I'm not really Stanley Lieber.

Stanley Lieber — Fri, 04 Nov 2016 23:50:48 GMT

さくらビスク

Stanley Lieber — Mon, 03 Aug 2015 03:19:43 GMT

pressure mark

Stanley Lieber — Sun, 02 Aug 2015 17:03:34 GMT

Stanley Lieber — Fri, 31 Jul 2015 01:36:53 GMT

test from mothra.

Stanley Lieber — Sun, 21 Sep 2014 02:06:31 GMT

my mother was a grade school teacher and i used to spend time in the grade school library even before i was old enough to go to school. this is one of the books that i stared at while trying to learn to read. i probably checked it out from the library a hundred times. this year, my mother acquired the actual copy i used to borrow ("it hasn't been checked out in years, just take it," the librarian said) and gave it to me for my birthday. inside the book was a short note from my second grade teacher.

Stanley Lieber — Thu, 29 Aug 2013 17:43:39 GMT

TEXT ADVENTURE #30 | OUR ENEMIES ARE FLAT

Stanley Lieber — Wed, 12 Jun 2013 21:27:56 GMT

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by stanleylieber

1

Paris Mold lay on the ground, his legs spread wide to provide
consistent support for his lower back. His finger moved, preparing to
squeeze the trigger of his rifle.

After some time passed he realized that his finger had not moved.

He wondered at the discrepancy.

2

Albert Lunsford lay on his bed, repeating the same thought to himself
in words nearly audible to his ears. It was difficult to speak.

"Hey."

Lunsford spoke into his collar mic.

"Can't talk now. Paralyzed."

Paris Mold continued to stare at his immobilized finger. He noticed
that other peripherals had also failed to engage.

"Depressed. Feel like killing myself."

Paris looked at his hand.

"Don't."

Lunsford seemed dissatisfied.

"Why don't you ever want to talk to me?"

Paris' finger twitched.

The gun fired.

Paris switched off.

3

Nana Mold lay on the kitchen floor and stared at the ceiling. Slowly,
she raised her knees to her chest, then lowered them gradually back to
the floor.

Repeat.

Probably, she should not have attempted to move the bed by herself.

At this point, she was stuck. Skirt moved, but wouldn't dance.

Legs, too.

Reached for her knife.

4

The Vizier lay sprawled on the dance floor of the White Room.

Sharpened fingernails dug into his palm. Probably, he should not have
attempted the headspin.

People were laughing at him.

Eyes blinked in the disco lights.

5

Piotr's head rolled gently from side to side, his gaze sliding across
the ceiling of the head. He groped on the marble floor for his gun.

Legs wouldn't work.

Propped himself up on his elbows and rolled over.

Tactical disadvantage.

6

The Ragnarok sat idle. Persona responsive, if inactive.

She didn't know what to do.

Spine had stopped responding to commands.

Rogue back. Can't make it do anything.

But no. Drop it.

Serene.

Wait for him to come home.

Stanley Lieber — Fri, 31 May 2013 15:20:58 GMT

Stanley Lieber — Thu, 18 Apr 2013 12:10:24 GMT

TEXT ADVENTURE #29 | IT'S A DIFFERENT WORLD

Stanley Lieber — Thu, 04 Apr 2013 14:32:00 GMT

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by stanleylieber

Stanley Lieber — Sat, 16 Mar 2013 03:39:06 GMT

Stanley Lieber — Mon, 05 Nov 2012 04:05:25 GMT

pt. i

pt. ii

MARS2 print edition

Stanley Lieber — Sun, 28 Oct 2012 02:29:10 GMT

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book one of three

96 pgs.

by stanleylieber

REVERSE CRIME print edition

Stanley Lieber — Sun, 28 Oct 2012 01:44:43 GMT

A short adventure starring Piro and Actron. 36 pgs.

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text | print

by stanleylieber

Stanley Lieber — Wed, 19 Sep 2012 01:31:13 GMT

THE VICAR OF MEGATOKYO #2

Stanley Lieber — Mon, 17 Sep 2012 22:19:30 GMT

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by stanleylieber

THE VICAR OF MEGATOKYO #1

Stanley Lieber — Mon, 09 Jul 2012 01:46:52 GMT

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by stanleylieber

TEXT ADVENTURE #28 | THE STRAW MAN

Stanley Lieber — Mon, 14 May 2012 03:24:03 GMT

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by stanleylieber

portraits

Stanley Lieber — Sat, 28 Apr 2012 19:54:12 GMT

Stanley Lieber — Fri, 06 Apr 2012 03:09:15 GMT

Stanley Lieber — Fri, 23 Mar 2012 02:31:54 GMT

Stanley Lieber — Wed, 14 Mar 2012 03:11:38 GMT

MARS2, by Stanley Lieber

Stanley Lieber — Thu, 23 Feb 2012 01:27:46 GMT

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book one of three

by stanleylieber

TEXT ADVENTURE #26 | THE SCARLET WOMAN

Stanley Lieber — Sat, 18 Feb 2012 03:16:50 GMT

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by stanleylieber

Heathen, 2003

Stanley Lieber — Sat, 14 Jan 2012 07:16:25 GMT

"Music itself is going to become like running water or electricity."

With these words, David Bowie launched the final album of his musical career.

For free, on the Internet.

"I welcome all you web travellers to the first community driven Internet site that focuses on music, film, literature, painting and more, where you can interact with all the members of our adventurous new project, knowing that this is an on-growing builder, added to constantly, and that you will definitely be entertained (sometimes unwittingly)."

