1 00:00:00,000 --> 00:00:00,856 {\a5} "I guess I was one of the first 2 00:00:01,757 --> 00:00:02,264 {\a5} "I guess I was one of the first 3 00:00:02,265 --> 00:00:03,275 {\a5} "I guess I was one of the first to really say 4 00:00:03,276 --> 00:00:07,817 {\a5} "I guess I was one of the first to really say I'm USING 'rock & roll'..." 5 00:00:08,416 --> 00:00:11,124 - Where are we going? - We're going down this way. 6 00:00:32,104 --> 00:00:34,753 Can you get me a Coca-Cola for Mr Bowie, please? 7 00:00:34,754 --> 00:00:37,453 'I'm only using rock 'n' roll as a medium. 8 00:00:37,454 --> 00:00:39,843 'I don't think it had been really voiced before then. 9 00:00:39,844 --> 00:00:42,793 'I wanted to be the instigator of new ideas. 10 00:00:42,794 --> 00:00:46,493 'I wanted to turn people on to new things and new perspectives. 11 00:00:46,494 --> 00:00:49,504 'I always wanted to be that sort of catalystic kind of thing.' 12 00:00:50,359 --> 00:00:51,619 {\a5} "I am only the person 13 00:00:51,620 --> 00:00:52,551 {\a5} "I am only the person the greatest number of people 14 00:00:52,552 --> 00:00:56,202 {\a5} "I am only the person the greatest number of people believe I am." 15 00:00:56,203 --> 00:00:59,422 I mean, the image you have has got almost nothing to do with your real life. 16 00:00:59,423 --> 00:01:01,552 'It depends on which image you're talking about. 17 00:01:01,553 --> 00:01:04,712 'I've seen so many because, of course, there will be so many.' 18 00:01:04,713 --> 00:01:06,672 It's like looking at an actor's films 19 00:01:06,673 --> 00:01:09,714 and taking clippings from the films and saying, "Here he is," you know. 20 00:01:09,715 --> 00:01:11,902 Well, that's where you're different from most rock stars. 21 00:01:11,903 --> 00:01:13,912 Well, I'm not a rock star, you see. You've just said it. 22 00:01:13,913 --> 00:01:15,581 I'm not in rock and roll. 23 00:01:15,651 --> 00:01:17,223 That's nice. 24 00:01:17,569 --> 00:01:18,598 d Fashion! 25 00:01:18,599 --> 00:01:19,548 d Turn to the left 26 00:01:19,549 --> 00:01:20,608 d Fashion! 27 00:01:20,609 --> 00:01:21,809 {\a5}"Sometimes... 28 00:01:20,609 --> 00:01:21,549 d Turn to the right 29 00:01:21,550 --> 00:01:25,359 d Oooh, fashion! 30 00:01:21,810 --> 00:01:25,210 {\a5}"Sometimes... I don't feel like a person at all." 31 00:01:26,491 --> 00:01:30,130 d We are the goon squad And we're coming to town 32 00:01:30,131 --> 00:01:30,669 d Beep-beep. d 33 00:01:30,670 --> 00:01:33,970 I've always found that I collect. I am a collector. 34 00:01:34,280 --> 00:01:39,859 And I've always just seemed to collect personalities, ideas. 35 00:01:39,860 --> 00:01:42,098 {\a5} In David Bowie's OWN words 36 00:01:42,099 --> 00:01:46,337 {\a5} In David Bowie's OWN words and those of his closest collaborators 37 00:01:42,336 --> 00:01:46,649 d Put on your red shoes and dance the blues... d 38 00:01:46,650 --> 00:01:49,069 I'm a storyteller and I'm a storywriter 39 00:01:49,070 --> 00:01:53,749 and I decided that I preferred to enact a lot of the material 40 00:01:53,750 --> 00:01:56,480 I was writing, rather than perform it as myself. 41 00:01:58,136 --> 00:02:02,199 {\a7}questo film usa scene tagliate MAI VISTE e filmati rari 42 00:02:00,700 --> 00:02:04,250 d There's a starman 43 00:02:05,230 --> 00:02:07,495 d Waiting in the sky 44 00:02:07,596 --> 00:02:12,529 {\a5}to tell the story 45 00:02:08,935 --> 00:02:12,530 {\a10}of FIVE key years 46 00:02:09,862 --> 00:02:12,531 {\a3}in Bowie's career. 47 00:02:12,430 --> 00:02:16,120 d There's a starman 48 00:02:17,190 --> 00:02:19,029 d Waiting in the sky. d 49 00:02:19,030 --> 00:02:20,809 I think I'm a fairly good social observer, 50 00:02:20,810 --> 00:02:25,209 and I think that I encapsulate areas maybe every year or so. 51 00:02:25,210 --> 00:02:28,120 I'm trying to stamp that down somewhere, 52 00:02:28,300 --> 00:02:30,439 the quintessence of that year. 53 00:02:32,884 --> 00:02:34,513 d Let me make it plain 54 00:02:34,514 --> 00:02:39,387 d Gotta make way For the Homo Superior. d 55 00:02:35,488 --> 00:02:43,617 {\a5}David Bowie FIVE YEARS 56 00:02:47,853 --> 00:02:51,412 'I wanted to make a mark and I didn't quite know how to do it, 57 00:02:51,413 --> 00:02:55,073 'and it took me all the '60s to try everything that I could think of 58 00:02:55,093 --> 00:02:57,602 'in terms of theatre and arts and music, 59 00:02:57,603 --> 00:03:01,033 'to find out what exactly it was I wanted to do anyway. 60 00:03:04,793 --> 00:03:07,462 'I was learning about how to play rhythm and blues, 61 00:03:07,463 --> 00:03:10,942 'learning how to write, finding all these, everything that I read, 62 00:03:10,943 --> 00:03:13,652 'every film that I saw, any bit of theatre, 63 00:03:13,653 --> 00:03:16,493 'everything went into my mind as being an influence.' 64 00:03:16,494 --> 00:03:19,714 'But at the time, I thought, ' "God, that's going in my memory bank." 65 00:03:22,004 --> 00:03:25,763 'But just about the end of the '60s, it started to come together for me 66 00:03:25,764 --> 00:03:28,333 'that there was a way of expressing, not only musically, 67 00:03:28,334 --> 00:03:30,063 'but visually what one can do.' 68 00:03:30,064 --> 00:03:32,044 d Well 69 00:03:32,824 --> 00:03:34,663 d She takes me up 70 00:03:34,664 --> 00:03:36,234 d She takes me down 71 00:03:36,474 --> 00:03:39,583 d She takes me down, down, down 72 00:03:39,584 --> 00:03:41,724 d Anywhere you want me to be. d 73 00:03:43,045 --> 00:03:45,148 {\a9} YEAR ONE 74 00:03:45,149 --> 00:03:47,680 {\a9}YEAR ONE .1971 to 1972 75 00:03:47,681 --> 00:03:49,469 {\a9}"I feel like an actor 76 00:03:49,470 --> 00:03:50,754 {\a9}"I feel like an actor when I'm on stage, 77 00:03:50,755 --> 00:03:55,877 {\a9}"I feel like an actor when I'm on stage, rather than a rock artist." 78 00:03:54,278 --> 00:03:58,628 - You ready? - Yeah. 79 00:04:02,827 --> 00:04:05,517 d Like to take a cement fix 80 00:04:05,548 --> 00:04:06,542 d Be a standing cinema 81 00:04:06,543 --> 00:04:13,386 {\a6} In 1971 David Bowie went to New York to sign a contract with RCA Records. 82 00:04:08,487 --> 00:04:10,906 d Dress my friends up just for show 83 00:04:10,907 --> 00:04:13,766 d See them as they really are. d 84 00:04:13,767 --> 00:04:15,657 Warhol, scene one, take one. 85 00:04:17,108 --> 00:04:23,058 {\a6}While he was there, he met the pop artist Andy Warhol. 86 00:04:17,739 --> 00:04:20,388 d Put a peephole in my brain 87 00:04:20,389 --> 00:04:23,209 d Two new pence to have a go 88 00:04:23,472 --> 00:04:25,922 d I'd like to be a gallery 89 00:04:25,923 --> 00:04:29,483 d Put you all inside my show. d 90 00:04:32,236 --> 00:04:34,646 How come your camera doesn't make any noise? 91 00:04:34,906 --> 00:04:38,096 'This guy was as well-known as the work that he did.' 92 00:04:38,097 --> 00:04:42,485 'In fact, probably more people knew the name and the look of Andy Warhol 93 00:04:42,486 --> 00:04:44,525 'than actually knew what it was he did.' 94 00:04:44,526 --> 00:04:46,656 Oh, it's so glamorous. 95 00:04:47,817 --> 00:04:52,546 Bowie admired Warhol, but also felt competitive with him, in some way. 96 00:04:52,547 --> 00:05:00,697 I think he understood that Warhol's work had waned in the prior years. 97 00:04:52,730 --> 00:04:58,298 {\a9} Camilla Paglia Cultural Critic & Author 98 00:05:00,886 --> 00:05:03,166 Bowie felt on Warhol's level, 99 00:05:03,167 --> 00:05:07,176 wanted to be taken as his peer, and rightly so. 100 00:05:08,536 --> 00:05:10,302 'I did write a song about him, 101 00:05:10,303 --> 00:05:12,985 and that rather linked me to him, in a certain way.' 102 00:05:12,986 --> 00:05:13,793 d Andy Warhol looks a scream 103 00:05:13,594 --> 00:05:18,265 {\a9} Andy Warhol from "Hunky Dory" 104 00:05:15,166 --> 00:05:18,255 d Hang him on my wall, oh-oh, oh-oh 105 00:05:18,256 --> 00:05:20,712 d Andy Warhol, silver screen 106 00:05:20,713 --> 00:05:22,533 d Can't tell them apart at all 107 00:05:22,534 --> 00:05:27,442 d Oh-oh, oh-oh, oh. d 108 00:05:27,482 --> 00:05:30,631 'He hated it. He loathed it. He told people afterwards, 109 00:05:30,632 --> 00:05:33,072 ' "That's the worst thing I've ever heard." 110 00:05:33,702 --> 00:05:36,881 'I was upset by that, you know. 111 00:05:36,882 --> 00:05:39,291 'I thought it was kind of a flattering portrait of him. 112 00:05:39,292 --> 00:05:42,402 'I thought it was a very contemporary picture 'of Andy at the time.' 113 00:05:43,002 --> 00:05:45,502 If you'd like to take the camera back, 114 00:05:45,872 --> 00:05:48,092 I'd prefer to do something. 115 00:05:48,412 --> 00:05:50,762 You going to do something, still? No. 116 00:05:51,362 --> 00:05:56,671 I do feel that Bowie felt disappointed in not being embraced by Warhol, 117 00:05:56,672 --> 00:06:00,241 and certainly dramatised his own sense of disease 118 00:06:00,242 --> 00:06:03,441 by doing his hilarious disembowelling mime 119 00:06:03,442 --> 00:06:08,331 at the end of the video that recorded this ill encounter. 120 00:06:14,251 --> 00:06:15,801 'Oh, that's right. 121 00:06:19,771 --> 00:06:21,284 'Did he really? 122 00:06:23,761 --> 00:06:25,561 'Oh, that's nice.' 123 00:06:31,131 --> 00:06:34,530 With Andy Warhol from Hunky Dory, you've got the sense 124 00:06:34,531 --> 00:06:38,750 that Bowie's one of the first people who's able to essay 125 00:06:38,751 --> 00:06:42,640 the experience of stardom, wanting to be a star, 126 00:06:42,641 --> 00:06:45,081 imagining what it's like to be a star. 127 00:06:45,471 --> 00:06:49,321 And even the cover picture has a sense that he knows 128 00:06:46,512 --> 00:06:51,301 {\a9}John Harris Journalist & Author 129 00:06:49,391 --> 00:06:52,789 that he's starting to turn himself into what, if you're being romantic, 130 00:06:52,790 --> 00:06:56,300 you'd call an icon, and if you're being horribly cynical and 21st-century, 131 00:06:56,301 --> 00:06:57,736 you'd call a brand. 132 00:06:57,737 --> 00:06:58,935 But I'd rather not use that word 133 00:06:58,936 --> 00:07:01,851 because it's a huge disservice to what we're talking about. 134 00:07:02,576 --> 00:07:04,423 d Ch-ch-ch-ch-changes 135 00:07:02,602 --> 00:07:07,331 {\a9}Changes from "Hunky Dory" 136 00:07:04,424 --> 00:07:08,404 d Turn and face the stranger d Ch-ch-changes 137 00:07:08,405 --> 00:07:11,455 d Don't want to have to be A richer man 138 00:07:11,465 --> 00:07:13,604 d Ch-ch-ch-ch-changes 139 00:07:13,605 --> 00:07:17,374 d Turn and face the stranger d Ch-ch-changes 140 00:07:17,375 --> 00:07:20,234 d Just wanted to be a better man 141 00:07:20,235 --> 00:07:22,955 d But time may change me 142 00:07:23,345 --> 00:07:26,595 d But I can't trace time. d 143 00:07:26,735 --> 00:07:29,074 I got a call from David, he called me directly, 144 00:07:29,075 --> 00:07:30,964 and he said, "Can you come over to the house?" 145 00:07:30,965 --> 00:07:36,639 And I sat there with him, and he took out this battered old 12-string guitar 146 00:07:32,622 --> 00:07:38,325 {\a9}Rick Wakeman Piano "Hunky Dory" 147 00:07:36,951 --> 00:07:39,534 and said, "I'm going to play you some songs." 148 00:07:39,535 --> 00:07:43,124 And he played me these songs one after the other. 149 00:07:43,506 --> 00:07:47,822 {\a9}Life on Mars? from "Hunky Dory" (video filmed in 1973) 150 00:07:47,514 --> 00:07:50,874 d It's a God-awful small affair 151 00:07:51,804 --> 00:07:55,214 d To the girl with the mousy hair 152 00:07:55,814 --> 00:07:59,064 d But her mummy is yelling "No" 153 00:07:59,764 --> 00:08:03,324 d And her daddy has told her to go 154 00:08:03,804 --> 00:08:07,464 d But her friend is nowhere To be seen 155 00:08:07,704 --> 00:08:10,993 d Now she walks through her sunken dream... d 156 00:08:10,994 --> 00:08:13,463 "Life On Mars?", from Hunky Dory, 157 00:08:13,464 --> 00:08:16,884 was certainly the stand-out song for me, 158 00:08:16,934 --> 00:08:20,563 but it was a challenge in certain areas, because of some of the chord structure, 159 00:08:20,564 --> 00:08:22,788 because he would lead you down the garden path with 160 00:08:22,789 --> 00:08:26,053 quite a bog-standard chord structure, and then suddenly go AWOL. 161 00:08:26,054 --> 00:08:29,924 Now I've got to try and remember this, because it is 40 years since I've played it, but... 162 00:08:45,173 --> 00:08:48,673 d But her friend is nowhere To be seen 163 00:08:49,073 --> 00:08:52,233 d Now she walks through Her sunken dream 164 00:08:53,003 --> 00:08:56,223 d To the seat with The clearest view... d 165 00:08:59,843 --> 00:09:04,642 Now this is a classic example of where he throws in a chord that you wouldn't expect. 166 00:09:04,643 --> 00:09:06,143 Normally after... 167 00:09:07,353 --> 00:09:11,092 You would expect it to go back there, but he doesn't. He goes... 168 00:09:13,063 --> 00:09:16,791 But the thing that makes it really clever is he put an E flat in the bass, 169 00:09:16,792 --> 00:09:21,721 which just gives it a bass part that you can start to move on. 170 00:09:21,722 --> 00:09:23,662 Really clever, so you've got... 171 00:09:26,136 --> 00:09:29,276 d But the film is a saddening bore 172 00:09:29,976 --> 00:09:33,166 d For she's lived it ten times or more. d 173 00:09:39,756 --> 00:09:42,436 Now, after that chord, you would expect it to go to... 174 00:09:42,736 --> 00:09:44,146 But he doesn't. 175 00:09:47,795 --> 00:09:50,916 I mean, nobody... Only David would do something like that. 176 00:10:04,805 --> 00:10:08,894 It's a piano player's joy. In fact, I must go home and learn it. 177 00:10:08,895 --> 00:10:12,214 d Take a look at the lawman 178 00:10:12,215 --> 00:10:14,634 d Beating up the wrong guy 179 00:10:14,635 --> 00:10:18,485 d Oh, man! Wonder if he'll ever know 180 00:10:20,175 --> 00:10:23,165 d He's in the best-selling show 181 00:10:24,185 --> 00:10:25,509 d Is there life on 182 00:10:25,510 --> 00:10:31,996 d Mars? d 183 00:10:33,014 --> 00:10:36,443 "Life On Mars?" is sort of magic realism, really, if you listen to it, 184 00:10:36,444 --> 00:10:39,334 that you recognise it as a song about Britain. 