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David Bowie's grandchild could be him resurrected.
David's song Lazarus was named after the guy Jesus raised form the dead. David could be Lazarus himself, and his son is Jesus. He's being resurrected by his son in the form of a baby.
"2. Contamination" and "3. Afrikaan" exist
David's fabled avant-industrial album cycle would continue the concepts of "1. Outside." He spoke about them at length in interviews, discussing their narratives, hinting at their sound, even stating that about 80 tracks had been recorded for the cycle. I doubt someone as lovably self-indulgent as David Bowie would simply toss a project he and Brian Eno put so much work into. He probably pulled a Prince and locked up the sessions in a studio somewhere.
  • Or maybe Brian has them.

David at least knew about the Toy leak
In 2011, the long lost would-be 'Hours...' followup, Toy, surfaced online in release-ready condition. David has expressed frustration towards the debacle that led to the album's withdrawal. Additionally, he was one of the first major music artists to utilize the Internet back when Earthling came out. Bowie wanted the world to hear Toy, and was well familiar with the power of the Internet. If The Next Day did, in fact take two years to write and record, there is overlap between Toy's release and the production cycle for The Next Day. After the heart attack, most fans had unanimously agreed that David had retired and Bowie hype was hitting an all-time-low. What better way is there to get people talking again than to drop an album that many had presumed dead. By having someone leak it instead of releasing it, Bowie could continue to work on The Next Day in secrecy.

David knew that "Reality" would be his final studio album.
The stripped down sound kind of suggests a feeling of "let's just do this one more time" already, but it's much more obvious when you look at the lyrical themes, especially towards the end of the album. In the title track, David seems to welcome himself to the real world, after decades of ch-ch-changing and searching, he's finally found an identity to call his own. Though much harder to decipher, "Bring Me the Disco King" seems to be about longingly looking back at the past while facing his impending death.
  • Jossed by The Next Day.
    • It's possible that he thought it would be his last go at the time. "The Next Day" only took two years to put together.
    • At the very least, it seems he knew Blackstar would definitely be his Grand Finale.
    • Tragically not, as Bowie's longtime producer said he had one more album planned as a follow-up to Blackstar.

"Life On Mars" is about a girl sulking in a movie theater after coming out to her parents.
The revelation apparently resulted in her banishment from the house. Also, her "friend" was supposed to be there for morale support, but never showed up.

David Bowie is actually...
...a human.
  • Jossed. Humans aren't capable of such extreme levels of sexyfine.
  • Does that mean Maggie Gyllenhaal isn't human?
    • Most likely the same species as Bowie. Unknown what their race calls itself, though.

David Bowie is a Fair Folk
...And he's having too much fun as a celebrity to be really evil. Playing Jareth in Labyrinth was just to throw us off the scent/mess with our heads.

David Bowie is Lady Gaga's father
They resmble each other don't they?
  • Or they were created with similar genetic templates.
  • And as we all know, David Bovie is much superior to David Bowie.
  • And Lady Gaga's Father is superior to both of them.

David Bowie is a Time Lord
In addition to the Doctor and the Master, there is the splendidness that is the Bowie.
  • Let's hope his reincarnation comes back on the scene soon. Excuse me, I need to cry for a second.
  • His Tardis is the armoire he steps into at the end of the Lazarus video. He stepped in to signal his coming regeneration and now there's a seemingly young English man with frequently red hair and excellent singing ability somewhere about.
    • Eddie Redmayne?
      • His name does kinda sound like a Bowie stage persona.

He traveled back in time from the future, as the hero in La Jetée did
This was playfully theorized by the French magazine show Court-circuit in The '90s, in a segment that noted the Homage to the short in his "Jump They Say" video. (It can be seen as an extra feature on The Criterion Collection's DVD release of La Jetée.)
"He comes not from another planet, but from the future. Otherwise, for over 30 years, how could he have predicted, instigated, and invented so many new styles, from punk to new wave, from glam rock to techno, unless he was a creature from the future?...We thought he was just more clever than the rest, but he's actually a great magician of time, possessed of inconceivable powers."

