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“It Was Definitely Murder-But Was It Art?”  David Bowie’s discography is a wild ride through the mind of a man who played with (and sometimes redefined) the limitations of what popular music could achieve. Bowie made no bones about the fact that rock and roll was a vehicle for him to explore whatever concepts and artistic movements were commanding his curiosity.  But as with any musician with a decades-spanning career, some of his albums didn’t land as well with audiences as others. One example is Bowie’s imperfect-yet-fascinating 1995 album, 1.) OUTSIDE. 1.) OUTSIDE or, 1.) OUTSIDE: THE NATHAN ADLER DIARIES: A HYPER CYCLE, is a concept album that saw Bowie collaborating again with producer Brian Eno, with whom he had teamed up with back in the 1970’s to create a trio of classic albums—LOW, HEROES, & THE LODGER—known as “The Berlin Trilogy”, although the storyline the album presents us is something more akin to DIAMOND DO...

Journalism exists in a precarious state these days, particularly in its televised form. We remain skeptical of its accuracy and potential underlying agendas, while at the same time relying on it for information both vital and banal; everything from geopolitical news to weather and traffic updates. But now, more than ever, people have little faith in the news, to the point where credible cable outlets like CNN are regularly derided as “fake news,” while satanic child abuse conspiracies like “Pizzagate” can be started in online forums and gain enough traction that they drive people to commit acts of real-life violence. Considering this, It’s astounding to think that there was a time when major networks would air made-for-TV thrillers that were filmed and presented in the style of actual news broadcasts to give their stories a more realistic feel. Films such as SPECIAL BULLETIN (1983), GHOSTWATCH (1992), and WITHOUT WARNING (1994) tapped...