185 00:10:39,344 --> 00:10:43,433 And there are references in it which anyone who grew up in suburbia would understand. 186 00:10:43,434 --> 00:10:46,253 Very mundane, and yet it's magical. 187 00:10:46,254 --> 00:10:48,723 You know, he's seen the cosmos in the bus stop. 188 00:10:48,724 --> 00:10:52,204 d It's on America's tortured brow 189 00:10:52,734 --> 00:10:56,244 d That Mickey Mouse Has grown up a cow 190 00:10:56,914 --> 00:11:00,194 d Now the workers have Struck for fame 191 00:11:01,094 --> 00:11:03,535 d Cos Lennon's on sale again. d 192 00:11:03,536 --> 00:11:07,943 The vocals are performances, they are real, they are live, 193 00:11:07,944 --> 00:11:10,409 and I think that's one of the reasons we're still talking about them today, 194 00:11:08,277 --> 00:11:14,168 {\a11}Ken Scott Co-Producer "Hunky Dory" 195 00:11:10,410 --> 00:11:14,753 is because they do resonate with people. Unlike the manufactured 196 00:11:14,754 --> 00:11:20,163 and thrown-together vocals that are so prevalent today, his are real. 197 00:11:20,576 --> 00:11:25,490 {\a9}Queen Bitch from "Hunky Dory" 198 00:11:33,483 --> 00:11:38,053 d I'm up on the eleventh floor And I'm watching the cruisers below 199 00:11:40,403 --> 00:11:44,433 d Well, I'm down on the street And he's trying hard to... d 200 00:11:46,633 --> 00:11:47,883 Sorry. 201 00:11:48,593 --> 00:11:51,232 Although most of Hunky Dory is not a rock record, 202 00:11:51,233 --> 00:11:53,862 there are stirrings of the Bowie to come. 203 00:11:53,863 --> 00:11:56,112 When you listen to Queen Bitch, it swings. 204 00:11:56,113 --> 00:11:57,782 It has raunch to it, you know. 205 00:11:57,783 --> 00:12:00,773 That record shakes its hips very convincingly. 206 00:12:02,385 --> 00:12:04,194 d Well, it could have been me 207 00:12:04,195 --> 00:12:06,254 d Yes, it could have been me 208 00:12:06,255 --> 00:12:10,375 d Why didn't I say? 209 00:12:11,935 --> 00:12:15,365 d She's so swishy In her satin and tat 210 00:12:15,475 --> 00:12:19,014 d In her frock coat And bipperty-bopperty hat 211 00:12:19,015 --> 00:12:22,984 d Oh, God, I could do better than that. d 212 00:12:22,985 --> 00:12:25,435 'I think I was getting nearer to what I wanted to do, 213 00:12:25,436 --> 00:12:28,456 'which is to create this alternative world, 214 00:12:28,495 --> 00:12:30,134 'and Hunky Dory was the first, 215 00:12:30,135 --> 00:12:33,305 'really stepping off this planet and going somewhere else.' 216 00:12:35,984 --> 00:12:38,413 So, we'd finished Hunky Dory, and a couple of weeks later 217 00:12:38,414 --> 00:12:41,923 I ran into David walking along the corridor of Trident Studios 218 00:12:41,924 --> 00:12:44,644 and he comes up to me and he says, "We're going to record a new album," 219 00:12:44,704 --> 00:12:46,504 "But you're not going to like it." 220 00:12:46,514 --> 00:12:50,014 I said, "Why?" and he said, "Well, this is much more rock and roll." 221 00:12:51,068 --> 00:12:53,598 d I'm an alligator 222 00:12:52,016 --> 00:12:56,576 {\a5}Moonage Daydream from "The Rise and Fall of Ziggy Stardust And The Spiders from Mars" 223 00:12:54,648 --> 00:12:57,558 d I'm a mama-papa coming for you. d 224 00:13:00,103 --> 00:13:06,055 {\a9}Mick Ronson Lead Guitar "Ziggy Stardust" girato nel 1992 225 00:13:08,238 --> 00:13:12,977 Bowie's always been brilliant at finding the right collaborators. 226 00:13:12,978 --> 00:13:15,887 He had the extraordinary Mick Ronson, 227 00:13:15,888 --> 00:13:20,442 who could strike amazing guitar hero poses and 228 00:13:20,443 --> 00:13:22,798 fill the hall with riffs 229 00:13:23,188 --> 00:13:26,847 in such a way that Bowie shared the stage with Ronson 230 00:13:25,113 --> 00:13:30,079 {\a9} Charles Shaar Murray Music Journalist 231 00:13:26,848 --> 00:13:31,207 in a way that he's never shared a stage with anyone else. 232 00:13:34,787 --> 00:13:39,757 d Freak out in a moon-age daydream, Oh, yeah! d 233 00:13:44,007 --> 00:13:46,006 'When I first heard him play, I thought, 234 00:13:46,007 --> 00:13:50,326 ' "That's my Jeff Beck, he is fantastic, this kid is great." 235 00:13:50,327 --> 00:13:53,407 'And so I sort of hoodwinked him into working with me.' 236 00:13:55,317 --> 00:13:57,917 I forget how it goes, but, I mean, that's basically... 237 00:14:05,457 --> 00:14:07,027 He is good at stealing. 238 00:14:07,067 --> 00:14:08,626 You've only got to look at Ziggy, really. 239 00:14:08,627 --> 00:14:11,468 I mean, there is a lot of Lou Reed in there, 240 00:14:10,360 --> 00:14:16,308 {\a11}Trevor Bolder Bass Guitar "Ziggy Stardust" 241 00:14:11,550 --> 00:14:14,718 a lot of Iggy Pop in there, you know. 242 00:14:14,719 --> 00:14:18,013 A lot of all sorts of influences that he has got in there, 243 00:14:18,014 --> 00:14:20,625 you know, so he would steal little bits. 244 00:14:20,626 --> 00:14:24,326 d Oh, don't lean on me, man d Cos you can't afford the ticket 245 00:14:20,976 --> 00:14:26,543 {\a9}Suffragette City from "Ziggy Stardust" 246 00:14:24,721 --> 00:14:26,980 d I'm back on Suffragette City 247 00:14:26,981 --> 00:14:31,010 d Oh, don't lean on me, man d Cos you can't afford to check it 248 00:14:31,011 --> 00:14:33,571 d I'm back on Suffragette City 249 00:14:33,581 --> 00:14:35,181 d Is out of sight. d 250 00:14:37,871 --> 00:14:40,850 'It just seemed like a perfectly natural thing for me at the time, 251 00:14:40,851 --> 00:14:46,030 'to put together all these odds and ends of art and culture 'that I really adored. 252 00:14:46,031 --> 00:14:50,010 'It was just creating something thoroughly artificial, 253 00:14:50,011 --> 00:14:53,500 'but something that worked in the confines of rock and roll.' 254 00:14:53,501 --> 00:14:56,030 d There's only room for one And here she comes 255 00:14:56,031 --> 00:14:57,881 d Here she comes... d 256 00:14:58,857 --> 00:15:03,067 I suppose the whole thing that made Ziggy as popular as it was-stroke-is, 257 00:15:03,307 --> 00:15:06,066 was that it was a good rock album. 258 00:15:06,067 --> 00:15:09,136 Nothing extraordinary, in my opinion, 259 00:15:09,137 --> 00:15:12,386 but a good rock album, and then the image on top of it, 260 00:15:12,387 --> 00:15:15,986 which was really honed to perfection by David, 261 00:15:15,987 --> 00:15:18,537 and people grabbed hold of it. 262 00:15:20,097 --> 00:15:23,516 What Ziggy Stardust does is it projects him as a rock star. 263 00:15:23,517 --> 00:15:27,346 He sings about the imagined experience of being a rock star, 264 00:15:27,347 --> 00:15:29,776 and in doing that, becomes a rock star. 265 00:15:29,777 --> 00:15:31,776 And there is a story about his wife Angie, in the front row, 266 00:15:31,777 --> 00:15:33,794 screaming at him as if he was a rock star, 267 00:15:33,795 --> 00:15:36,537 despite the fact that two men and a dog were there. 268 00:15:38,157 --> 00:15:41,275 What happens, then, really, is that the world fulfils his fantasy. 269 00:15:41,276 --> 00:15:43,596 It aligns itself with what he wants to be. 270 00:15:43,786 --> 00:15:46,365 Which is what I think psychologists call "self-actualisation". 271 00:15:46,366 --> 00:15:48,646 Not many people can do it but he did. 272 00:15:50,306 --> 00:15:51,956 d Suffragette! d 273 00:15:52,146 --> 00:15:56,871 I was sitting next to this guy who was living it, he was already 274 00:15:52,716 --> 00:15:58,863 {\a11}Woody Woodmansey Drums "Ziggy Stardust" 275 00:15:58,701 --> 00:16:02,099 being it on a daily basis, 276 00:16:02,100 --> 00:16:06,330 and it's funny, but he would eat breakfast as a superstar. 277 00:16:06,410 --> 00:16:08,620 It was like, "This guy means it." 278 00:16:08,926 --> 00:16:13,347 {\a11}Ziggy Stardust from "Ziggy Stardust" 279 00:16:12,730 --> 00:16:14,840 d Ziggy played guitar 280 00:16:15,860 --> 00:16:19,219 d Jamming good with Weird and Gilly 281 00:16:19,220 --> 00:16:21,906 d And the spiders from Mars 282 00:16:21,907 --> 00:16:25,069 d He played it left-hand 283 00:16:25,070 --> 00:16:28,130 d But made it too far... d 284 00:16:28,250 --> 00:16:30,029 'I'd found my character. 285 00:16:30,030 --> 00:16:34,659 'One man against the world. It really reverberated in my mind. 286 00:16:34,660 --> 00:16:38,120 'That's something that I really, kind of, honed in on.' 287 00:16:39,039 --> 00:16:43,228 dScrewed up eyes And screwed down hairdo 288 00:16:43,229 --> 00:16:46,048 d Like some cat from Japan 289 00:16:46,049 --> 00:16:49,368 d He could kill 'em by smiling... d 290 00:16:49,369 --> 00:16:53,138 'Ziggy was this kind of mythological priest figure. 291 00:16:53,139 --> 00:16:57,188 'And I only say that in retrospect because I didn't quite know 'what he was then, 292 00:16:57,189 --> 00:16:58,888 but it does occur to me now 293 00:16:58,889 --> 00:17:03,438 'that the androgyny of some of the tribal priests throughout history 294 00:17:03,439 --> 00:17:05,418 'have been transvestite in nature. 295 00:17:05,419 --> 00:17:09,359 'I only know this because I read Camille Paglia on the subject.' 296 00:17:11,380 --> 00:17:14,347 Ziggy Stardust is, to me, a kind of colossus 297 00:17:12,442 --> 00:17:17,853 {\a9} Camille Paglia Cultural Critic & Author 298 00:17:14,348 --> 00:17:19,270 that marks a tremendous transition between the 1960s and the 1970s. 299 00:17:19,271 --> 00:17:24,430 d So we bitched about his fans d d And should we crush his sweet hands? d 300 00:17:25,483 --> 00:17:28,852 The 1970s were a dark era, 301 00:17:28,853 --> 00:17:31,831 where sexual promiscuity for its own sake 302 00:17:31,832 --> 00:17:34,924 was pursued in a way that had never been 303 00:17:34,925 --> 00:17:39,686 so universal since the Roman Empire. 304 00:17:39,687 --> 00:17:45,696 Sex without consequence, anonymous sex, pick-ups in dark clubs. 305 00:17:45,697 --> 00:17:51,216 So Ziggy Stardust, when he appeared, was a kind of prefiguration, 306 00:17:51,217 --> 00:17:54,296 almost like the Book of Revelations, 307 00:17:54,297 --> 00:17:58,977 a hallucination of an apocalypse about to occur. 308 00:18:01,777 --> 00:18:05,637 d Making love with his ego 309 00:18:07,557 --> 00:18:11,876 d Ziggy sucked up into his mind 310 00:18:13,719 --> 00:18:17,659 d Like a leper messiah 311 00:18:18,839 --> 00:18:21,158 d When the kids had killed the man 312 00:18:21,159 --> 00:18:24,899 d I had to break up the band. d 313 00:18:27,949 --> 00:18:31,628 What made Ziggy different, and Bowie different, at that point, 314 00:18:31,629 --> 00:18:34,037 was that he 315 00:18:32,591 --> 00:18:38,599 {\a9} Michael Watts Music Journalist 316 00:18:34,038 --> 00:18:37,848 turned himself into an idol that people could worship. 317 00:18:37,849 --> 00:18:42,107 Nobody had actually, in pop music, ever done that before. 318 00:18:42,108 --> 00:18:44,858 It was the province of Hollywood. 319 00:18:44,921 --> 00:18:49,554 {\a9}Starman from "Ziggy Stardust" 320 00:18:45,170 --> 00:18:49,909 d There's a starman Waiting in the sky 321 00:18:49,910 --> 00:18:54,219 d He'd like to come and meet us But he thinks he'd blow our minds 322 00:18:54,220 --> 00:18:59,079 d There's a starman Waiting in the sky 323 00:18:59,080 --> 00:19:01,279 d He's told us not to blow it 324 00:19:01,280 --> 00:19:03,229 d Cos he knows it's all worthwhile 325 00:19:03,230 --> 00:19:06,738 d He told me Let the children lose it 326 00:19:06,739 --> 00:19:09,068 d Let the children use it 327 00:19:09,069 --> 00:19:11,449 d Let all the children boogie. d 328 00:19:12,322 --> 00:19:17,951 His management would distribute posters of Bowie at concerts, 329 00:19:17,952 --> 00:19:22,007 so that the fans could pick them up and go home and put them on the walls, 330 00:19:22,134 --> 00:19:25,031 and it was that kind of attention 331 00:19:25,032 --> 00:19:29,981 to detail in thinking about the whole process of stardom 332 00:19:29,982 --> 00:19:33,542 that singled him out from people that had gone before. 333 00:19:36,972 --> 00:19:40,921 I think David was calculating in a lot of things that he did. 334 00:19:40,922 --> 00:19:43,883 He understood how to manipulate his image, in that 335 00:19:43,884 --> 00:19:47,291 he didn't make himself too available. 336 00:19:48,388 --> 00:19:49,637 He just gave them a little bit, and they'd go, 337 00:19:49,638 --> 00:19:52,098 "Oh, we want more of David Bowie." 338 00:19:49,734 --> 00:19:54,877 {\a9}Ava Cherry Backing Singer 339 00:19:52,610 --> 00:19:53,639 You know, that sort of thing. 340 00:19:53,640 --> 00:19:56,819 And I used to always wonder about that. I was like, "Why don't you just give them it all?" 341 00:19:56,820 --> 00:19:59,439 And he was like, "No, I've just got to give them that. 342 00:19:59,440 --> 00:20:02,889 "And then they'll come back for more, and then just give them that." 343 00:20:02,890 --> 00:20:04,289 And it worked. 344 00:20:34,058 --> 00:20:42,011 {\a5}On 3rd july 1973, Bowie killed off the character of Ziggy Stardust. 345 00:20:44,108 --> 00:20:46,027 {\a9}YEAR TWO 346 00:20:46,228 --> 00:20:48,900 {\a9} YEAR TWO .1974 to 1975 347 00:20:48,901 --> 00:20:51,317 {\a7} "Bowie was never meant to be. 348 00:20:51,318 --> 00:20:53,347 {\a7} "Bowie was never meant to be. He's like a Lego kit. 349 00:20:53,348 --> 00:20:57,405 {\a7} "Bowie was never meant to be. He's like a Lego kit. ...there is no definitive David Bowie." 