Initially the trip was undertaken with a jovial air, but as the reality of the situation presented itself, the fun seemed to be stripped from the assignment, weighed down like an ice-covered tree limb. This was supposed to be a fact-finding mission on one of the planet’s oldest mysteries: the legendary Bigfoot creature.

The story behind the story began well before that fateful journey. Editor-in-chief Michael Nasvadi received a tip about the sighting of the beast just south of Massillon in Strasburg. One of his sources presented him with photographic evidence (see picture above), captured by a deer cam, of an alleged Sasquatch.

Knowing the importance of the story, Mike instantly contacted his staff ace. Unfortunately, Seth Borgen was unavailable, so he called me.

History in the Hills
Strasburg is a village in northwestern Tuscarawas County with a population of 2,600, according to the U.S. Census Bureau. Rural without being destitute, suburban without being overbearing. About a 20-minute drive from Massillon, Strasbourg can best be described as quaint, the type of place to raise a family. It was in this quiet, yet not so out-of-the-way hamlet that we would be conducting our search for the unknown.

This is not as unusual as it might seem. Ohio ranks fourth in the U.S. for the number of Bigfoot sightings, according to Mark Maisel, investigator with the Bigfoot Field Research Organization (BFRO). In NEO, Portage County leads with the most reports, but all counties in the region have reports of sightings.

“From Ashtabula to Lorain, all the way down to the Coshocton area,” Maisel recounted during an interview conducted prior to our expedition. He said that Ohio has been receiving reports about Bigfoots, or “wild men,” since the 1830s.

Maisel explained that a majority of sightings occur around bodies of water, making the Cuyahoga River Valley a perfect habitat for Sasquatch. It might also explain the wide-ranging sightings in this part of Ohio, as the river flows for some 100 miles across the region.

On the Scene
We arrived an hour or two before dusk at the source’s home (our contact wished to remain anonymous), which lies on a winding road, surrounded by woods and sparsely located neighbors. The time of our arrival was planned to coincide with the activity of our subject: Maisel said Bigfoots are primarily active from dusk till dawn, though not exclusively nocturnal.

Our source invited us in to see the original photo sent to our editor as well as other photos of deer he caught on the camera, so we could get some perspective on the size of the beast.

In comparison, whatever was captured in the first photo was certainly not a deer, standing roughly six feet tall and with limbs too thick to be confused with the slender appendages of a Cervidae. From the photo, the creature appeared to walk upright, with arms swinging in a motion similar to that of a human. The source also showed photos of animals moving quickly across the camera, which only snaps pictures when it senses movement and heat. These photos gave us an idea of the type of blur trails the camera picks up during low light. It became clear that even a deer, standing upright and flailing its legs, would still not appear to have the mass of the animal caught in the photo.

He also explained to us the inability of the camera, in low-light situations, to pick up colors on subjects positioned close to it. While the photo appears to be picking up a white creature, that may not exactly be the case.

With an idea of the size and dimensions of the creature in the photo, we made our way to the location where it was shot.

Since this was in the far corner of the source’s property, it’s hard to imagine someone finding the place to conduct some sort of hoax. Our source also explained that the only people near him who knew his camera’s location were people he was with that night, celebrating New Year’s Eve.

As we approached the scene I let my keen journalist observational skills pick up on any of the clues Maisel told me about, including footprints, stick piles in unnatural places and Bigfoot’s signature odor.

“It is a sewer smell,” Maisel said. “A sewery, garbage smell, but not too overpowering.”

Of course, the snow that fell the night before would have covered any prints made during the days leading up to our arrival. With no physical evidence about, the source positioned the deer cam to focus on where it was when it took the photo.

We took a few photos with the deer cam to further establish size, all while keeping an eye out for other signs of Bigfoots: ape-like grunting sounds, knocking and rock-throwing.

BFRO’s Maisel explained that knocking, which is theorized to be Bigfoots pounding on trees to establish territory, announces positions and maybe even runs diversions for their flanking brethren. As odd as that sounds, it is believed that Sasquatches’ elusive nature was formed as a defense mechanism. This also explains rock-throwing, seen as a primate-like sign of dominance and perhaps a way to mark territory, as well. The search for stick formation also continued.

“You’re looking for something unusual,” Maisel said. “Like a buddy of mine found in West Virginia. This tree literally had two branches twisted around three different times, just twisted like a rope.”