The Rise and Fall of Ziggy Stardust is just that
It's the story of his rise and fall told retrospectively. All right, that doesn't sound like much, but each song is a pivotal event in his life, in mostly linear time, with some flashbacks. "Five Years" is the end of the world, as described in that one interview with Hunter S. Thompson; the same broadcast as in "All the Young Dudes". "Soul Love" is a flashback to Ziggy's first love, while also setting the scene for a world ripping itself apart and Ziggy's character. "Moonage Daydream" is, of course, the call of the alien, and "Starman" is how the word is spread to the rest of the world—In the meantime, he's moved to the city and is now on the scene. "It Ain't Easy" is a cover, but it could be a flashback to Ziggy making the decision to leave his hometown (And the girl at the end of "Five Years" and (maybe) in "Soul Love" out of restlessness—the world is on its way out and he's trapped at home. "Lady Stardust" is a flash-forward, in that it's a spectator (possibly the narrator of "All the Young Dudes") looking back on Ziggy's first performance. "Star" is Ziggy making the decision to try and make it in the music business, reflecting on the failed attempts of his friends to try and save the world/leave their mark. "Hang Onto Yourself" is a performance by Ziggy once the band is together, while also hinting as his soon-to-come role as the Messiah/Alien. "Suffragette City" is his life as a rock n' roll star, while showing how he's drifting away from his old life and friends, and then "Rock N' Roll Suicide" is him, huddled with his friends at the end of the world thinking of a possible ending for him, one of three (Death by End of the World/Aliens, Death by Fans or Death by Suicide/Accident) possibilities. If that was the possibility, then it means that the world has lived, but that he dies bitter, alone and having lost the music—left behind by a world that no longer needs him.Messiahs aren't meant to live too long. Neither are martyrs. He rejects that possibility and dies at the end.

The skeletal remains of the astronaut at the beginning of "Blackstar" are Major Tom

He is not dead, but is working on the follow-up to ★ (Blackstar) and his last tour before he retires
This may be wishful thinking, but here goes: He only told a few people about his pian, which was to orchestrate his death, move operations, record new material and have it released under the guise of a posthumous project, most likely assisted by Tony Visconti or maybe Brian Eno, as they had been talking about 1. Outside and perhaps getting around to doing the long-lost sequels. Then, two days after the new album is released, he will suddenly appear in a video of some sort, and once people have gotten over the shock, he will announce that he orchestrated his death so that the world could get used to carrying on without him. He will also announce that he is going to make one last grand tour of the world before retiring from public life on a permanent basis.

If, however, he is creating the sequels to 1. Outside, the game plan changes slightly. The "posthumous" album will be 2. Contamination, and the fake death will somehow have factored into the writing and/or recording process. Once he resurfaces, he reveals that he has also already made 3. Afrikaan and the sequel to , and that they are going to be released during and/or after his farewell tour.

Faking one's own death in such a manner might seem like a dick move, but Bowie is famous for Doing It for the Art, so I can't help but think that he might have done it. After all, it feels better to think that this is the case, rather than him actually being dead.

Like Ziggy, above, Diamond Dogs tells a linear story.

The story is about the end of our civilization and the dystopia that rises in its place. "Future Legend" describes a state of lawless chaos where roving gangs of "peoploids" are the only authority. But that chaos is short-lived as a new figure (perhaps Halloween Jack, perhaps someone else) rises to power and by the end people are calling for Big Brother to protect them.

David Bowie was fated to join the 27 club.

But the reaper was a fan, or knew that some of his best work was yet to come, so the rules were changed. He'd die after 27 albums instead.

Side 2 of "Heroes" is about a bombing and its aftermath.
No lyrics to interpret here, just sounds. "V-2 Schneider" refers to the V-2 rocket; the music sounds like a rocket in flight. "Sense of Doubt" is about the devastation left behind, a city in ruins. "Moss Garden" is a peaceful scene of nature reclaiming the abandoned rubble. The wailing sax in "Neuköln" is the screaming of a lone survivor, calling out for help that will never come.

"The Secret Life Of Arabia" doesn't factor into this interpretation - that's just a misplaced track from Lodger.