350 00:21:12,198 --> 00:21:16,397 'At that particular time, 'I was chopping and changing really quite drastically. 351 00:21:16,398 --> 00:21:19,817 'The music that I was listening to was definitely the soul music 352 00:21:19,818 --> 00:21:24,948 'that was really, really big in the clubs in America 'at that particular time. 353 00:21:27,688 --> 00:21:32,166 'So I kind of tried to do my own version of that kind of music, 354 00:21:32,167 --> 00:21:34,938 'which was the basis of the Young Americans album. 355 00:21:41,117 --> 00:21:42,967 'I'd become soul man.' 356 00:21:44,947 --> 00:21:48,046 When David really decided he wanted to be a soul man, 357 00:21:48,047 --> 00:21:50,737 he said to me, "So, how shall we do it? 358 00:21:50,747 --> 00:21:52,086 "Where shall we go?" 359 00:21:52,087 --> 00:21:55,726 And, you know, to get the people, the singers, the band and all that. 360 00:21:55,727 --> 00:21:59,716 And I said we should go to New York. To Harlem and go to the Apollo. 361 00:21:59,717 --> 00:22:01,556 So he was like, "OK." 362 00:22:01,557 --> 00:22:04,437 So we went backstage and he met everyone. 363 00:22:06,687 --> 00:22:08,386 I didn't know who David Bowie was, 364 00:22:08,387 --> 00:22:11,166 but I did know this was the whitest man I've ever seen. 365 00:22:11,167 --> 00:22:13,365 I'm not talking about white like pink. 366 00:22:13,366 --> 00:22:16,015 I'm talking about translucent white. 367 00:22:16,016 --> 00:22:17,868 And then he had orange hair. 368 00:22:16,808 --> 00:22:22,669 {\a11}Carlos Alomar Guitar "Young Americans" 369 00:22:17,869 --> 00:22:19,719 I'm not talking about 370 00:22:20,819 --> 00:22:22,298 your momma's orange, 371 00:22:22,299 --> 00:22:24,491 I'm talking about an orange, 372 00:22:24,492 --> 00:22:26,009 orange! 373 00:22:26,159 --> 00:22:29,258 And he was about 98lbs. I'm talking about thin, thin. 374 00:22:29,259 --> 00:22:30,839 I mean, he was freaky. 375 00:22:31,069 --> 00:22:33,748 At one point I told him - and you'll have to excuse my language - 376 00:22:33,749 --> 00:22:35,448 "You look like shit, man. You need some food. 377 00:22:35,449 --> 00:22:37,109 "You need to come to my house." 378 00:22:37,480 --> 00:22:42,550 {\a9}"Young Americans" Tour rehearsals 379 00:22:39,349 --> 00:22:42,309 Come forward. Yeah, that's great. 380 00:22:42,349 --> 00:22:46,418 'Carlos had been able to introduce me 'to a lot of fantastic new musicians, 381 00:22:46,419 --> 00:22:49,308 'one of whom was Luther Vandross, of course.' 382 00:22:52,068 --> 00:22:54,237 So you have this amazing collaboration 383 00:22:53,217 --> 00:22:57,771 {\a9}Nelson George Cultural Historian 384 00:22:54,238 --> 00:22:58,487 between Bowie, and soon-to-be one of the greatest soul singers of all time, 385 00:22:58,488 --> 00:22:59,947 Luther Vandross, 386 00:22:59,948 --> 00:23:03,238 along with all the other background singers who would sing with Luther. 387 00:23:07,008 --> 00:23:09,627 d Taking it all the right way 388 00:23:09,208 --> 00:23:13,691 {\a9}Right from Young Americans 389 00:23:09,628 --> 00:23:12,318 d Keeping it in the back 390 00:23:12,618 --> 00:23:15,487 d Taking it all the right way 391 00:23:15,488 --> 00:23:17,537 d Taking it all the right way 392 00:23:17,538 --> 00:23:20,828 d Never need, no Never no turning back 393 00:23:24,078 --> 00:23:27,007 d Taking it all the right way 394 00:23:27,008 --> 00:23:29,608 d Keeping it in the back 395 00:23:29,708 --> 00:23:32,707 d Taking it all the right way 396 00:23:32,708 --> 00:23:34,616 d Never no turning back 397 00:23:34,617 --> 00:23:38,066 d Never need, no Never no turning back. d 398 00:23:38,067 --> 00:23:41,926 Right, from the Young Americans album, was a difficult song 399 00:23:41,927 --> 00:23:45,157 but Luther put it all together for him. 400 00:23:45,647 --> 00:23:46,336 We had... 401 00:23:46,337 --> 00:23:49,346 d Taking it all the right way d Keeping it all in the back 402 00:23:49,055 --> 00:23:55,039 {\a9}Robin Clark Backing Singer "Young Americans" 403 00:23:49,447 --> 00:23:51,496 d Taking it all the right way 404 00:23:51,497 --> 00:23:55,107 d Never no turning back Never need no... d 405 00:23:55,108 --> 00:23:57,117 And then that section comes in. 406 00:23:57,118 --> 00:24:03,167 d Wishing, wishing, sometime Doing it, up there, nobody 407 00:24:03,168 --> 00:24:05,117 d Nobody doing it, getting up. d 408 00:24:05,118 --> 00:24:08,097 That was so hard. 409 00:24:08,098 --> 00:24:09,062 d Time 410 00:24:09,063 --> 00:24:10,762 d Doing it 411 00:24:10,763 --> 00:24:11,852 d Giving it 412 00:24:11,853 --> 00:24:13,070 d Keeping it back. d 413 00:24:13,071 --> 00:24:15,550 Right. That's cool, that's cool. 414 00:24:15,551 --> 00:24:19,773 David had, like, a puzzle. 415 00:24:19,774 --> 00:24:21,293 Just the last line. 416 00:24:21,294 --> 00:24:22,753 He brought this paper to us and said, 417 00:24:22,754 --> 00:24:24,854 "This is how I want you to sing this." 418 00:24:24,859 --> 00:24:26,308 Oh, sorry, I wasn't with you. 419 00:24:26,309 --> 00:24:30,249 It wasn't a straight "just sing it linearly and melodically". 420 00:24:30,773 --> 00:24:34,862 Oh, I see, you count from... Yeah. I thought you were doing an intro. 421 00:24:34,863 --> 00:24:36,282 Right. One, two... 422 00:24:36,283 --> 00:24:40,242 It was "I want it to jump in here, and I want you to jump out there, 423 00:24:40,243 --> 00:24:41,853 "and jump back in here." 424 00:24:42,388 --> 00:24:43,967 d Keeping it back. d 425 00:24:43,968 --> 00:24:47,228 Right, that's fine. OK, so we've got that. That one's all right. 426 00:24:47,520 --> 00:24:50,770 That, too, was the first time I was singing anything like that. 427 00:24:50,940 --> 00:24:52,320 In my life. 428 00:24:52,330 --> 00:24:57,019 But it was brilliant, because he knew exactly what he wanted. 429 00:24:57,020 --> 00:24:58,790 Right, OK, and the last section. 430 00:25:01,544 --> 00:25:05,594 d Gimme, gimme, yeah. d 431 00:25:05,595 --> 00:25:07,415 Oh, Lord, it was too much! 432 00:25:08,855 --> 00:25:12,045 It was like, "Man, I'll be glad when we finish with this song." 433 00:25:12,949 --> 00:25:16,298 d Wishing that sometimes Sometimes 434 00:25:16,299 --> 00:25:19,028 d Doing it, doing it right, till Doing it 435 00:25:19,029 --> 00:25:22,068 d One time One time. d 436 00:25:22,069 --> 00:25:24,088 'There was no point in doing a straightforward take 437 00:25:24,089 --> 00:25:27,218 'on American soul music, because that's been done already, 438 00:25:27,219 --> 00:25:29,628 'so I just wanted to put this spin on it.' 439 00:25:33,238 --> 00:25:35,377 'Eventually, of course, when the album came out, 440 00:25:35,378 --> 00:25:36,807 'it was very well-received, 441 00:25:36,808 --> 00:25:40,277 'and Young Americans became a very big album for me. 442 00:25:40,278 --> 00:25:42,847 'I mean, I really advanced myself. 443 00:25:42,848 --> 00:25:45,748 'I was tumbling over myself with ideas.' 444 00:25:49,078 --> 00:25:50,677 People see you as a very skilful performer, 445 00:25:50,678 --> 00:25:53,939 who changes from time to time from one thing to another. 446 00:25:53,940 --> 00:25:58,660 Yeah. I glit from one thing to another, a lot. 447 00:25:58,870 --> 00:25:59,929 "Glit"? 448 00:25:59,930 --> 00:26:03,259 It's like "flit", but it's the '70s version. 449 00:26:03,260 --> 00:26:04,730 One letter later. 450 00:26:05,996 --> 00:26:08,885 To be on Dick Cavett meant you had arrived. 451 00:26:08,886 --> 00:26:10,660 And what's fascinating about that 452 00:26:10,661 --> 00:26:14,186 is he's not really playing by the Dick Cavett rules, if there are any, 453 00:26:14,472 --> 00:26:16,521 in the sense that one watches it and it's like, 454 00:26:16,522 --> 00:26:19,821 "Do you want the whole of America to think you're a complete nutcase?" 455 00:26:19,822 --> 00:26:23,011 "Out of your mind on cocaine?" And he clearly did. 456 00:26:23,012 --> 00:26:25,101 And it was to the benefit of his career. 457 00:26:25,102 --> 00:26:26,752 It rendered him fascinating. 458 00:26:27,242 --> 00:26:32,061 Is the offstage Bowie likely to surprise people? 459 00:26:32,062 --> 00:26:34,001 I've had the weirdest reactions 460 00:26:34,002 --> 00:26:35,981 from people who know that you're going to be on. 461 00:26:35,982 --> 00:26:38,772 Some say they'd be scared to sit and talk to you. 462 00:26:38,774 --> 00:26:41,235 Some people said you'd bite my neck. 463 00:26:42,296 --> 00:26:45,095 - A very peculiar kind of thing. - Yeah. 464 00:26:45,096 --> 00:26:48,315 Which it's what you want, really. What do you think I'm like? 465 00:26:48,316 --> 00:26:50,046 To me you seem like a... 466 00:26:50,606 --> 00:26:53,736 I hope this doesn't insult you, a working actor. 467 00:26:54,716 --> 00:26:56,165 That's right, that's very good. 468 00:26:56,166 --> 00:26:58,436 I mean... What are you drawing? 469 00:27:01,006 --> 00:27:02,726 It's therapeutic. 470 00:27:02,996 --> 00:27:05,476 David, he was a character. 471 00:27:05,650 --> 00:27:09,180 I knew he was, excuse my language, I knew he was fucked up. 472 00:27:05,760 --> 00:27:11,762 {\a11}Dennis Davis Drums "Young Americans" 473 00:27:09,240 --> 00:27:13,350 But you know, he was good, he was cool, he got through it. 474 00:27:15,990 --> 00:27:18,149 d Pulls her down behind the bridge 475 00:27:18,150 --> 00:27:20,968 d He lays her down, she frowns 476 00:27:20,969 --> 00:27:23,318 d Gee, my life's a funny thing 477 00:27:23,319 --> 00:27:25,229 d Am I still too young? 478 00:27:26,599 --> 00:27:28,358 d He takes her hand and there 479 00:27:28,359 --> 00:27:31,818 d She takes his ring, takes his babies 480 00:27:31,819 --> 00:27:34,538 d Takes him minutes, takes her nowhere 481 00:27:34,539 --> 00:27:37,322 d Heaven knows, she'd have taken anything 482 00:27:37,323 --> 00:27:40,518 d All night 483 00:27:40,519 --> 00:27:43,347 d All night, she wants a young American 484 00:27:43,348 --> 00:27:48,107 d Young American, young American She wants a young American 485 00:27:48,108 --> 00:27:51,337 d All right. d 486 00:27:51,338 --> 00:27:56,067 In terms of the Young American stuff, it was a chance that he grabbed 487 00:27:56,068 --> 00:27:59,417 to be able to do something he had wanted to do since he was 12. 488 00:27:59,418 --> 00:28:01,464 He may have thought, "I won't have 489 00:28:01,465 --> 00:28:05,717 a 40-something, 50-year-old career," 490 00:28:01,534 --> 00:28:06,717 {\a9}Geoff MacCormack Backing Singer & childhood friend 491 00:28:05,718 --> 00:28:08,628 and he may have thought, "I'm going to get this in while I can." 492 00:28:17,688 --> 00:28:20,786 Carlos had a riff that he'd had in his head for some time 493 00:28:20,787 --> 00:28:24,697 which I put to a standard called Footstompin' by The Flares. 494 00:28:25,253 --> 00:28:27,386 d Everybody, young and old 495 00:28:27,387 --> 00:28:29,426 d Learns how to rock and roll 496 00:28:29,427 --> 00:28:31,706 d Listen to something new 497 00:28:31,707 --> 00:28:34,187 d Everybody sure can do it 498 00:28:34,297 --> 00:28:36,386 d Footstompin', footstompin'. d 499 00:28:36,387 --> 00:28:39,457 David always liked that little line as I was playing it with... 500 00:28:42,977 --> 00:28:45,266 He liked that but he hated the song later on. 501 00:28:45,267 --> 00:28:48,616 So I'm called back into the studio. After we finished Young Americans 502 00:28:48,617 --> 00:28:50,886 he called me down to Electric Lady Studio 503 00:28:50,887 --> 00:28:52,487 and I get there 504 00:28:52,488 --> 00:28:56,936 and he had cut the song up into a more blues format, 505 00:28:56,937 --> 00:29:00,446 what we called the one-four-five-four format. 506 00:29:00,447 --> 00:29:04,727 And he had cut it up but the only thing he had kept was... 507 00:29:12,286 --> 00:29:13,447 I heard that and I was like, 508 00:29:13,448 --> 00:29:15,545 "OK, we're going to do something with that," 509 00:29:15,546 --> 00:29:18,195 and I started laying down ideas and laying down ideas. 510 00:29:18,196 --> 00:29:21,145 I'm going to play the first thing that we did and how we layered it 511 00:29:21,146 --> 00:29:22,946 so you can hear what happens. 512 00:29:33,326 --> 00:29:36,206 First part, add a little bass. 513 00:29:46,806 --> 00:29:48,795 Doesn't that sound like Fame? 514 00:29:50,226 --> 00:29:53,535 David comes in, he goes, "Oh, I hear this line." 515 00:30:04,205 --> 00:30:06,914 What happened is that John Lennon came to the session. 516 00:30:06,915 --> 00:30:10,204 We sort of said, "Let's take that riff and write something over it." 517 00:30:10,205 --> 00:30:11,865 It was Carlos' riff. 518 00:30:15,025 --> 00:30:16,345 Fame. 519 00:30:19,955 --> 00:30:22,572 John was playing and he kept on coming up with, 520 00:30:22,573 --> 00:30:24,808 "Ame! Ame!" 521 00:30:24,885 --> 00:30:27,565 and I put an F in front of it and that was it, really. 522 00:30:29,485 --> 00:30:34,344 d Fame makes a man take things over 523 00:30:31,348 --> 00:30:36,058 {\a9}Fame from "Young Americans" 524 00:30:34,604 --> 00:30:39,574 d Fame lets him loose, hard to swallow 525 00:30:39,748 --> 00:30:44,254 d Fame puts you there Where things are hollow 526 00:30:44,674 --> 00:30:46,714 d Fame 527 00:30:49,862 --> 00:30:52,791 d Fame, not your brain, it's just the flame 528 00:30:52,792 --> 00:30:56,791 d That burns your change to keep you insane, sane. d 529 00:30:56,792 --> 00:30:59,742 David wasn't trying to be a soul singer. 