He also told of stick formations taking on a more “Blair Witch” appearance, with branches stuck into the ground, sometimes even in familiar designs.
“Look for where the branch came from and the most logical conclusion of it,” he said, explaning how to confirm formations. “If you find a broken branch and it came from 100 feet away, then it’s unlikely that it blew all that way and landed in the ‘Y’ of a tree.”

These are seldom acts of aggression, Maisel explained, as, like most woodland inhabitants, Bigfoots’ actions are driven by fear, especially the fear of people.

“Man is the alpha predator on this planet, and to survive, species have to evolve,” he said. “Native Americans had bows, early settlers had flintlocks and muskets. For an animal to survive, it would have to develop a strategy to avoid direct competition for resources with humans.” He cites the once-low deer population in Ohio, a result of overhunting, as an example of poor survival planning.

This ability to remain largely unseen has led to a debate in the Bigfoot research and cryptozoology worlds as to exactly what this animal could be, and if it was really an “animal” at all.

“There are two groups of thought right now,” Maisel said. “Some think it could be an ancestor of Gigantic Pitasis, and the others think it might be a relative of Homo Erectus or Homo Ardipithecus, though no one knows for sure.”

Gigantic Pitasis was — or perhaps is — a land-dwelling ape of southeast Asia and China that is believed to have come over to North America on the Bering land bridge during the last Ice Age.

The other school of thought suggests that Bigfoot is an ancestor to humans.

Despite their aversion to people, Bigfoots sometimes venture into our communities. In fact, numerous reports have arisen of strange creatures eating pet food left outdoors, farm-animal feed, things found in trash bin and the occasional animal. Maisel said that BFRO has received reports of animal carcasses being found in the woods completely intact, save for a missing liver.

Sasquatches are known for being much neater in their manners than other woodland animals. For instance, when bears find animal feed or other sustenance, they characteristically tear things apart, leaving bits and pieces scattered in the area. Conversely, Bigfoot researchers find that the legendary creature is notorious for leaving little mess behind and sometimes just carrying off food sources as a whole, causing head-scratching in victims of their pilfering.

The Bigfoots’ elusiveness and utter lack of 100 percent verifiable evidence has played in the favor of skeptics, though Bigfoot researchers claim to have plausible explanations.

As Maisel explained, with some 16 million acres of forest in the United States and a minimum possible population of Sasquatches of approximately 2,000, finding one would be like looking for a needle in a haystack. With the inherent nature of the creature to hide, coupled with the dense and remote habitats they dwell in, it is not difficult to imagine the logistical problems with finding dead Bigfoots. Besides, how often do you find any animal remains in the woods, especially the heavily traversed trails most humans use?

Silence Sinks In as the Sun Sets
With daylight receding behind the hills of the valley, our source headed back inside, and we struck out off the beaten path. With the sun fading, I began looking for “eye shine,” as Bigfoots are thought to have luminous eyes that flash in darkness, like those of a cat.

We trounced through a low-lying marsh, ears pricked for any foreign sounds. Yet the only thing that seemed to stir up was the mooing of distant cows and the occasional far-off chainsaw, likely a farmer somewhere cutting firewood as a defense against the dropping temperature.

Darkness would soon surround us when we made the decision to start back toward our origin. We stopped to climb atop a large wooden tree stand to watch the final bits of sunlight cast its rays upon the valley below. With limited visibility, we would not be able to venture far, and with our investigation waning with no evidence, an ominous feeling set in — mixed with a sense of disappointment, a crushing of the hope that perhaps we’d be the first to find the unfindable, confirm the unconfirmable.

Maisel had warned me of this during our interview. He retold the stories of failed expeditions, set up by expectations that were too lofty.

