..thanks for posting this and glad i got you thinking on tihs one. I had quite forgotten about the David Bowie and the occult article. It is alleged that Bowie has tried to to stop this article from being formally printed. You can only find this over the internet. Bowie has defintley dabled in the occult and the occult is a theme running through Bowies music. I think for Bowie though the occult is a search for spirituality. It reappears very strongly on ther Station to station album and particuarly the title song. Bowie was into Kabala way before Madonna discoverd it and Sold it to the world. STS was recorded on 1976 and Bowie was strung out on cocaine. At the time he was having his nail clippings kept and other strange things as he was so paranoid about evil spirits. Allegedly he even had his swimming pool in LA exorcised. ( def. the side effects of the cocaine)

      For years and years i thought that the bardo in Quicksand was a reference to Bridget Bardot though the lyric sheet on Hunky Dory does spell ‘B A R D O’. A toatlly fascinating song. BTW I disagree with you about teh music itself. The acoustic guitars, especially at the beginning are excellent. Now can you please decipher the bewlay Brothers! Thanks

    Squawk like a pink monkey bird!