530 00:31:01,482 --> 00:31:04,026 But as far as 531 00:31:04,062 --> 00:31:07,040 being taken seriously, he wanted to be taken seriously 532 00:31:07,041 --> 00:31:09,761 but he wasn't trying to be a pretender. 533 00:31:09,778 --> 00:31:11,058 "A Natural Woman" by Aretha Franklin. 534 00:31:11,059 --> 00:31:15,717 d Looking out on the morning rain 535 00:31:16,839 --> 00:31:21,846 d I used to feel so uninspired. d 536 00:31:23,188 --> 00:31:26,338 It was surreal because 537 00:31:26,640 --> 00:31:31,889 it was getting close to the point where we were casting the movie. 538 00:31:31,890 --> 00:31:37,559 And I knew there was something I had to get that was totally different. 539 00:31:38,090 --> 00:31:41,335 And suddenly this programme came on 540 00:31:38,482 --> 00:31:43,503 {\a7}Nicolas Roeg Director "The Man Who fell To Earth" 541 00:31:41,395 --> 00:31:44,128 and by chance I saw it. 542 00:31:44,129 --> 00:31:46,858 There's a fly floating around in my milk. 543 00:31:46,859 --> 00:31:51,648 And he's floating. He's a foreign body in it, you see, and he's getting a lot of milk. 544 00:31:51,649 --> 00:31:53,116 That's kind of how I feel. 545 00:31:53,117 --> 00:31:59,116 d You make me feel like a natural woman. d 546 00:31:59,117 --> 00:32:03,566 He wasn't being over-careful or worried about losing an image. 547 00:32:03,567 --> 00:32:05,216 Maybe that was the image. 548 00:32:05,217 --> 00:32:08,247 And almost from that moment, 549 00:32:09,197 --> 00:32:14,077 I couldn't believe it because I thought, "This is the man." 550 00:32:22,057 --> 00:32:24,826 Nothing you have seen or heard about David Bowie 551 00:32:24,827 --> 00:32:29,187 will prepare you for the impact of his first dramatic performance 552 00:32:29,247 --> 00:32:31,917 in The Man Who Fell To Earth. 553 00:32:33,206 --> 00:32:35,957 This is another dimension of David Bowie. 554 00:32:36,156 --> 00:32:39,436 One of the few true originals of our time. 555 00:32:41,736 --> 00:32:43,405 David calculated all of this. 556 00:32:43,406 --> 00:32:47,985 I think he said, "Yeah, I'm Ziggy. No, I'm not Ziggy. I'm soul man. 557 00:32:44,215 --> 00:32:48,924 {\a9}Ava Cherry Backing Singer 558 00:32:47,986 --> 00:32:51,265 "Now I was a soul man, now maybe an actor." 559 00:32:51,266 --> 00:32:54,446 Yes, I think that he calculated all of that. 560 00:32:55,186 --> 00:32:58,766 The Man Who Fell To Earth is a powerful love story. 561 00:32:58,856 --> 00:33:03,265 A cosmic mystery. A spectacular fantasy. 562 00:32:59,247 --> 00:33:00,247 {\a5}David Bowie 563 00:33:00,151 --> 00:33:03,506 {\a5}David Bowie PHENOMENON OF OUR TIME 564 00:33:03,266 --> 00:33:06,506 A shocking, mind-stretching experience. 565 00:33:07,806 --> 00:33:09,395 The film was the first thing I'd been given 566 00:33:09,396 --> 00:33:12,345 where I didn't have to play a rock 'n' roll star for a start. 567 00:33:12,346 --> 00:33:14,276 I wasn't required to sing. 568 00:33:14,345 --> 00:33:19,155 I wanted it to be considered as a serious sort of attempt at acting. 569 00:33:19,691 --> 00:33:23,290 The early scenes where we're together in the hotel room, 570 00:33:21,689 --> 00:33:26,856 {\a5}Candy Clark Co-Star "The Man Who Fell To Earth" 571 00:33:23,291 --> 00:33:28,040 his skin just reflects the light so beautifully. 572 00:33:28,041 --> 00:33:31,410 He does look like he's from another planet. 573 00:33:31,411 --> 00:33:33,041 Oh, I'm just visiting. 574 00:33:33,231 --> 00:33:35,590 Oh, a traveller? 575 00:33:35,591 --> 00:33:38,970 'As to how close it was to him, pretty close. 576 00:33:38,971 --> 00:33:41,280 'You know there wasn't a lot of changes to him.' 577 00:33:41,281 --> 00:33:45,301 You know that was the colour of his hair. They didn't change his hair. 578 00:33:46,051 --> 00:33:48,011 He just said, "Be yourself!" 579 00:33:49,841 --> 00:33:52,740 I think Nick realised I had some serious problems at the time 580 00:33:52,741 --> 00:33:54,781 and just thought, "He's perfect. 581 00:33:54,901 --> 00:33:57,000 "Just put him in, just change his clothes, 582 00:33:57,001 --> 00:34:00,611 "just put him in as he is and let him just walk through it," and I did. 583 00:34:01,851 --> 00:34:05,530 All I could do as far as his performances were concerned 584 00:34:05,531 --> 00:34:06,730 was 585 00:34:06,825 --> 00:34:12,218 stop myself from trying to influence him. 586 00:34:13,191 --> 00:34:16,000 And some days my face ached through not being able to use it. 587 00:34:16,001 --> 00:34:18,971 Everything had to be absolutely expressionless. 588 00:34:19,010 --> 00:34:21,559 Three months of being totally "the iceman cometh". 589 00:34:21,560 --> 00:34:24,939 You don't know? How could you? You're simple. 590 00:34:24,940 --> 00:34:30,459 He might think he's being expressionless, but he really isn't. 591 00:34:30,460 --> 00:34:34,079 His body language, everything is telling me something 592 00:34:34,080 --> 00:34:37,690 when I'm working opposite him. 593 00:34:38,760 --> 00:34:41,429 You won't find anyone else like me, you know. 594 00:34:41,430 --> 00:34:44,539 'The way he blinks his eyes, the way he looks away, 595 00:34:44,540 --> 00:34:47,080 'the way he moves his hand tells me something.' 596 00:34:47,081 --> 00:34:51,989 So he's wrong when he's saying he's expressionless. 597 00:34:51,990 --> 00:34:54,460 He's really not. 598 00:34:56,110 --> 00:34:59,497 The actual alien was more 599 00:34:59,498 --> 00:35:04,078 that vulnerable part when he wasn't Mr Newton. 600 00:35:04,079 --> 00:35:07,088 When Candy Clarke found him taking the stuff out of his eye, 601 00:35:07,089 --> 00:35:10,208 and she's freaked out and he was so freaked out that she saw him 602 00:35:10,209 --> 00:35:13,348 because he was trying to hide it so well. 603 00:35:13,349 --> 00:35:15,003 And 604 00:35:15,004 --> 00:35:19,779 it just seemed like something about him in real life to me. 605 00:35:29,349 --> 00:35:31,628 It had a certain truth in, 606 00:35:31,629 --> 00:35:36,489 he made the mistake of telling her his secret. 607 00:35:37,156 --> 00:35:40,926 Of course, in that final sequence, it can't 608 00:35:41,166 --> 00:35:44,556 be the same, it'll never be the same again, you know, 609 00:35:45,046 --> 00:35:47,396 which was terribly sad. 610 00:35:49,436 --> 00:35:53,436 You've just finished making the film called The Man Who Came To Earth. 611 00:35:53,676 --> 00:35:56,175 - Fell To Earth. - Fell To Earth, I beg your pardon. 612 00:35:56,176 --> 00:35:59,995 It's not an easy film to explain to people who haven't seen it. 613 00:35:59,996 --> 00:36:02,275 It's very, very sad. Very romantic. 614 00:36:02,276 --> 00:36:05,615 It brought a lump to my throat watching it. 615 00:36:05,616 --> 00:36:09,835 And it's been a gas working on it. 616 00:36:09,836 --> 00:36:14,144 David, we're coming towards the end of our all-too-brief conversation. 617 00:36:14,145 --> 00:36:15,755 Oh, that's a shame. 618 00:36:16,795 --> 00:36:20,464 I think what we might do is end with a bit of music. 619 00:36:20,465 --> 00:36:25,064 I gather that, at your end, you have some music with you. 620 00:36:25,065 --> 00:36:27,884 The song is called The Shape Of Things To Come. 621 00:36:27,885 --> 00:36:29,964 - No, it isn't. - No, of course it isn't. 622 00:36:29,965 --> 00:36:32,525 We're having a preview of The Shape Of Things to Come. 623 00:36:32,526 --> 00:36:34,426 The song is called Golden Tears. 624 00:36:34,427 --> 00:36:35,782 - Mr David Bowie, we'll come back - Years. 625 00:36:35,783 --> 00:36:38,794 - to you after we've seen some. - You did get it wrong. It's Years. 626 00:36:38,795 --> 00:36:41,170 - Years. - Years. 627 00:36:41,171 --> 00:36:43,355 Why don't you introduce it from that end? 628 00:36:45,045 --> 00:36:47,815 This is David Bowie singing Golden Years, 629 00:36:48,085 --> 00:36:51,745 from his forthcoming album Station To Station. 630 00:36:52,085 --> 00:36:53,915 d Golden years 631 00:36:54,305 --> 00:36:58,564 d Gold, whop, whop, whop 632 00:36:57,729 --> 00:37:02,727 {\a9}Golden years from "Station to Station" 633 00:36:58,565 --> 00:37:00,624 d Golden years 634 00:37:00,625 --> 00:37:03,394 d Gold, whop, whop, whop 635 00:37:03,395 --> 00:37:07,674 d Don't let me hear you say life's taking you nowhere 636 00:37:07,675 --> 00:37:09,669 d Angel 637 00:37:09,670 --> 00:37:11,856 d Come, get up my baby 638 00:37:11,857 --> 00:37:14,109 d Look at that sky, life's begun 639 00:37:14,110 --> 00:37:17,920 d Nights are warm and the days are young 640 00:37:18,900 --> 00:37:20,809 d Come, get up my baby 641 00:37:20,810 --> 00:37:22,949 d There's my baby lost that's all 642 00:37:22,950 --> 00:37:26,379 d Once I'm begging you save her little soul 643 00:37:26,380 --> 00:37:30,370 d Golden years, gold, whop, whop, whop. d 644 00:37:30,380 --> 00:37:32,409 It was kind of a very weird time 645 00:37:32,410 --> 00:37:37,799 and it was LA and it was the '70s and it was coke 646 00:37:34,058 --> 00:37:39,543 {\a9}Geoff MacCormack Backing Singer "Station To Station" 647 00:37:37,800 --> 00:37:44,047 and it was weird people hanging around and people who didn't speak and just whistled 648 00:37:44,391 --> 00:37:47,280 and stuff like that. "You know, man, heavy." 649 00:37:47,400 --> 00:37:49,784 It was like being on another planet, yeah. 650 00:37:49,785 --> 00:37:56,844 d Run for the shadows, run for the shadows in these golden years. d 651 00:37:57,424 --> 00:38:00,983 I was probably fairly psychically damaged. 652 00:38:00,984 --> 00:38:04,193 Not probably. I WAS psychically damaged. 653 00:38:04,194 --> 00:38:07,363 I guess trying to get what I was understanding 654 00:38:07,364 --> 00:38:09,664 expressed in musical form. 655 00:38:11,804 --> 00:38:13,363 Everybody was on drugs. 656 00:38:13,364 --> 00:38:16,133 At that period of time, we were all well out there. 657 00:38:14,927 --> 00:38:20,949 {\a9}Earl Slick Lead Guitar "Station to Station" 658 00:38:16,134 --> 00:38:18,487 But not so out there that we didn't make a great record 659 00:38:18,488 --> 00:38:20,607 so, I mean, you know. 660 00:38:20,608 --> 00:38:25,156 Or maybe our view of being out there and people's views of being out there 661 00:38:25,157 --> 00:38:29,624 doesn't necessarily correlate with the fact that we were incapable of making a record. So 662 00:38:29,625 --> 00:38:32,455 Whatever "out there" was, "out there" worked. 663 00:38:33,975 --> 00:38:37,936 I think the biggest influence on that album was the work of Kraftwerk, 664 00:38:37,937 --> 00:38:39,794 and the new German sound. 665 00:38:39,795 --> 00:38:42,364 I tried to apply some of the randomness 666 00:38:42,365 --> 00:38:45,994 and I utilised a lot of that feeling for especially the title track, 667 00:38:45,995 --> 00:38:47,585 Station To Station. 668 00:38:48,259 --> 00:38:52,521 The feedback intro at the beginning of Station To Station was an idea that David had. 669 00:38:52,522 --> 00:38:55,528 So we had a few Marshall stacks on the back wall 670 00:38:55,529 --> 00:38:59,329 and we just did the feedback together something like... 671 00:39:04,249 --> 00:39:08,308 Earl Slick was asked to do something unnatural and that was, 672 00:39:08,309 --> 00:39:11,688 "I want you to sustain a note for, like, 15 years!" 673 00:39:17,686 --> 00:39:20,505 Boom! 674 00:39:20,506 --> 00:39:22,848 You are waiting for your part but you can't. You've got to hold it. 675 00:39:22,849 --> 00:39:26,666 Don't play, don't play, just hold it. Finally you get to play one little thing. 676 00:39:28,673 --> 00:39:33,632 Station To Station, I really can't put a title on what it is he does. 677 00:39:33,633 --> 00:39:36,812 I mean, I can put a title on Young Americans 678 00:39:35,150 --> 00:39:39,372 {\a11}Dennis Davis Drums "Young Americans" 679 00:39:36,813 --> 00:39:39,712 but everything after that I don't have a title for it. 680 00:39:42,309 --> 00:39:46,943 {\a3}Station To Station from "Station to Station" 681 00:39:49,622 --> 00:39:54,491 It was supposed to be deadly, and just brutal. 682 00:39:54,492 --> 00:39:59,751 Just this hard, hard, heavy, dark, dark texture 683 00:39:54,866 --> 00:40:00,666 {\a11}Carlos Alomar Guitar "Station to Station" 684 00:39:59,752 --> 00:40:02,472 that just laid down. 685 00:40:02,629 --> 00:40:05,268 Just bog it down, bog it down. 686 00:40:07,538 --> 00:40:11,267 d The return of the Thin White Duke 687 00:40:11,268 --> 00:40:16,108 d Throwing darts in lovers' eyes 688 00:40:16,758 --> 00:40:19,778 d Here am I 689 00:40:20,088 --> 00:40:22,207 d One magical movement 690 00:40:22,208 --> 00:40:27,927 d Such is the stuff from where dreams are woven. d 691 00:40:27,928 --> 00:40:30,700 Station To Station dealt with a character called the Thin White Duke, 692 00:40:30,701 --> 00:40:34,867 who was a European living in America, who wanted to get back to Europe again. 693 00:40:34,868 --> 00:40:38,127 d Bending sound 694 00:40:38,128 --> 00:40:43,767 d Dredging the ocean lost in my circle. d 695 00:40:43,768 --> 00:40:47,863 Know what I think? I think a lot of really nasty shit happened, 696 00:40:48,950 --> 00:40:53,247 business wise, and with hangers on and all these useless 697 00:40:53,248 --> 00:40:56,199 fucks that you accumulate. 698 00:40:56,407 --> 00:40:59,287 d It's not the side effects of the cocaine 699 00:40:59,717 --> 00:41:02,777 d I'm thinking that it must be love 700 00:41:03,207 --> 00:41:06,647 d It's too late to be grateful 701 00:41:06,767 --> 00:41:10,467 d It's too late to be late again 702 00:41:10,477 --> 00:41:13,967 d It's too late to be hateful 703 00:41:14,407 --> 00:41:16,906 d The European cannon is here. d 704 00:41:17,007 --> 00:41:20,126 I started really getting very, very worried for my life. 705 00:41:20,127 --> 00:41:23,267 You know I just had to get myself out of that situation. 