Maybe I was too eager to trample through the underbrush. Did we miss something? These are the questions that haunted me as the night stretched on. Whatever it was the deer cam captured was still out there, perhaps no more than a stone’s throw away.
Story Photos: Jeremy Aronhalt

Chronicle
Nationwide
Hope you are not sick of the whole “found footage” film style done so well with Blair Witch Project and Cloverfield and so terribly by countless others. The sci-fi film follows three high school students who gain superhuman powers after a mysterious event and must test their friendship as things dive out of control.
Opens 02/03

The Woman in Black
Nationwide
Daniel Radcliffe tests his post-Harry Potter box office draw power with this supernatural remake of an ’80s thriller. Radcliffe plays a lawyer who travels to a remote village that is said to be terrorized by the ghost of a scorned woman.
Opens 02/03

Brazil
Cedar Lee
Terry Gilliam mind-messing sci-fi cluster fuggle is one of the most bizarrely original films you are ever likely to feast your eyeballs on. Jonathan Pryce plays a bureaucrat in a futuristic world in which he tries to make things right and instead finds himself running from the law. Don’t miss this chance to see the classic film on the big screen.
Saturday, 02/04 at Midnight

The Fall of the House of Usher
Cleveland Cinematheque
The painting of a portrait seems to sap the life out of the picture’s subject in Jean Epstein’s visually stunning adaptation of Poe’s famous story. This moody silent is perhaps the greatest poetic horror film ever made, with stark landscapes, dreamy slow motion, and ghostly superimpositions. Preceded at showtime by “The Three-Sided Mirror,” another Epstein silent classic in which past, present, and future merge in a story of a wealthy young businessman and his three lovers.
Saturday, 02/04 at 5 p.m.
Sunday, 02/05 at 6:30 p.m.

You Are All Captains
Cleveland Cinematheque
In this meta-movie that bridges the worlds of documentary and fiction, Spanish filmmaker Oliver Laxe plays “Oliver,” a European film director who leads a filmmaking workshop for a group of disadvantaged local children in Tangier, Morocco. Though the plan is to have the kids tell their own stories on film, the reality finds them “enslaved” by Oliver’s own vision of the project, and they rebel. Winner of the Int’l Critics Prize at the 2010 Cannes Film Festival.
Saturday, 02/04 at 6:50 p.m.
Sunday, 02/05 at 8:20 p.m.

Time Regained
Cleveland Cinematheque
Catherine Deneuve, Emmanuelle Béart, and John Malkovich head an all-star cast in this lavish film version of the final volume of Marcel Proust’s literary epic “Remembrance of Things Past.” Often mentioned as the finest work by Chilean-born filmmaker and surrealist Raúl Ruiz (who died last August), “Time Regained” turns Proust’s elegy to the past into a baroque kaleidoscope of characters and incidents inhabiting the mind and imagination of a dying writer.
Saturday, 02/04 at 8:30 p.m.
Sunday, 02/05 at 3 p.m.

Though it’s not a perfect metaphor, this division of labor helps explains the newly split storefront of the former Anderson Creative studio in downtown Canton. While Anderson Creative remains the artistic workspace of Kevin Anderson, the north storefront has reopened as a gallery called Translations, operated by Anderson’s partner, Craig Joseph.

Translations will host monthly art exhibitions open to the public, while Anderson’s workspace next door will become both public and private. “The front part will be a permanent showroom where [Anderson] can display his furniture, fabrications and works in progress, like any big public sculptures or installations. People can see how that works,” said Joseph. “The back two-thirds, hidden from view, is his workshop.”

The goal has been to accomplish more by using the business partners’ talents to their fullest. Before the split, said Joseph, “Kevin and I had been working on everything under the roof together. We felt like having our hands in both places was starting to split our energies.”

Taking stock of the gallery’s development, “Kevin wanted to focus on his own artistic pursuits over there, and during the past few years we discovered that I really have a knack for the curatorial, conceptual part of the business,” Joseph said. “Kevin wanted the space so that the work didn’t take away from his personal artistic pursuits. We decided it would let us focus a little more. I’m still on hand to help Kevin with the things I’m good at, like marketing and promotion, and he’s on hand to help me with what he’s good at, which is the artistic side.”

The name, Translations, was chosen because of what Joseph believes is the purpose of the gallery: to encourage vastly different groups to communicate with one another. “The new name is to delineate the two spaces, yes, but even when we were still one gallery we’d seen it as our mission to facilitate conversations between populations that need a translator — between visual artists and performing artists, between artists and community, between nonprofits that have partnered with us on various projects,” he said. “We kind of see ourselves as ambassadors operating between disparate populations.” One of the gallery’s most popular shows was called “Blind Date,” in which visual artists received anonymous pieces of writing from authors and used the prose to inspire a work of original art.

