It’s no secret that David Bowie loved Philadelphia.

He saw some of his earliest live-performance successes as the androgynous, gender-bending, bisexual, glam-rock hero Ziggy Stardust at Upper Darby’s Tower Theater in 1972 and ‘73; he made himself a fixture at other local clubs such as Artemis. A year later, as a Diamond Dog, he would return to Upper Darby shorn (mostly) of the glitter for the rough-edged concert recording of “David Live.” Several months after his time in Darby, he would return again, only this time for sessions at North 12th Street’s Sigma Sound Studio for the plastic soul of “Young Americans.”

After achieving commercial success and aesthetic respect as one of jazz’s towering figures, Duke Ellington often spoke about never speaking about “jazz” again: After 1947, he refused to use that musical-genre tag because, he said, it segregated him and anyone else who made America’s classical music from pure expression.

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