706 00:41:24,617 --> 00:41:28,506 It wasn't surprising at all that he wanted away from LA. 707 00:41:28,507 --> 00:41:30,546 He hated LA towards the end. 708 00:41:30,547 --> 00:41:34,415 LA at that point was a very, very alien society. 709 00:41:34,416 --> 00:41:37,476 It was kind of unreal with unreal people. 710 00:41:40,156 --> 00:41:43,615 I just did too much and I came close several times to overdosing. 711 00:41:43,616 --> 00:41:47,735 It was like being in a car where the steering had gone out of control 712 00:41:47,736 --> 00:41:49,655 and you were going towards the edge of a cliff. 713 00:41:49,656 --> 00:41:53,025 I'd almost resigned myself to the fact that I'm going over the edge. 714 00:41:53,026 --> 00:41:55,207 You know, I'm not going to be able to stop. 715 00:41:56,815 --> 00:42:03,157 {\a6}On 2nd May 1976, Bowie arrived back in London. 716 00:42:04,125 --> 00:42:06,974 WELCOME HOME DAVID 717 00:42:35,465 --> 00:42:37,847 {\a9} YEAR THREE 718 00:42:37,848 --> 00:42:40,279 {\a9} YEAR THREE .1976 to 1977 719 00:42:40,280 --> 00:42:42,724 {\a5}"The minute you know 720 00:42:42,815 --> 00:42:44,949 {\a5}"The minute you know you're on safe ground, 721 00:42:44,950 --> 00:42:48,470 {\a5}"The minute you know you're on safe ground, you're DEAD. 722 00:42:55,874 --> 00:42:58,360 I was tiring of the method I was writing. 723 00:42:58,361 --> 00:43:03,670 I wanted to develop a new language so I knew that my next move was to have to do that. 724 00:43:03,671 --> 00:43:06,610 I discarded for the time being characters and environments. 725 00:43:06,611 --> 00:43:10,040 And I couldn't look at myself properly at the time. 726 00:43:10,041 --> 00:43:14,830 I needed some help and who better to work with, I thought, than Eno. 727 00:43:14,831 --> 00:43:17,911 And, of course, I found what I consider a soul mate there. 728 00:43:20,521 --> 00:43:23,321 He's a constantly changing person. 729 00:43:21,999 --> 00:43:27,941 {\a9}Brian Eno Synthesizers "Low" 730 00:43:23,322 --> 00:43:27,122 I knew he was sort of getting tired with the way he'd been working. 731 00:43:27,123 --> 00:43:31,822 I knew also he liked a particular album that I had made very much. 732 00:43:31,823 --> 00:43:34,493 It was Discrete Music, which is my 733 00:43:34,494 --> 00:43:38,063 longest, slowest, quietest album. 734 00:43:53,412 --> 00:43:56,329 The fact that he liked that sort of alerted me to 735 00:43:56,330 --> 00:43:59,982 the idea that he was wanting to go somewhere else in his own music. 736 00:44:01,002 --> 00:44:03,541 We would get in the studio, it was really wide open. 737 00:44:03,542 --> 00:44:08,892 That's why I like doing recordings with him because it was, like, real easy, you know. 738 00:44:04,248 --> 00:44:10,238 {\a11}Dennis Davis Drums "Low" 739 00:44:09,082 --> 00:44:11,372 Until Brian Eno came along. 740 00:44:12,032 --> 00:44:13,831 That Brian Eno, he was a character! 741 00:44:13,832 --> 00:44:16,681 The problem actually I had at that time was that 742 00:44:16,682 --> 00:44:19,801 I didn't really understand how good musicians worked. 743 00:44:19,802 --> 00:44:23,891 I'm not a musician myself in that sense. 744 00:44:23,892 --> 00:44:27,881 Brian Eno had a blackboard, you know, 745 00:44:27,882 --> 00:44:29,940 like elementary school, you know. 746 00:44:29,941 --> 00:44:33,521 I'm like, "You've got a blackboard. So?" 747 00:44:33,721 --> 00:44:37,941 So we started coming up with these ideas for different chords. 748 00:44:37,942 --> 00:44:41,501 E, C, G, B, and so he'd go, ok, so, 749 00:44:39,613 --> 00:44:45,519 {\a11}Carlos Alomar Guitar "Low" 750 00:44:41,502 --> 00:44:45,620 "I'm going to point to that chord and you play that chord 751 00:44:45,621 --> 00:44:49,421 "and then I'll point to another." So I'm playing and it goes D. 752 00:44:54,231 --> 00:44:57,240 When you're working with really great players, 753 00:44:57,241 --> 00:45:01,140 like Carlos and Dennis, you have to accept that they have a way of 754 00:45:01,141 --> 00:45:05,180 processing information that is beyond intellectual. 755 00:45:05,181 --> 00:45:09,600 "Dude, man. Hey, Brian, look. What are you... This is... 756 00:45:09,601 --> 00:45:11,561 "This isn't working for me, man." 757 00:45:12,951 --> 00:45:17,171 But with their incredibly natural musicianship, 758 00:45:18,039 --> 00:45:20,722 the two together produce something that, 759 00:45:20,723 --> 00:45:23,730 again, one wouldn't have had with either on their own. 760 00:45:23,731 --> 00:45:26,970 I mean, some of it worked, some of it didn't, 761 00:45:26,971 --> 00:45:29,880 but quite honestly it did take me out of my comfort zone 762 00:45:29,881 --> 00:45:34,009 and it did make me leave my frustration at what I was doing 763 00:45:34,010 --> 00:45:36,569 and totally look at it from another different point of view 764 00:45:36,570 --> 00:45:38,649 and, although I didn't like the point of view, 765 00:45:38,650 --> 00:45:41,090 when I came back, I was fresh. 766 00:45:44,474 --> 00:45:49,258 {\a9}Speed of Life from "Low" 767 00:45:51,292 --> 00:45:54,526 I think Eno opened up new doors of perception. 768 00:45:54,781 --> 00:45:57,237 In terms of the use of the studio, 769 00:45:57,238 --> 00:46:01,332 I'd never used a studio in quite the way that Brian was using it. 770 00:46:03,668 --> 00:46:07,518 I received a phone call from David and Brian Eno 771 00:46:07,519 --> 00:46:09,745 and they said, "What can you bring to the table?" 772 00:46:07,843 --> 00:46:11,783 {\a9}Tony Visconti Co-Producer "Low" 773 00:46:09,877 --> 00:46:13,064 I said, "I've got this new thing called a harmoniser." 774 00:46:13,065 --> 00:46:15,676 And they said, "What does this thing do?" 775 00:46:15,677 --> 00:46:17,495 And I thought, and I said, 776 00:46:17,496 --> 00:46:22,364 "It fucks with the fabric of time. This is science fiction." 777 00:46:22,365 --> 00:46:25,351 And I could hear the two of them whooping on the other end. 778 00:46:25,352 --> 00:46:27,839 They just went, like, "Whoa! Woo!" 779 00:46:27,840 --> 00:46:29,503 Something like that, you know. 780 00:46:30,491 --> 00:46:34,462 It was very exciting because it enabled you to change the pitch of things. 781 00:46:34,463 --> 00:46:38,312 So what we did with Dennis' snare drum was we 782 00:46:38,313 --> 00:46:40,361 fed it through the harmoniser, 783 00:46:40,469 --> 00:46:43,446 dropped its pitch and then fed that back through again. 784 00:46:43,447 --> 00:46:46,709 so it goes... but faster. 785 00:46:50,838 --> 00:46:52,441 Even though, musically, 786 00:46:52,442 --> 00:46:56,393 it has absolutely nothing to do with the blues, 787 00:46:56,394 --> 00:47:00,087 Low is, in a weird way, Bowie's blues album. 788 00:47:00,088 --> 00:47:01,885 His marriage was breaking up. 789 00:47:01,886 --> 00:47:06,497 He was having serious business hassles with ex-managers. 790 00:47:06,498 --> 00:47:09,000 And, like a blues man, 791 00:47:07,577 --> 00:47:12,490 {\a9} Charles Shaar Murray Music Journalist 792 00:47:09,001 --> 00:47:12,742 he was attempting to deal with those troubles 793 00:47:12,743 --> 00:47:16,317 by, as part of the process, singing about them. 794 00:47:16,318 --> 00:47:18,053 It was evident that he was having problems 795 00:47:18,154 --> 00:47:20,566 and he wanted to come into the studio to get away from everything 796 00:47:20,673 --> 00:47:22,736 but you kind of bring everything with you 797 00:47:22,837 --> 00:47:25,763 and so Breaking Glass had that kind of feeling so we started it, 798 00:47:25,823 --> 00:47:29,889 and he really wanted, like, angry, very, very punky. 799 00:47:29,890 --> 00:47:30,879 David came up with... 800 00:47:30,980 --> 00:47:31,795 d Baby 801 00:47:32,548 --> 00:47:34,151 d I've been 802 00:47:35,354 --> 00:47:37,875 d Breaking glass in your... d 803 00:47:37,876 --> 00:47:39,431 And I was trying to figure out, 804 00:47:39,432 --> 00:47:42,697 he probably did that shit yesterday in somebody's room. 805 00:47:43,924 --> 00:47:48,417 You know, cos David writes this stuff about life shit. 806 00:47:55,415 --> 00:47:57,327 And it had that kind of... 807 00:47:57,328 --> 00:48:00,668 d I've been breaking glass in my room again. d 808 00:48:00,669 --> 00:48:06,185 You know, then Dennis and George kicked in with theirs so it was just... 809 00:48:06,186 --> 00:48:07,719 d Baby 810 00:48:07,672 --> 00:48:12,451 {\a9}Breaking Glass from "Low" 811 00:48:07,747 --> 00:48:09,472 d I've been 812 00:48:10,814 --> 00:48:14,779 d Breaking glass in your room again 813 00:48:15,939 --> 00:48:17,089 d Listen. d 814 00:48:17,090 --> 00:48:20,647 It just needed a positive decision to only do what I want to do 815 00:48:20,648 --> 00:48:22,340 and not do things for the sake of what, 816 00:48:22,341 --> 00:48:25,637 either David Bowie or whoever I was playing last time, 817 00:48:25,638 --> 00:48:28,809 Thin White Duke or something, was expected to do. 818 00:48:30,866 --> 00:48:34,974 d I drew something awful on it. d 819 00:48:35,568 --> 00:48:38,015 What I think excites both of us 820 00:48:38,016 --> 00:48:41,663 is the idea of going where nobody's been before 821 00:48:42,229 --> 00:48:46,536 and trying to find out what you could do there, you know. 822 00:48:46,545 --> 00:48:48,289 David, I think, was really interested 823 00:48:48,290 --> 00:48:51,450 in new moods and landscapes and textures 824 00:48:51,451 --> 00:48:53,285 that you could get with electronics 825 00:48:53,286 --> 00:48:58,262 and he didn't feel a compulsion to turn everything into a song. 826 00:48:59,115 --> 00:49:03,896 {\a11}Warszawa from da "Low" 827 00:49:07,878 --> 00:49:10,476 I cannot think of anybody comparable 828 00:49:10,477 --> 00:49:12,735 in terms of being sort of that famous. 829 00:49:12,736 --> 00:49:15,396 Dylan, The Stones, The Beatles. 830 00:49:15,497 --> 00:49:18,257 Elvis. People of that stature. 831 00:49:17,968 --> 00:49:23,072 {\a9}John Harris Journalist & Author 832 00:49:18,458 --> 00:49:20,343 Can you imagine even any of those people 833 00:49:20,544 --> 00:49:23,534 making a record which was half instrumental 834 00:49:24,632 --> 00:49:26,683 at the supposed peak of their career? 835 00:49:27,749 --> 00:49:29,029 It was never going to happen. 836 00:49:29,030 --> 00:49:33,543 d Milejo 837 00:49:34,929 --> 00:49:38,151 d Sula vie 838 00:49:38,152 --> 00:49:42,616 d Milejo, ejo. d 839 00:49:42,617 --> 00:49:47,242 On Warszawa he was using sort of non-language 840 00:49:47,243 --> 00:49:50,906 so they still weren't songs in the conventional sense. 841 00:50:00,619 --> 00:50:02,620 Is there a danger that, by following your instinct, 842 00:50:02,621 --> 00:50:05,158 that you will jeopardise the money and the good life? 843 00:50:05,159 --> 00:50:06,931 No shit, Sherlock! 844 00:50:08,357 --> 00:50:13,123 Yes, I think I've rather hit that one on the head at the moment. 845 00:50:14,719 --> 00:50:16,962 And it's quite a relief, really. 846 00:50:16,963 --> 00:50:19,268 I feel a lot more... 847 00:50:20,033 --> 00:50:21,281 free. 848 00:50:25,990 --> 00:50:28,219 Some critics who wrote about it, 849 00:50:28,743 --> 00:50:34,286 god, they really need...they really need to get a proper job sometimes. 850 00:50:34,806 --> 00:50:38,982 They kind of moan about it. "Oh, what are you doing?" 851 00:50:40,422 --> 00:50:43,681 'I don't give a shit about how clever it may or may not be. 852 00:50:43,682 --> 00:50:49,364 'It stinks of artfully counterfeited spiritual defeat and futility 'and emptiness. 853 00:50:47,646 --> 00:50:52,019 {\a9}Recensione della rivista NME di "Low" Gennaio 1977. 854 00:50:49,565 --> 00:50:51,162 We're low enough already, David. 855 00:50:51,263 --> 00:50:55,628 'Give us a high or else just swap tapes with Eno by post 856 00:50:55,629 --> 00:51:00,602 'and leave those of us who'd rather search for solutions than lie 'down and be counted 857 00:51:00,603 --> 00:51:04,062 to try and find ourselves instead of lose ourselves. 858 00:51:04,446 --> 00:51:07,521 'You're a wonderful person but you've got problems.' 859 00:51:08,305 --> 00:51:10,446 Yeah, that's what I wrote. 860 00:51:12,357 --> 00:51:16,343 The music to me sounds really a little a bit alienated 861 00:51:16,775 --> 00:51:19,720 - so I'm very surprised... - Alienated from what? 862 00:51:19,801 --> 00:51:23,365 - From...from...from... - OK, from my world. 863 00:51:23,366 --> 00:51:25,027 From your world? Uh-huh, OK. 864 00:51:25,028 --> 00:51:26,937 Can you understand it? 865 00:51:26,938 --> 00:51:31,098 Yes, I can because it's new language. 866 00:51:46,483 --> 00:51:47,874 I went naked in Berlin. 867 00:51:47,875 --> 00:51:50,342 I really did try and strip down my life 868 00:51:50,785 --> 00:51:56,146 to what I believed to be absolute basic essentials so I could build up again. 869 00:51:56,147 --> 00:51:59,287 I virtually gave a lot of possessions away, and 870 00:51:59,288 --> 00:52:02,096 my wardrobe really was just jeans and checked shirts 871 00:52:02,097 --> 00:52:06,637 and that's how I walked about and I had a bicycle and that was it. 872 00:52:06,737 --> 00:52:09,302 I think it was the first freedom I'd had from 873 00:52:09,525 --> 00:52:12,911 all those so-called trappings of celebrity. 874 00:52:20,144 --> 00:52:22,242 He was kind of recuperating. 