To that end, Joseph said, one of Translations’s first objectives is to bridge the gap between local artists and area businesses. “One of the first areas we’re pushing into informally is that we have had offices or businesses come to us to do corporate art purchases,” he said. “Before we’d always done art for individuals, for home art collectors. Now we’re offering more formal consultations for businesses, offices and public spaces that want to purchase or rent collections, or even commission artists to do larger-scale works for their spaces. We can be the go-between with corporations or institutions and artists, or to even help offices and companies, ask them, ‘What is your personal company aesthetic, and can we help you find that art?’”

The February exhibition at Translations is titled “Revisionist Histories, America ReTold,” a solo show by illustrator Chad Hansen.

“He works in ink and paint, and over the past couple of years he has been working on a body of work that incorporates symbology from American history, mythology, folklore and legend, which basically retells American history, if you will. He puts his own spin on some of the American myths, like democracy, capitalism, a God-destined country — it’s a visual representation of its history,” Joseph said.

The gallery will be set up to resemble a log cabin, an homage to iconic figures like Abraham Lincoln who figure into Hansen’s mythology.

The show opens on First Friday, Feb. 3, from 6 to 10 p.m. and runs through the 25th. Hansen will present an artist talkback session at the gallery on Thursday, Feb. 23 from 7 to 9 p.m.

Later this year, Translations will dedicate a rare two months of its gallery space to “Stirring the Fire,” a national traveling exhibit of photography by Phil Borges, the official photographer for the United Nations. The show opens May 6 and will run through May 26.

“It’s all images of women around the world in Third World countries who have overcome [hardship]. We’re coming from a women’s rights perspective. Some of these women have survived sexual trafficking, tribal violence, genocide. It’s about their stories of overcoming that to fabricate a new life for themselves,” said Joseph. “The exhibit will have the images along with their stories and is intended to raise awareness of different missions and organizations around the country and world that work to stop some of these things.”

Translations is open Wednesday through Saturday, 12 to 5 p.m. For more information, visit www.translationsart.com or www.andersoncreativestudio.com.

In a career that took flight in 1985 with immediate commercial and critical acclaim, guitar virtuoso Stanley Jordan has consistently displayed a chameleonic musical persona of openness, imagination, versatility, respect and maverick daring. Be it bold reinventions of classical masterpieces or soulful explorations through pop-rock hits, to blazing straight ahead jazz forays and ultramodern improvisational works—solo or with a group—Jordan can always be counted on to take listeners on breathless journeys into the unexpected.

On his latest Mack Avenue recording, Friends, Jordan takes the time-honored path of inviting a handpicked cadre of guests: guitarists Bucky Pizzarelli, Mike Stern, Russell Malone and Charlie Hunter; violinist Regina Carter; saxophonists Kenny Garrett and Ronnie Laws; trumpeter Nicholas Payton; bassists Christian McBride and Charnett Moffett; and drummer Kenwood Dennard. The results proved truly outstanding on numbers ranging from a Bela Bartok piece to a Katy Perry pop smash, a heady original blues and three jazz classics spanning swing, cool and modern. There’s a listener-friendly samba, an airy spirit song and an astounding nod to the atonal. Jordan even plays some serious piano on a couple of songs, revisiting his first instrument with newfound confidence and wonder.

Reflecting on the wealth of music inspired by collaborating with chosen peers on Friends, Stanley Jordan concludes, “I am so humbled and grateful to all of the wonderful musicians who graced this project. This collection truly speaks to my belief in the integrationist spirit of music. I’d like to move beyond ‘fusion’ and explore the concept of ‘integration.’ When you integrate styles, you combine them into something new while still remaining true to the original sources. The same principal holds for our friendships, which require mutual respect. Our friends are a mirror revealing the diversity within us, and at the same time they give us the courage to share our true selves with the world.”

For three years running, BRITE WINTER has gathered members of the Cleveland Arts community to create a glowing outdoor celebration of music, art, fire and light. The festival is free to the public, supported by in kind and cash donations from corporate sponsors, university student groups, and individuals who agree with the simple mission of celebrating winter. In 2012, the volunteer steering committee has chosen a new site in the Ohio City neighborhood, just west of downtown Cleveland. On Saturday, February 18, a portion of Bridge Avenue, between West 26th and West 25th street, will be closed and occupied with an outdoor stage, bonfires, participatory art projects, light art installations, quirky games, and food vendors. With the move to Ohio City, neighborhood businesses have contributed their time, talent, space, and creativity for BRITE WINTER to extend to 5 venues for temporary art installations, an additional 8 venues for free music performances, and 10 venues with offers or special programming for festival goers.

