Paying homage to a legend
E ven though he spent less than three years in Berlin, David Bowie is so intrinsically tied to the city that, on the day of his passing, he was thanked via Twitter by Germany’s Foreign Office for “helping to bring down the #wall.” And when David Bowie Is…, the exhibition of more than 300 Bowie artifacts, toured the world, Berlin was, naturally, one of the few stops. The music giant’s legacy lives on from Charlottenburg to Schöneberg, and several neighborhoods in between.
Diehard fans looking to pay homage should start the tribute tour at Hauptstraße
155, the nondescript building where Bowie and friend/artistic collaborator Iggy Pop lived during their Berlin residency, from 1976–1979. Although you can’t go inside, you can peek in the foyer, which also has a cameo in Bowie’s 2013 video for Where Are
We Now?, itself an homage to his adopted hometown. Days after his death, thousands of Berliners signed a petition to change the name of the street to David-Bowie-Straße, putting up the sign right next to the singer’s former building.
Just down from Bowie’s former abode lies Neues Ufer (Hauptstr. 157), where the roommates would habitually breakfast in the morning and tipple in the evening, and where you can still stop by to tip your hat to the image of Bowie’s alter ego, the Thin White Duke. Other favorite haunts of the duo are, alas, no longer, such as the bohemian Café Exil, which Bowie and Pop treated much like their second living room and which has been reincarnated into upscale eatery Horváth (p. 43). And although Café Wien, which played the role of the Eden Bar in the Bowie film
Just a Gigolo, has also vanished, you can still visit the space, which has transformed into
Apple’s flagship store on the Ku’damm. Bowie once described Berlin as “the greatest cultural extravaganza that one could imagine,” and he took great pleasure in the city’s wealth of arts and history, most notably in his admiration for the artists of the Brücke Museum (p. 37). There, he drew inspiration for the album cover to the madein-Berlin “Heroes”, although opinions vary as to which of the artworks — including Erich Heckel’s Roquairol and Walter Grammotté’s self-portrait — was the greatest inspiration. Because the musical collaboration between the two friends was so intertwined, the works of die Brücke movement similarly influenced the cover of Pop’s debut solo album, The Idiot, also released in 1977. Although the museum, located outside the city center in the leafy enclave of Zehlendorf, still stands, the works rotate frequently, so only serendipity can assure that you catch one of Bowie’s favorites.
To Bowie — and, by extension, Pop — Berlin was as much an alcoholdrenched playground as it was cultural idyll, and he seemed to have a favorite watering hole in nearly every Kiez. While Schöneberg and Kreuzberg were home to the majority of his haunts, when he and Pop wanted to revel in style, they often headed west to Charlottenburg’s Paris Bar (Kantstr. 152), the site of Pop’s infamous Rolling Stone interview that ended with his rolling about in the snow. When they wanted to catch up on the latest Krautrock and new-wave acts, their venue of choice was SO36 (Oranienstr. 190), often cited as a rival of the now-defunct CBGB and to this day an influential institution for breaking new bands.
When not creating art or finding inspiration in the city’s many dens of iniquity, Bowie could most likely be found at Hansa, the recording studio where the three albums of his unofficial “Berlin trilogy” were produced. Visitors can tour the facility and even peer out the same window that Bowie sat at as he penned “Heroes.” (Book through Berlin Music Tours, p. 35, which also offers a citywide Bowiethemed tour.)
Even well after moving away from the German capital, Bowie continued to pay homage to the city. The 2013 release Where Are We Now? name-checks Berlin landmarks past and present, from KaDeWe to the long-defunct Dschungel nightclub, while the song’s video showcases further renowned sites. Memories of the late legend echo in most every corner of the city, which, as long as it stands, will continue to pay tribute to one of its most beloved adopted sons.