875 00:52:22,243 --> 00:52:25,390 He soaked up all this very fascinating European music 876 00:52:25,391 --> 00:52:27,306 and carried on making albums. 877 00:52:27,307 --> 00:52:30,369 It's better than sitting in the Priory for two years. 878 00:52:32,520 --> 00:52:40,825 {\a5}Now based in Berlin, Bowie began work on his next album in the summer of 1977. 879 00:52:42,764 --> 00:52:46,709 David and I were talking. We had a number of pieces in progress 880 00:52:46,710 --> 00:52:53,431 and David said, "What shall we do next? How should we work on them?" 881 00:52:53,432 --> 00:52:57,920 I said, "Well, why don't we call Fripp and see what he would offer?" 882 00:53:00,038 --> 00:53:01,426 The voice came on and said, 883 00:53:01,427 --> 00:53:04,592 "It's Brian, hello! I'm here with David. We're in Berlin. 884 00:53:03,200 --> 00:53:09,180 {\a9}Robert Fripp Lead Guitar "Heroes" 885 00:53:04,592 --> 00:53:10,147 "Hang on, I'll pass you over," so Eno passed the phone over to David 886 00:53:10,148 --> 00:53:13,092 and David said, "Hello, we're here in... 887 00:53:13,093 --> 00:53:17,085 "Do you think you can play some hairy rock'n'roll guitar?" 888 00:53:17,086 --> 00:53:19,330 What is hairy rock'n'roll? 889 00:53:19,743 --> 00:53:21,438 It has danger. 890 00:53:21,439 --> 00:53:24,613 What is the difference between pop 891 00:53:25,352 --> 00:53:26,911 and rock'n'roll? 892 00:53:31,556 --> 00:53:33,318 You might get fucked. 893 00:53:33,955 --> 00:53:35,248 Can you put that in 894 00:53:35,249 --> 00:53:39,937 or should I express it in alternative terminology? 895 00:53:41,345 --> 00:53:44,890 It was a collaboration, a highly successful collaboration, 896 00:53:44,891 --> 00:53:48,807 the new one, and with the addition of Fripp as middle man, 897 00:53:48,808 --> 00:53:51,354 I think that helped an awful lot as well. 898 00:53:53,017 --> 00:53:56,858 And Eno said, "Well, why don't you plug in?" So I plugged in. 899 00:53:57,360 --> 00:53:59,153 They hit the play button. 900 00:54:01,801 --> 00:54:04,668 And then on bar three you'll hear... 901 00:54:05,625 --> 00:54:07,261 with skysaw guitars, 902 00:54:07,476 --> 00:54:09,584 and that's straight into Beauty And The Beast 903 00:54:09,585 --> 00:54:12,978 and what you hear on the record, the first track of Heroes, 904 00:54:13,015 --> 00:54:16,384 is the first note I played on the session, first take, 905 00:54:16,385 --> 00:54:17,796 going all the way through. 906 00:54:18,065 --> 00:54:21,049 d Down the highway, sing the song 907 00:54:19,102 --> 00:54:23,660 {\a9}Beaty And The Beast from "Heroes" 908 00:54:21,350 --> 00:54:25,167 d That's my kind of highway gone wrong 909 00:54:28,832 --> 00:54:30,530 d My my 910 00:54:30,531 --> 00:54:32,420 d Smile at least 911 00:54:32,421 --> 00:54:36,524 d You can't say never to the beauty and the beast. d 912 00:54:36,993 --> 00:54:39,990 Anyone who's playing Beauty And The Beast, 913 00:54:40,964 --> 00:54:43,211 you know they get erections. 914 00:54:43,722 --> 00:54:47,413 d There's something in the night, something in the day 915 00:54:47,414 --> 00:54:51,051 d Nothing is wrong but darling someone's in the way 916 00:54:51,052 --> 00:54:54,947 d There's slaughter in the air, protest on the wind 917 00:54:54,948 --> 00:54:56,728 d Someone deep inside of me 918 00:54:56,729 --> 00:55:00,156 d Someone could get skinned, how? d 919 00:55:00,317 --> 00:55:06,202 Most of Heroes takes you back to that very poetic, somewhat obtuse, 920 00:55:06,203 --> 00:55:09,041 often gloriously indecipherable way of doing things 921 00:55:09,042 --> 00:55:11,332 which you'd heard in Station To Station. 922 00:55:11,333 --> 00:55:14,501 It's great but I don't really know what he's talking about 923 00:55:14,613 --> 00:55:18,889 and so the sort of mystery kind of returns. 924 00:55:23,766 --> 00:55:27,464 But, at the same time, the title song of Heroes is an exception to 925 00:55:27,465 --> 00:55:31,886 that idea that he's sort of become very obtuse again. 926 00:55:37,393 --> 00:55:39,463 I always knew that was going to be a great song 927 00:55:39,464 --> 00:55:43,471 from the very first moment those guys started playing it. 928 00:55:41,353 --> 00:55:47,220 {\a9}Brian Eno Synthesizers "Heroes" 929 00:55:43,516 --> 00:55:45,681 You thought, "OK, yes, this is a good one." 930 00:55:45,897 --> 00:55:49,729 And then I think the really crucial moment in it came 931 00:55:49,730 --> 00:55:51,493 actually with Fripp. 932 00:55:53,182 --> 00:55:57,694 {\a11}Heroes from "Heroes" 933 00:55:57,643 --> 00:55:59,227 d I 934 00:56:00,733 --> 00:56:02,666 d I wish you could swim. d 935 00:56:02,802 --> 00:56:07,778 Fripp's plaintive guitar cry really triggered off something emotive in me, 936 00:56:07,779 --> 00:56:10,476 and it was a song of triumph, and it was like, 937 00:56:10,477 --> 00:56:12,284 "I've been a real idiot some of my life 938 00:56:12,285 --> 00:56:15,963 "and put myself in ridiculously dangerous situations 939 00:56:15,964 --> 00:56:18,161 "and I seem to have been getting through it." 940 00:56:18,162 --> 00:56:21,007 And that became part and parcel of that song. 941 00:56:21,008 --> 00:56:23,031 You can overcome some incredible odds. 942 00:56:23,032 --> 00:56:24,845 d We can beat them 943 00:56:26,398 --> 00:56:28,664 d Forever and ever 944 00:56:30,575 --> 00:56:33,080 d Oh, we can be heroes 945 00:56:34,959 --> 00:56:36,906 d Just for one day. d 946 00:56:37,810 --> 00:56:41,712 Fripp did three takes on it and we used all three. 947 00:56:42,087 --> 00:56:45,468 This is Tony Visconti's genius that he can do that 948 00:56:45,469 --> 00:56:47,532 without it sounding a mess. 949 00:56:52,068 --> 00:56:55,505 David sat down in the control room, you know, and 950 00:56:55,506 --> 00:56:58,470 he said, "Could you just take a walk?" 951 00:56:58,471 --> 00:57:02,721 He goes, "I'm writing and I just want to be to myself 952 00:56:58,882 --> 00:57:02,820 {\a9}Tony Visconti Co-Producer "Heroes" 953 00:57:02,722 --> 00:57:04,352 "and I want to finish these lyrics." 954 00:57:04,624 --> 00:57:09,365 So I was having a little flirtation, shall we say, 955 00:57:09,366 --> 00:57:12,095 with the singer Antonia Maass. 956 00:57:12,096 --> 00:57:15,614 She was the female vocalist on the album. 957 00:57:16,807 --> 00:57:20,485 We walked outside the studio where, from the control room, 958 00:57:20,486 --> 00:57:24,010 you could see the Berlin Wall and you could see a lot of rubble 959 00:57:24,894 --> 00:57:28,312 and you could see the guards and the gun turrets. 960 00:57:29,074 --> 00:57:32,584 And right beneath the window we had a little snog. 961 00:57:32,844 --> 00:57:37,608 And David saw that and he said, "That's the second verse!" 962 00:57:40,293 --> 00:57:42,235 d And we kissed 963 00:57:43,358 --> 00:57:46,092 d As though nothing could fall. d 964 00:57:46,093 --> 00:57:49,442 The thing that was most exciting about it all is that I found 965 00:57:49,443 --> 00:57:51,702 that without drugs I was still writing very well, 966 00:57:51,703 --> 00:57:55,326 you know, and that was probably the most rejuvenating aspect of it all, 967 00:57:55,327 --> 00:57:58,966 is that you don't need to get stoned out of your gourd to write well, you know? 968 00:57:59,116 --> 00:58:02,718 I think that was, you know, an incredibly important period for me. 969 00:58:02,719 --> 00:58:04,221 Not very fast, are you? 970 00:58:05,029 --> 00:58:07,991 I can't say it was like night and day that suddenly 971 00:58:08,087 --> 00:58:10,978 I was this different person. It wasn't. It took quite a long time. 972 00:58:10,979 --> 00:58:14,515 But I think, you know, I did see light at the end of the tunnel, 973 00:58:14,516 --> 00:58:16,446 and it wasn't a train. 974 00:58:18,705 --> 00:58:22,500 When I met Bowie again around the time of Heroes 975 00:58:22,501 --> 00:58:26,537 I was struck by the fact that his hair was its natural colour, 976 00:58:26,538 --> 00:58:28,137 he wasn't wearing any make up, 977 00:58:28,138 --> 00:58:30,821 he was wearing a shirt so un-rockstar-y 978 00:58:30,822 --> 00:58:34,295 it virtually qualified as suburban casual wear. 979 00:58:33,313 --> 00:58:37,891 {\a5} Charles Shaar Murray Music Journalist 980 00:58:34,296 --> 00:58:38,812 It was almost like saying, "OK, this is the real me." 981 00:58:39,269 --> 00:58:42,458 Though, of course, one did suspect 982 00:58:42,459 --> 00:58:46,511 is this affable natural Dave 983 00:58:46,512 --> 00:58:48,498 simply the latest mask? 984 00:58:48,499 --> 00:58:52,149 And is there something still lurking 985 00:58:52,406 --> 00:58:55,778 beneath this apparently lifelike surface? 986 00:58:56,485 --> 00:58:57,966 Can I ask you one last thing? 987 00:58:57,967 --> 00:59:00,079 People I've talked to who worked with you say 988 00:59:00,080 --> 00:59:02,495 you're a very personal person, if you know what I mean? 989 00:59:02,496 --> 00:59:05,312 - People who go out with me? - No, to WORK with you! 990 00:59:05,313 --> 00:59:07,575 I thought you said people who go out with me! 991 00:59:07,576 --> 00:59:11,277 You're a very, erm... Not secretive, but personal. 992 00:59:11,278 --> 00:59:14,900 - Keep things to yourself. - Quite...quite quiet, yes. 993 00:59:14,901 --> 00:59:16,479 Do you think you're shy? 994 00:59:17,661 --> 00:59:18,732 No. 995 00:59:18,733 --> 00:59:21,149 No, I'm not really shy. I'm just a bit quiet. 996 00:59:21,150 --> 00:59:23,170 Do you think if you didn't keep things to yourself 997 00:59:23,171 --> 00:59:26,226 people wouldn't be surprised at what you did next? 998 00:59:27,686 --> 00:59:30,190 I've never really thought about that. I'll let you know after the show. 999 00:59:30,191 --> 00:59:33,493 - OK, thanks. - Off to do a show. Come with me? 1000 00:59:59,137 --> 01:00:00,952 d I 1001 01:00:02,790 --> 01:00:04,933 d I will be king 1002 01:00:08,131 --> 01:00:09,661 d And you 1003 01:00:11,810 --> 01:00:14,332 d You will be my queen 1004 01:00:17,025 --> 01:00:19,052 d Though nothing 1005 01:00:20,485 --> 01:00:23,264 d Can keep us together 1006 01:00:26,171 --> 01:00:28,004 d We can beat them 1007 01:00:29,610 --> 01:00:32,042 d Forever and ever. d 1008 01:00:32,043 --> 01:00:35,329 I guess you merit being seen as the ultimate artist of your era 1009 01:00:35,330 --> 01:00:36,357 if you do two things. 1010 01:00:36,358 --> 01:00:40,252 First of all, if you change what you do at a mind-boggling rate. 1011 01:00:40,253 --> 01:00:42,078 If you're not only prodigious, 1012 01:00:42,213 --> 01:00:45,329 but the diversity of the work you come up with is incredible, 1013 01:00:45,472 --> 01:00:47,532 and Bowie does that in the '70s. 1014 01:00:47,533 --> 01:00:51,203 And then the other thing is whether you act as a lightning rod for your time. 1015 01:00:51,924 --> 01:00:54,429 d And the shame 1016 01:00:55,554 --> 01:00:58,736 d Fell on the other side 1017 01:01:00,064 --> 01:01:02,358 d Oh, we can beat them 1018 01:01:04,035 --> 01:01:06,967 d Forever and ever 1019 01:01:08,577 --> 01:01:11,713 d We could be heroes 1020 01:01:12,788 --> 01:01:15,405 d Just for one day. d 1021 01:01:19,499 --> 01:01:21,840 {\a9} YEAR FOUR 1022 01:01:21,841 --> 01:01:24,476 {\a9} YEAR FOUR .1979 to 1980 1023 01:01:24,377 --> 01:01:33,076 {\a5}"You have to accomodate your pasts within your persona. 1024 01:01:27,777 --> 01:01:33,061 {\a3}...it helps you reflect on WHAT you are now." 1025 01:01:33,464 --> 01:01:37,021 David, looking back over the '70s, into the '80s, 1026 01:01:37,022 --> 01:01:40,350 how do you look at music in the '70s? 1027 01:01:41,358 --> 01:01:42,940 Sort of like this. 1028 01:01:44,025 --> 01:01:47,782 d Ground Control to Major Tom 1029 01:01:50,933 --> 01:01:55,366 {\a11}"The Kenny Everett Show" Video ITV 1030 01:01:51,074 --> 01:01:55,032 d Ground Control to Major Tom 1031 01:01:58,511 --> 01:02:04,044 d Take your protein pills and put your helmet on 1032 01:02:05,873 --> 01:02:09,651 d Ground Control to Major Tom 1033 01:02:12,926 --> 01:02:16,995 d Commencing countdown, engines on 1034 01:02:20,348 --> 01:02:25,864 d Check ignition and may God's love be with you. d 1035 01:02:26,020 --> 01:02:29,157 The Kenny Everett Video Show was sort of cheerleader in England 1036 01:02:29,158 --> 01:02:31,873 for what we might call the video generation, 1037 01:02:31,874 --> 01:02:35,613 what we might call the music video generation, which, at that time, 1038 01:02:35,614 --> 01:02:40,007 and was so totally new to the Brits and indeed unheard of to the Americans, 1039 01:02:35,670 --> 01:02:39,610 {\a9}David Mallet Director "The Kenny Everett Video Show" 1040 01:02:40,008 --> 01:02:42,849 But I think he immediately clocked it. 1041 01:02:42,850 --> 01:02:44,458 And the Space Oddity video 1042 01:02:44,459 --> 01:02:47,454 was really something that we cobbled together quite quickly. 1043 01:02:47,455 --> 01:02:51,592 d You've really made the grade 1044 01:02:52,478 --> 01:02:58,712 d And the papers want to know whose shirts you wear. d 1045 01:02:58,823 --> 01:03:03,260 I think Major Tom is the first time I'd been able to create a character that 1046 01:03:03,261 --> 01:03:07,393 was very credible. I think, for any writer, that's a high point. 1047 01:03:07,394 --> 01:03:11,336 He preceded all the others and I suppose one has a special place for him. 1048 01:03:11,337 --> 01:03:13,530 d..to Ground Control 1049 01:03:13,531 --> 01:03:17,418 d I'm stepping through the door. d 1050 01:03:17,419 --> 01:03:21,882 It is very interesting that, at the end of the '70s, 1051 01:03:22,189 --> 01:03:25,431 he goes back to his first key character. 