Music: BRITE WINTER features an outdoor stage where bands (Bad Veins, Tom Evanchuck & the Old Money, Black Taxi, Lighthouse & the Whaler, Bethesda) will play a block party style concert to attendees huddled around bonfires in the heart of the city from 5-10pm. There will simultaneously be 8 other venues (Joy Machines Bike Shop, Bon Bon Pastry & Cafe, Garage Bar, Touch Supper Club, Great Lakes Brewing Company, Market Avenue Wine Bar, Dragonfly Lounge, and Franklin Circle Christian Church) where over 30 more music performances will be held during the festival. All of the music programming has been curated and organized by the Brite Winter Steering Committee with assistance from Bad Racket Recording Studio, The Grog Shop and The Beachland Ballroom.

Art and Games: These things exist in a category together because BRITE WINTER features participatory art and games as well as visual displays. Art and games are temporary installations of fun, like a box truck light and sound extravaganza, the smashdown game, giant skee-ball, giant snowflake, and bring-your-own lamp light sculpture. Kasumi, our featured artist, will display her video art, “Mid-winter’s Stereopticon”. More than a dozen artists, engineers, and creative groups are working together with support from General Electric Lighting, the Cleveland Institute of Art, the Cleveland Museum of Art Department of Community Arts, IngenuityFest, and Vertical Sound to create these art/activity installations for public enjoyment.

Brite Winter Mugs and Ohio City Vouchers: Brite Winter Festival Mugs come with two Ohio City Vouchers and provide additional access to festival programming in the neighborhood. 14 venues will offer a discount between 10-20% during the festival, for simply holding a mug, and each Ohio City Vouchers can be redeemed for Beer, Coffee, Hot Chocolate, or a variety of other items at listed venues during the festival. A Mug and 2 Ohio City Vouchers can be purchased for $12 on kickstarter.com or $15 on the day of the event.

BRITE WINTER festival is run by a 100% volunteer steering committee, currently operated without grant funding, and is supported by in-kind donations and sponsorships from Cleveland businesses, organizations, and university student groups. Donations of all kinds are accepted through the Ohio City Inc. Development Corporation, the festival’s non-profit fiscal agent.

Photo: Lindsay Bruner

And, be sure to look, listen and stop everywhere including Evolution Art, the crime scene. It’s down the block from TRANSITIONS Gallery featuring a new exhibit, “Revisionist Histories,” while nearby spaces like ACME artists, Bliss, Creative Ohio Arts Guild and Buzzbin Magazine will be offering other art and some sweet deals just in time for Valentines Day. Second April Galerie has gone for a bit of a revamp, bringing in metal worker Matt Scofield and doing some space switching to keep things fresh and fun. John Boyett will be blowing (and hopefully selling) glass all evening at canton Glassworks, while Lynda Tuttle’s Art Center will be holding a valentine making demonstration and much more.

All downtown restaurants will be open for business, including the Canton Woman’s Club, Lucca and Pete’s Grille. And music will be everywhere, keeping you motivated to bust a move and solve the just-for-fun crime.

And if you need a hint in how it’s done, take a seat for Clue, the free movie showing at the Canton Palace Theatre @ 7:30 p.m.

Download more information, your game card and a map for February 3 Get a Clue! at www.cantonfirstfriday.com. First Friday is Stark County Community Foundation and presented by ArtsinStark with in cooperation the Special Improvement District.

Hansberry’s best known work, A RAISIN IN THE SUN, (winner of The New York Drama Critics’ Circle Award for Best Play) was the first play written by an African-American woman to be produced on Broadway.

Director Carla Gipson is very excited to be able to bring this show to The Playhouse in this special event celebrating Black History Month. “The experiences that were inspirational in Lorraine Hansberry’s life and works, which came during the 50′s and 60′s, are also an American experience that we can all relate to. The messages and challenges are still relevant today.” says Gipson.

Performance dates are February 3, 4, 10 and 11 at 7:30 PM. Tickets are $15.00/adults, $12.00/seniors and students. The Moyer Room has limited seating and reservations are strongly recommended. Please call the box office at 330-788-8739, M-F, 10AM to 4PM.