The music press was skeptical, but interested. Previous experiments by artists such as Prince had produced mixed results.

"FIRST STUDIO ALBUM IN 8 YEARS"

Heathen was produced by Tony Visconti, who last collaborated with Bowie on his 1980 album, Scary Monsters (And Super Creeps). He had also lent his talents to most of Bowie's classic 1970's albums, including the celebrated Berlin trilogy of Low, 'Heroes' and Lodger, on which Mr. Bowie and Brian Eno greeted the punk upheaval with their own merger of the experimental and the visceral.

It had been an interesting, if troubled business. But the two men had hardly spoken to each other in twenty years. Bowie's 2002 phone call took Visconti completely by surprise. Why this attempt to mend fences, now, of all times? And what was the story behind this new material? Did Bowie even care about music anymore?

According to Columbia Records Chairman Don Ienner, "David Bowie is simply one of the most distinctive, influential and exciting artists of our time, and Heathen is a remarkable addition to his incredible body of work." Not a bad endorsement, coming from the record company Bowie had only just spurned.

Something didn't ring true. But Visconti tentatively agreed to work on the new songs.

Bowie was ecstatic (or at least, as ecstatic as he tended to become).

"I've made over 25 studio albums, and I think probably I've made two real stinkers in my time, and some not-bad albums, and some really good albums. I'm proud of what I've done. In fact it's been a good ride."

With his enthusiasm now fully engaged, Bowie insisted upon a bevy of unusual collaborators.

Predictably, within a few weeks Bowie's interest had started to wane. In the end, almost none of the collaborative material was used. When challenged by Visconti he quoted himself from a 1975 interview:

"I get so much fan mail it has to be handled by a computer."

Then, things got weird.

On the set of The Man Who Fell To Earth Bowie had asked the makeup crew to create several life masks from his face. These had been stored in his vaults, awaiting a proper venue for exhibition. Or perhaps they were being hidden from his enemies, treasured as items of acute occult power.

In 1976, David Bowie considered his future. He decided to produce a small number of replica life masks, cast in white plaster, and distribute them among his closest allies in the music business. (He would later attribute this decision to "cocaine psychosis").

By 1980, David Bowie had begun to fret about his future. Using the 1976 replica of the 1975 life mask, the Bowie from 1980 merged with the Bowie from 2003, absorbing and destroying his older, weaker counterpart. This was the culmination of forces that had been put into motion centuries before. The pact had been completed. The plan had worked. David Bowie had escaped the 1980s.

"I'm aware it's good work."

"I tried to make a checklist of what exactly the album is about and abandonment was in there, isolation," he said. "And I thought, well, nothing's changed much. At 33 -- I'm sorry, at 55 -- I don't really think it's going to change very much. As you get older, the questions come down to about two or three. How long? And what do I do with the time I've got left? When it's taken that nakedly, these are my subjects. And it's like, well, how many times can you do this? And I tell myself, actually, over and over again. The problem would be if I was too self-confident and actually came up with resolutions for these questions. But I think they're such huge unanswerable questions that it's just me posing them, again and again."

Not everyone was convinced. The multiple realities, time travel and self-possession conceit seemed like weighty business for a pop star. But really, whichever Bowie was now dominant, just what was going on in his head?

Heathen

2003

full album .zip file

01. Sunday
02. New Killer Star
03. Afraid
04. Looking For Water
05. You've Got A Habit Of Leaving
06. I Took A Trip On A Gemini Spaceship
07. 5:15 The Angels Have Gone
08. I Would Be Your Slave
09. The Mysteries
10. Heathen (The Rays)
11. Bring Me The Disco King

Who knows?

The infamous 1980 interview recently re-published at NYTimes.com may provide a clue:

"The absolute transformation of everything that we ever thought about music will take place within 10 years, and nothing is going to be able to stop it."

"I see absolutely no point in pretending that it's not going to happen. I'm fully confident that copyright, for instance, will no longer exist in 10 years, and authorship and intellectual property is in for such a bashing."

The article continued:

In the 10-odd years that Bowie has been a star, he has recorded some of the most important music of the post-Beatles era, and although he is still largely known for the raft of ground-breaking albums he released in the Seventies, his work since then has been equally fascinating, and almost as prescient. If you were to compile Bowie's alternative greatest hits, and limited your selection to songs recorded in the last year, you'd have a collection of some of his finest work.

Well...

After 2003, Bowie abandoned music, supposedly for good, and turned once again to painting and the fine arts. Media that, so far, had proven relatively resistant to illegal file sharing schemes.

Paradoxically, singles, branded with the Heathen trade dress but conspicuously lacking any of the album's eleven actual tracks, continued to be released well into the 2010s. Fans assumed the material was culled from Bowie's vaults of material recorded prior to 2003.

One such release featured a passage of electric piano performed by the musician's (at the time of release) two-year-old daughter, Lexi. This sent fans into yet another frenzy of speculation. Was he, or was he not, recording again?

The Pullman Group's 1997 issue of Bowie Bonds, asset-backed securities of current and future revenues of 25 albums (287 songs) that David Bowie recorded before 1990, continued to flourish. The success of Apple's iTunes and other legal online music retailers led to a renewed interest in Bowie's back catalog and Pullman Bonds in general.

David Bowie continued to make money from his early music, years after both copyright and paper currency had dissolved into the mists of time.

His ultimate fate remained in question.