1052 01:03:25,327 --> 01:03:30,378 {\a9}John Harris Journlist & Author 1053 01:03:25,432 --> 01:03:29,731 Major Tom returns, in the sense of an updated performance of Space Oddity. 1054 01:03:29,832 --> 01:03:33,883 But then he takes the character of Major Tom, 1055 01:03:33,884 --> 01:03:37,781 puts it in a new song and does very interesting things with it. 1056 01:03:37,782 --> 01:03:41,542 So Major Tom becomes a much more discomforting, sinister figure. 1057 01:03:43,032 --> 01:03:46,028 d Do you remember a guy that's been 1058 01:03:46,630 --> 01:03:49,523 d In such an early song 1059 01:03:50,388 --> 01:03:53,876 d I heard a rumour from Ground Control 1060 01:03:54,425 --> 01:03:57,862 d Oh, no, don't say it's true 1061 01:03:55,021 --> 01:03:59,748 {\a9}Ashes To Ashes from "Scary Monsters" 1062 01:03:58,322 --> 01:04:01,392 d Got a message from the action man 1063 01:04:01,805 --> 01:04:07,140 d I'm happy, hope you're happy too. d 1064 01:04:07,141 --> 01:04:10,091 Major Tom became a little, sort of, bouncy hero. 1065 01:04:10,092 --> 01:04:13,206 I just wanted to sort of bring him up-to-date a little bit 1066 01:04:13,207 --> 01:04:16,486 and put him in a Victorian nursery rhyme kind of atmosphere. 1067 01:04:16,487 --> 01:04:20,494 Even though it's not Victorian, it has that queasiness of those, 1068 01:04:20,495 --> 01:04:21,835 d Ring a ring of roses 1069 01:04:21,836 --> 01:04:24,708 d This is about the plague and we're all going to drop down dead d 1070 01:04:24,709 --> 01:04:28,805 Kind of thing about it, which is what I did with the piece. 1071 01:04:28,910 --> 01:04:34,518 d I'm happy, hope you're happy too 1072 01:04:34,735 --> 01:04:37,906 d I've loved and I've needed love 1073 01:04:37,907 --> 01:04:40,475 d Sordid details following. d 1074 01:04:40,476 --> 01:04:43,433 David rang me. "Could we make a video for this new single?" 1075 01:04:43,434 --> 01:04:47,083 And we sat round a table and he said, "I want to be a clown on the beach." 1076 01:04:45,942 --> 01:04:50,250 {\a9}David Mallet Director "Ashes To Ashes" Video 1077 01:04:47,084 --> 01:04:50,585 I said, "Whoopee, I've just done something on a beach and by accident 1078 01:04:50,586 --> 01:04:55,027 "I found this great effect of making the sky black and everybody have a halo." 1079 01:04:55,028 --> 01:04:56,650 Then he wanted a digger. 1080 01:04:57,350 --> 01:05:00,865 d But I'm hoping to kick but the planet is 1081 01:05:00,866 --> 01:05:04,806 d glowing 1082 01:05:04,807 --> 01:05:08,743 d Ashes to ashes, funk to funky 1083 01:05:08,744 --> 01:05:12,584 d We know Major Tom's a junkie. d 1084 01:05:12,585 --> 01:05:17,912 David allows me lots and lots of freedom to do very much what I want, 1085 01:05:17,913 --> 01:05:21,258 the ways I want it edited. I storyboard it for him, 1086 01:05:21,259 --> 01:05:23,614 show him exactly what frames I want done. 1087 01:05:34,084 --> 01:05:36,401 And then he puts his input in as well. 1088 01:05:36,481 --> 01:05:40,491 And, especially on Ashes to Ashes, the combination has been very successful. 1089 01:05:42,217 --> 01:05:44,854 The people round the bonfire on the beach in Ashes to Ashes 1090 01:05:44,855 --> 01:05:47,872 were people from Blitz, which is a London club, 1091 01:05:47,873 --> 01:05:51,237 which was the precursor of the Modern Romantic movement. 1092 01:05:51,238 --> 01:05:54,476 And David managed to clock the whole Modern Romantic movement 1093 01:05:54,477 --> 01:05:56,775 way before anybody else. 1094 01:05:59,981 --> 01:06:03,956 It showed him co-opting a new phase of youth culture, 1095 01:06:03,957 --> 01:06:08,657 which he'd been the key figure in inspiring in the first place. 1096 01:06:08,658 --> 01:06:12,304 So some might say he was imitating his imitators. 1097 01:06:12,305 --> 01:06:17,928 Others were saying he was buying them off and getting them onboard. 1098 01:06:20,020 --> 01:06:22,695 It's certainly one of the better songs I've ever written 1099 01:06:22,696 --> 01:06:27,794 in terms of familiarity and a song that really hooks in. 1100 01:06:27,795 --> 01:06:31,158 I felt very positive about the future and I got down 1101 01:06:31,159 --> 01:06:35,168 to writing a really comprehensive and well-crafted album. 1102 01:06:37,893 --> 01:06:41,165 David came into the studio with a lot of ideas 1103 01:06:41,166 --> 01:06:46,355 and I remember he had his demos on a new contraption called a Walkman. 1104 01:06:43,246 --> 01:06:47,173 {\a9}Tony Visconti Co-Producer "Scary Monsters" 1105 01:06:46,805 --> 01:06:49,972 Carlos Alomar flipped when he saw it and heard it. 1106 01:06:49,973 --> 01:06:52,821 Fashion for the Scary Monsters album, 1107 01:06:50,259 --> 01:06:54,402 {\a7}Carlos Alomar Guitar "Scary Monsters" 1108 01:06:52,822 --> 01:06:57,456 David had this need to maybe even reproduce a bit of the Fame feeling 1109 01:06:57,457 --> 01:07:01,029 so we wanted to keep everything up so it would give him 1110 01:07:01,030 --> 01:07:05,244 a secure commercially viable album that he could work with. 1111 01:07:05,245 --> 01:07:09,571 So Fashion started just with this very funky beat. 1112 01:07:11,925 --> 01:07:15,789 Then it grew it into a monster. People started over-dubbing stuff on it. 1113 01:07:16,086 --> 01:07:19,981 Fripp started over dubbing this crazy guitar to it. 1114 01:07:24,158 --> 01:07:28,705 It was just evolving into a fantastic track. 1115 01:07:30,219 --> 01:07:35,929 I don't believe you'll find another guitarist who would have played that to that. 1116 01:07:31,417 --> 01:07:36,515 {\a9}Robert Fripp Lead Guitar "Scary Monsters" 1117 01:07:36,873 --> 01:07:38,535 It's very out. 1118 01:07:38,777 --> 01:07:40,715 From a point of view of 1119 01:07:40,716 --> 01:07:45,156 making a contribution to the work of an artist with their producer, 1120 01:07:45,461 --> 01:07:51,207 the opportunity to do that and be supported and encouraged in it... 1121 01:07:53,709 --> 01:07:56,618 ..it's out, it's out. 1122 01:07:58,554 --> 01:08:03,029 d There's a brand-new dance but I don't know its name 1123 01:07:59,590 --> 01:08:03,955 {\a9}Fashion from "Scary Monsters" 1124 01:08:07,509 --> 01:08:11,761 d That people from bad homes do again and again. d 1125 01:08:11,762 --> 01:08:14,781 It was kind of a little wary of the Lemming-like quality 1126 01:08:14,782 --> 01:08:16,590 that people were slaves to fashion. 1127 01:08:16,591 --> 01:08:20,848 d It's big and it's bland, full of tension and fear. d 1128 01:08:21,987 --> 01:08:26,526 It was dictatorial authority that the thing seems to grasp people. 1129 01:08:26,683 --> 01:08:31,040 It was a lightweight, throw-away song, as important as fashion. 1130 01:08:34,524 --> 01:08:36,621 d Fashion, turn to the left 1131 01:08:36,622 --> 01:08:38,934 d Fashion, turn to the right 1132 01:08:38,935 --> 01:08:42,273 d Oooh, fashion! 1133 01:08:43,733 --> 01:08:48,024 d We are the goon squad and we're coming to town, beep-beep. d 1134 01:08:48,025 --> 01:08:52,894 'We are the goon squad and we're coming to town, beep-beep.' 1135 01:08:53,315 --> 01:08:57,427 Now, ain't that a line which sticks in the mind? 1136 01:09:01,216 --> 01:09:03,428 d Listen to me, don't listen to me 1137 01:09:03,429 --> 01:09:05,690 d Talk to me, don't talk to me 1138 01:09:05,691 --> 01:09:07,788 d Dance with me, don't dance with me 1139 01:09:07,789 --> 01:09:10,636 d No, beep-beep. d 1140 01:09:15,491 --> 01:09:17,066 And now Bowie in New York. 1141 01:09:17,067 --> 01:09:19,983 The play in which rock star David Bowie has scored a remarkable triumph 1142 01:09:19,984 --> 01:09:22,134 on Broadway is called The Elephant Man. 1143 01:09:22,149 --> 01:09:24,132 Bowie's first appearance as a straight actor met with 1144 01:09:24,133 --> 01:09:26,948 almost universal praise from the New York critics and 1145 01:09:26,949 --> 01:09:28,764 there are long lines at the box office. 1146 01:09:28,765 --> 01:09:31,570 The baths have rid you of your odour, have they not? 1147 01:09:31,872 --> 01:09:35,219 {\a6}First chance I've had to bathe regular... 1148 01:09:36,225 --> 01:09:37,448 ly. 1149 01:09:37,449 --> 01:09:41,542 'I went to see it on Broadway and I was totally knocked out by it.' 1150 01:09:41,543 --> 01:09:44,438 And then Jack Hofsiss, the director, came to see me 1151 01:09:44,439 --> 01:09:47,683 a couple of months later whilst I was back in New York yet again 1152 01:09:47,726 --> 01:09:49,543 doing the Scary Monsters album, 1153 01:09:49,596 --> 01:09:52,883 and asked me if I would consider taking over the role at the end of the year. 1154 01:09:52,884 --> 01:09:56,768 And I was flabbergasted cos I had never been asked to do anything that sort of 1155 01:09:57,097 --> 01:09:58,527 supposedly legit. 1156 01:09:58,528 --> 01:10:01,230 This is your promised land, is it not? 1157 01:10:01,743 --> 01:10:05,803 A roof, food, care, protection? 1158 01:10:06,448 --> 01:10:08,618 Right, Mr Treves. 1159 01:10:08,619 --> 01:10:13,703 'I noticed that, as David created the voice for the character, 1160 01:10:14,750 --> 01:10:18,490 'there was a quality there that was very unique.' 1161 01:10:18,491 --> 01:10:23,264 And I thought that was the core of the uniqueness of his performance. 1162 01:10:18,513 --> 01:10:22,852 {\a11}Jack Hofsiss Director "The Elephant Man" 1163 01:10:23,530 --> 01:10:24,978 You call it 1164 01:10:24,979 --> 01:10:26,206 home. 1165 01:10:27,181 --> 01:10:29,346 Never had a home before. 1166 01:10:29,347 --> 01:10:31,000 Well, you have one now. 1167 01:10:31,001 --> 01:10:33,185 Say it, John, home! 1168 01:10:33,186 --> 01:10:35,642 - Home? - No, no, I mean REALLY say it. 1169 01:10:35,663 --> 01:10:37,753 "I have a home. 1170 01:10:37,754 --> 01:10:40,344 "This is my..." Come on. 1171 01:10:40,766 --> 01:10:43,003 I have a home. 1172 01:10:43,278 --> 01:10:44,791 This is... 1173 01:10:45,863 --> 01:10:46,998 my home. 1174 01:10:46,999 --> 01:10:49,567 'There was no make-up at all.' 1175 01:10:49,568 --> 01:10:50,645 This... 1176 01:10:51,179 --> 01:10:52,860 is my home? 1177 01:10:53,112 --> 01:10:54,134 And that 1178 01:10:55,062 --> 01:10:57,272 demanded that the audience, 1179 01:10:57,685 --> 01:10:59,686 in conjunction with the actor, 1180 01:10:59,687 --> 01:11:03,792 imagined what this guy really looked like 1181 01:11:04,141 --> 01:11:06,482 and the way he moved. 1182 01:11:08,449 --> 01:11:11,134 I think the toughest part was just working with my own body 1183 01:11:11,135 --> 01:11:13,878 and trying to create this really distorted ugly figure 1184 01:11:13,879 --> 01:11:15,810 without using make up. 1185 01:11:18,337 --> 01:11:20,153 It came very naturally to me. 1186 01:11:20,261 --> 01:11:24,368 I presume that it was something to do with the mime training that I had earlier. 1187 01:11:25,955 --> 01:11:27,533 I have to say that 1188 01:11:27,568 --> 01:11:30,225 you can tell when there's a real actor 1189 01:11:30,706 --> 01:11:32,969 coming back at you when you rehearse. 1190 01:11:33,760 --> 01:11:37,099 And in his case it was a real actor there 1191 01:11:37,155 --> 01:11:39,844 and that's the highest praise I can give him. 1192 01:11:40,046 --> 01:11:44,358 I am reading Romeo and Juliet. 1193 01:11:44,359 --> 01:11:49,229 Ah, Juliet! What a love story. I adore love stories. 1194 01:11:49,307 --> 01:11:51,905 I like love stories best, too. 1195 01:11:52,656 --> 01:11:56,746 If I had been Romeo, guess what? 1196 01:11:59,684 --> 01:12:00,874 What? 1197 01:12:01,636 --> 01:12:05,483 I would not have held the mirror to her breath. 1198 01:12:06,000 --> 01:12:07,049 What? 1199 01:12:12,099 --> 01:12:17,671 'I hope that he really knew how good he was in the part.' 1200 01:12:18,990 --> 01:12:20,828 And it was a 1201 01:12:21,782 --> 01:12:24,021 wonderful performance 1202 01:12:24,083 --> 01:12:28,128 that remained wonderful throughout his entire run. 1203 01:12:28,573 --> 01:12:30,794 If I had been Romeo, 1204 01:12:32,517 --> 01:12:34,345 we would have got away. 1205 01:12:40,713 --> 01:12:42,855 {\a9} YEAR FIVE 1206 01:12:42,856 --> 01:12:45,500 {\a9} YEAR FIVE .1982 to 1983 1207 01:12:45,501 --> 01:12:55,024 {\a5} "My prime concern was to present myself as just a performer. 1208 01:12:47,925 --> 01:12:48,925 {\a3}To take away some of the confusion _ 1209 01:12:48,937 --> 01:12:55,860 {\a3}To take away some of the confusion about my identity." 1210 01:13:00,776 --> 01:13:04,992 I think I wanted to re-evaluate what I wanted to do, musically. 1211 01:13:04,993 --> 01:13:07,986 I did a hell of a lot in a short period and I needed 1212 01:13:07,987 --> 01:13:10,457 to get some space away from writing music 1213 01:13:10,458 --> 01:13:14,315 because it was becoming, possibly, too much of an exercise 1214 01:13:14,639 --> 01:13:18,095 and the enthusiasm had gone. But now it seems to be back again. 1215 01:13:35,465 --> 01:13:37,377 'EMI are celebrating. 1216 01:13:37,482 --> 01:13:40,775 'Against serious opposition and for very serious money, 1217 01:13:40,776 --> 01:13:43,703 'they've just signed a real superstar.' 1218 01:13:43,908 --> 01:13:46,190 Ladies and gentleman, Mr David Bowie. 1219 01:13:48,259 --> 01:13:51,934 'EMI don't give lavish receptions like this very often. 1220 01:13:51,935 --> 01:13:54,212 'They won't say how much they paid for Bowie 1221 01:13:54,213 --> 01:14:00,007 but rumours 'range from L10 million to L17 million for a five-year contract.' 1222 01:14:04,678 --> 01:14:07,738 Reportedly so, yes. I'm overwhelmed that I've... 1223 01:14:09,179 --> 01:14:10,290 Is that anywhere near accurate? 