Directed by Victoria Bussert, director of Music Theatre at Baldwin-Wallace College, Spring Awakening features Equity actors Scott Plate and Laura Perrotta as the adult male and female characters with a talented cast of 17 young actors from BW’s nationally recognized MT program. “I am thrilled about this initial collaboration between the Beck Center and Baldwin-Wallace,” exclaimed Bussert “especially on such a ground-breaking piece in American musical theater.”

Based on the controversial play by Frank Wedekind, Spring Awakening explores with passion and poignancy the turbulent journey from adolescence to adulthood. This landmark musical swept the 2007 Tony Awards winning eight out of its eleven nominations, including Best Musical and Best Score. With book and lyrics by Steven Sater and music by Duncan Sheik, Spring Awakening is an exhilarating mix of morality, sexuality, and rock & roll including hard-hitting songs like “Momma Who Bore Me,” “My Junk,” and “The Bitch of Living.”

Set against the backdrop of a repressive and provincial late 19th century Germany, Spring Awakening tells the timeless story of teenage self-discovery and budding sexuality as seen through the eyes of a group of school mates. Haunting and provocative, Spring Awakening examines a myriad of social issues including domestic violence, rape, incest, suicide, and teen pregnancy. This production includes adult language and nudity and is recommended for mature audiences ages 17 and older.

Tickets are $28 for adults and $25 for seniors (65 and older). An additional $3 service fee per ticket is applied at the time of purchase. A special discounted rate of $15 is available for students with valid ID. Preview Night on Thursday, February 2 is $10 with general admission seating. Group discounts are available for parties of 13 or more. Purchase tickets online at beckcenter.org or call Customer Service at 216.521.2540, ext. 10. Beck Center is located at 17801 Detroit Avenue in Lakewood, just ten minutes west of downtown Cleveland. Free onsite parking is available.

Beck Center’s production of Spring Awakening is presented through special arrangement with Music Theatre International (MTI) and is sponsored by Cuyahoga Arts and Culture and the Ohio Arts Council.

Beck Center for the Arts is a not-for-profit 501(c)3 organization that offers professional theater productions, arts education programming in dance, music, theater, visual arts, early childhood, and creative arts therapies for special needs students, and gallery exhibits featuring regional artists.

Roughly one year ago, guitarist Cliff Hines brought together a cadre of New Orleans’ finest musicians to perform the music of David Bowie. Among those assembled was James Westfall, vibraphonist/composer and one third of The Wee Trio. This idea of performing Bowie’s music coincided with the groundwork for the band’s third album. What followed was the recording of Ashes To Ashes – A David Bowie Intraspective, a deep exploration into the eclectic icon’s music, and the band’s follow up to their first two critically acclaimed albums, Capitol Diner Vol. 1, and Capitol Diner Vol. 2 Animal Style.

After these two powerhouse albums, comprised of mostly original material (plus Nirvana’s “About a Girl”, Aphex Twin’s “Avril 14” and Sufjan Stevens’ “Flint”), it became clear that the band was eager to lace their many Wee Trio-isms into the works of an outside composer. With Westfall being no stranger to Bowie’s music, and bassist Dan Loomis and drummer Jared Schonig quickly realizing the treasure trove they had found in the thin white duke’s work, the trio dove headfirst into his vast, diverse repertoire to select six songs that span Bowie’s musical universe: “Battle For Britain”, “Queen Bitch”, “The Man Who Sold The Earth”, “Ashes to Ashes”, “1984”

“We went through long list of composers, and in the end, David Bowie represented the biggest range of musical possibilities. Going from folk to rock to glam to art soundscape to electronica, he has covered more aesthetic ground than perhaps any other pop artist. Jazz being the aesthetically voracious art form that it is (and one that is given to perpetual hybridizing of styles just as Bowie was), we saw that Bowie’s music gave us that best chance to represent all the sides of our sound as a band,” explained Loomis.

For David Bowie fans and jazz fans alike, Ashes To Ashes will exceed your expectations. The Wee Trio manages to reimagine Bowie’s music while staying true to its spirit and energy. They simultaneously show their talent as jazz musicians while performing the music from the perspective of true Bowie fans. The Wee Trio also managed to showcase the versatility of Bowie’s compositions and how amazingly well they transferred into a new medium. Simply put, they breathe new life into these timeless Bowie classics.