1224 01:14:10,291 --> 01:14:12,261 It's absolutely nowhere near accurate. 1225 01:14:12,262 --> 01:14:13,373 Can you give us a more accurate figure? 1226 01:14:13,374 --> 01:14:14,508 Of course not. 1227 01:14:15,835 --> 01:14:18,569 Thank you very much and good afternoon, ladies and gentlemen. 1228 01:14:19,864 --> 01:14:23,196 Bowie's attitude to himself and his music seems to have changed 1229 01:14:23,197 --> 01:14:25,324 and with that comes a change of producer, 1230 01:14:25,325 --> 01:14:26,954 so out goes Tony Visconti, 1231 01:14:26,502 --> 01:14:30,488 {\a9}John Harris Journalist & Author 1232 01:14:26,955 --> 01:14:30,055 who one associates with the art for art's sake period. 1233 01:14:30,056 --> 01:14:32,005 And in comes Nile Rodgers. 1234 01:14:32,660 --> 01:14:36,653 He's just had that huge run of hits with Chic and Sister Sledge. 1235 01:14:36,654 --> 01:14:38,689 He's gone on to produce Diana Ross. 1236 01:14:39,133 --> 01:14:41,695 But it just doesn't seem like what one would have expected from 1237 01:14:41,696 --> 01:14:44,375 the David Bowie of the '70s and the first part of the '80s. 1238 01:14:44,376 --> 01:14:46,631 Seems somewhat uncharacteristic. 1239 01:14:45,096 --> 01:14:49,984 {\a11}Nile Rodgers Co-Producer "Let's Dance" 1240 01:14:51,261 --> 01:14:53,363 When we met originally, 1241 01:14:53,439 --> 01:14:55,525 it was completely by chance, 1242 01:14:55,576 --> 01:14:58,824 and he was sitting alone, back of this nightclub, 1243 01:14:58,825 --> 01:15:00,319 and I spotted him right away. 1244 01:15:00,320 --> 01:15:03,612 I walked in with Billy Idol and Billy walked in and went, 1245 01:15:05,382 --> 01:15:08,015 "Bloody hell, that's David Bowie!" 1246 01:15:08,016 --> 01:15:09,553 And when he said "Bowie," 1247 01:15:09,554 --> 01:15:12,039 cos he called him BOW-ie, we called him BOH-ie, 1248 01:15:12,142 --> 01:15:16,183 and when he said Bowie he like vomited, he barfed. 1249 01:15:16,589 --> 01:15:20,462 It was, like, hysterical. By that time, I was already chatting him up. 1250 01:15:22,599 --> 01:15:28,403 Later, David said to me that he wanted me to do what I did best. 1251 01:15:28,404 --> 01:15:32,819 So when I asked David what he thought I did best, and he looked at me and says, 1252 01:15:32,820 --> 01:15:34,188 "You make hits." 1253 01:15:36,914 --> 01:15:40,286 I was charged with the responsibility of doing such. 1254 01:15:40,420 --> 01:15:43,331 So, one morning in Switzerland, 1255 01:15:44,315 --> 01:15:47,133 he walks into my bedroom. 1256 01:15:47,642 --> 01:15:49,736 And he says something to the effect of, 1257 01:15:49,958 --> 01:15:54,906 "Nile, darling, I think I have a song that feels like it's a hit". 1258 01:15:55,247 --> 01:15:59,146 And he comes in with this 12-string guitar 1259 01:15:59,147 --> 01:16:01,220 that only has six strings on it. 1260 01:16:05,525 --> 01:16:08,328 When you see a 12-string guitar, you're in folk city right away. 1261 01:16:08,329 --> 01:16:09,703 Something like that. 1262 01:16:10,424 --> 01:16:12,553 So when I started fooling around with it, 1263 01:16:13,001 --> 01:16:15,482 I made it very jazzy, very cool, 1264 01:16:15,483 --> 01:16:19,114 but Bowie is a jazzy cool guy, unbeknownst to most people, 1265 01:16:19,115 --> 01:16:20,863 but I certainly knew that. 1266 01:16:20,864 --> 01:16:21,906 So... 1267 01:16:23,342 --> 01:16:25,271 It was cool. And... 1268 01:16:25,704 --> 01:16:27,793 It was ultra-cool. And... 1269 01:16:28,554 --> 01:16:30,760 It was pretty normal cool. And... 1270 01:16:30,994 --> 01:16:33,330 But you put in the delays and all of a sudden you get 1271 01:16:33,331 --> 01:16:36,506 groove and funk and rhythm all at the same time. 1272 01:16:37,079 --> 01:16:41,224 {\a5}Let's Dance from "Let's Dance" 1273 01:16:52,856 --> 01:16:54,492 d Let's dance. d 1274 01:16:55,812 --> 01:16:58,822 It has an intention of being danceable but I think, 1275 01:16:58,823 --> 01:17:03,092 in terms of lyric, I've tried to keep it simple as anything that I've ever written before. 1276 01:17:03,093 --> 01:17:06,834 I'm trying to write in a more obvious and positive manner 1277 01:17:06,835 --> 01:17:08,787 than I've written in a long time. 1278 01:17:09,525 --> 01:17:11,280 d Let's dance 1279 01:17:12,095 --> 01:17:16,820 d Put on your red shoes and dance the blues 1280 01:17:18,051 --> 01:17:19,670 d Let's dance 1281 01:17:20,037 --> 01:17:24,860 d To the song they're playing on the radio 1282 01:17:26,435 --> 01:17:28,085 d Let's sway. d 1283 01:17:28,833 --> 01:17:34,054 Let's Dance is an interesting song, because it's basically a funk groove, an old funk... 1284 01:17:32,219 --> 01:17:36,653 {\a9}Carmine Rojas Bass Guitar "Let's Dance" 1285 01:17:37,318 --> 01:17:41,231 d Sway through the crowd to an empty space. d 1286 01:17:41,232 --> 01:17:43,749 And Nile just knew how to put that into place 1287 01:17:44,039 --> 01:17:46,342 and then put the hook line behind it and 1288 01:17:46,343 --> 01:17:47,906 in the shortest amount of time, 1289 01:17:47,906 --> 01:17:49,274 you had the song. 1290 01:17:50,663 --> 01:17:54,050 Let's Dance is not a traditional, what I would call, dance record, 1291 01:17:54,051 --> 01:17:57,618 but it's certainly a record that does make you want to dance. 1292 01:17:57,619 --> 01:17:59,986 And I just thought to myself, 1293 01:17:59,987 --> 01:18:03,465 "Man, if I don't make a record that makes people want to dance, 1294 01:18:03,466 --> 01:18:05,849 "and we call the song Let's Dance, 1295 01:18:06,830 --> 01:18:08,550 I'm going to have to trade in 1296 01:18:08,551 --> 01:18:12,926 "my black union card, cos that just doesn't make sense." 1297 01:18:12,927 --> 01:18:17,984 d Tremble like a flower. d 1298 01:18:18,967 --> 01:18:21,890 This is something that can be played in every mall in America. 1299 01:18:22,048 --> 01:18:25,975 It's a mainstream record by an artist who already has a pedigree. 1300 01:18:26,587 --> 01:18:29,739 Mick Jagger tried to do his own Let's Dance a couple of times. 1301 01:18:27,180 --> 01:18:31,356 {\a11}Nelson George Cultural Historian 1302 01:18:29,749 --> 01:18:31,287 Never worked. 1303 01:18:32,870 --> 01:18:37,214 McCartney dabbled. A lot of those guys dabbled cos that was what was going on. 1304 01:18:37,215 --> 01:18:39,831 None of them made a record as good as what Bowie made. 1305 01:18:42,160 --> 01:18:44,836 d Under the moonlight 1306 01:18:46,080 --> 01:18:48,844 d The serious moonlight. d 1307 01:18:50,106 --> 01:18:52,987 I've tried to produce something that's warmer 1308 01:18:52,988 --> 01:18:58,074 and more humanistic than anything that I've done for a long time. 1309 01:18:58,705 --> 01:19:02,457 Less emphasis on the nihilistic kind of statement 1310 01:19:02,458 --> 01:19:04,203 and the icy... 1311 01:19:05,555 --> 01:19:10,206 one-dimensional kind of thing that I've been working with over the last few years. 1312 01:19:11,524 --> 01:19:16,726 So we had cut Let's Dance and at the end of the day he gives me a copy of 1313 01:19:17,240 --> 01:19:20,686 China Girl and says that he thinks it's a hit. 1314 01:19:22,569 --> 01:19:24,922 So I wanted it to have a hook. 1315 01:19:24,923 --> 01:19:29,243 I thought, "Man, maybe I'll key off the word China." 1316 01:19:38,851 --> 01:19:41,106 And I said to myself, 1317 01:19:41,107 --> 01:19:44,575 either David is going to hate this so much that he'll fire me 1318 01:19:44,576 --> 01:19:50,083 or he'll get the comedic value of writing a silly little poppy thing. 1319 01:19:50,235 --> 01:19:53,013 But I have to admit, I was nervous as hell 1320 01:19:53,014 --> 01:19:55,296 and I played it for him 1321 01:19:55,860 --> 01:19:57,514 and David went, 1322 01:19:57,595 --> 01:19:59,193 "I love it." 1323 01:20:00,548 --> 01:20:04,860 {\a11}China Girl from "Let's Dance" 1324 01:20:01,646 --> 01:20:04,521 d Uh, oh, oh, oh, oh 1325 01:20:05,156 --> 01:20:08,773 d Little China girl 1326 01:20:08,774 --> 01:20:12,213 d Uh, oh, oh, oh, oh 1327 01:20:12,214 --> 01:20:13,726 d Little China girl 1328 01:20:13,727 --> 01:20:17,246 d I could escape this feeling 1329 01:20:17,451 --> 01:20:19,861 d With my China girl 1330 01:20:20,917 --> 01:20:26,828 d I feel a wreck without my little China girl 1331 01:20:27,911 --> 01:20:31,322 d I hear her heart beating 1332 01:20:31,507 --> 01:20:34,802 d Loud as thunder 1333 01:20:35,045 --> 01:20:38,632 d Saw the stars crashing. d 1334 01:20:39,243 --> 01:20:43,287 This is the '80s. It's MTV explosion time. 1335 01:20:43,465 --> 01:20:47,465 And he had been a video experimenter 1336 01:20:47,566 --> 01:20:53,077 but this record put him right there in the middle of MTV-isation 1337 01:20:53,193 --> 01:20:55,330 and gave his career a whole other life. 1338 01:20:55,752 --> 01:20:59,855 d You know, I'll give you television 1339 01:21:00,004 --> 01:21:03,448 d I'll give you eyes of blue 1340 01:21:03,697 --> 01:21:09,399 d I'll give you men who want to rule the world 1341 01:21:10,825 --> 01:21:14,196 d And when I get excited 1342 01:21:14,395 --> 01:21:17,296 d My little China girl. d 1343 01:21:17,297 --> 01:21:21,087 David went from being, let's say, a high profile cult star, 1344 01:21:21,088 --> 01:21:22,511 to mainstream. 1345 01:21:22,512 --> 01:21:26,149 The look was more mainstream, even though he had bleachy blond hair 1346 01:21:26,150 --> 01:21:30,181 and all the suits and everything. It was a lot different than that 1347 01:21:27,101 --> 01:21:31,976 {\a11}Earl Slick Lead Guitar "Serious Moonlight tour" 1348 01:21:30,453 --> 01:21:33,656 that Thin White Duke ominous character, or Ziggy. 1349 01:21:33,657 --> 01:21:36,240 It was the most mainstream I'd ever seen him. 1350 01:21:38,614 --> 01:21:42,040 Out of the clear blue sky, he was taking boxing lessons 1351 01:21:40,791 --> 01:21:45,046 {\a7}Carlos Alomar Musical Director & Guitar "Serious Moonlight tour" 1352 01:21:42,041 --> 01:21:46,168 and, like, he was beefy, he was cleaner. 1353 01:21:46,169 --> 01:21:49,970 Don't take any notice of them. They're all perfectly harmless. 1354 01:21:49,971 --> 01:21:51,966 'He was happier and jovial.' 1355 01:21:51,967 --> 01:21:54,729 On your new album, you're determined to be yourself. 1356 01:21:54,842 --> 01:21:59,491 How do we know this isn't another one of your masks? 1357 01:21:59,492 --> 01:22:02,585 I don't know. It's a bit like the boy who cried wolf. 1358 01:22:03,308 --> 01:22:04,681 He was, 1359 01:22:05,487 --> 01:22:08,937 "Hey!" you, know. I found it a little odd, 1360 01:22:09,702 --> 01:22:12,873 in that it was a very happy David. 1361 01:22:13,130 --> 01:22:16,640 Do you see the music going back to basics from here on? 1362 01:22:19,509 --> 01:22:23,059 Tonight, I think it might be very basic. 1363 01:22:23,060 --> 01:22:25,988 Ladies and gentleman, 1364 01:22:26,631 --> 01:22:31,340 the 1983 Serious Moonlight Tour! 1365 01:22:31,341 --> 01:22:34,268 David Bowie! 1366 01:22:53,107 --> 01:22:54,939 d Let's dance 1367 01:22:55,426 --> 01:23:00,263 d Put on your red shoes and dance the blues 1368 01:23:00,919 --> 01:23:02,746 d Let's dance 1369 01:23:03,056 --> 01:23:07,299 d To the song they're playing on the radio. d 1370 01:23:07,300 --> 01:23:10,475 I think we're out of characters now and just into suits 1371 01:23:10,476 --> 01:23:13,766 and the suit will change from tour to tour, 1372 01:23:13,767 --> 01:23:16,753 but the bloke inside it is generally much the same. 1373 01:23:18,466 --> 01:23:23,128 d Sway through the crowd to an empty space. d 1374 01:23:30,683 --> 01:23:35,205 Let's Dance hit so strongly that everything changed. 1375 01:23:35,210 --> 01:23:39,561 We thought we were going to do a couple of indoor theatres, indoor arenas through Europe. 1376 01:23:36,533 --> 01:23:41,813 {\a5}Carmine Rojas Bass Guitar "Serious Moonlight" tour 1377 01:23:39,562 --> 01:23:43,781 It just quickly turned around, which was a surprise. 1378 01:23:43,825 --> 01:23:46,991 And you're just riding this big old train going, 1379 01:23:46,992 --> 01:23:48,990 "All right, everybody, hang on, here we go." 1380 01:23:49,990 --> 01:23:54,232 d Fame makes a man take things over 1381 01:23:54,830 --> 01:23:59,457 d Fame keeps him loose and hard to swallow 1382 01:23:59,755 --> 01:24:04,454 d Fame puts him there, things are hollow 1383 01:24:04,549 --> 01:24:05,835 d Fame. d 1384 01:24:05,836 --> 01:24:10,250 It was beyond belief to me. Suddenly I wasn't a cult artist any more. 1385 01:24:10,251 --> 01:24:11,930 It really was a shocker 1386 01:24:11,931 --> 01:24:15,548 and we were scurrying around because we'd already started a tour 1387 01:24:15,549 --> 01:24:18,617 and suddenly, like, we were doing stadiums out of nowhere. 1388 01:24:18,618 --> 01:24:22,192 Gigs were being thrown out and stadiums were being put in. And 1389 01:24:22,193 --> 01:24:25,021 And It was all by the shirt tails, the whole thing. 1390 01:24:25,022 --> 01:24:28,951 Then suddenly, "Wow, I've just had the biggest album I've ever..." 1391 01:24:28,952 --> 01:24:31,085 It was extremely odd. 1392 01:24:32,108 --> 01:24:36,060 d Is it any wonder, I reject you first? 1393 01:24:36,973 --> 01:24:41,091 d Fame, fame, fame, fame 1394 01:24:41,922 --> 01:24:46,315 d Is it any wonder, you are too cool to fool. d 1395 01:24:47,506 --> 01:24:52,342 The Serious Moonlight Tour was him capturing the planet as a whole. 1396 01:24:52,343 --> 01:24:55,047 d Bully for you, chilly for me 1397 01:24:55,048 --> 01:24:58,104 d Got to get a rain check on pain. d 1398 01:24:58,404 --> 01:25:01,305 It was major at that point in time, in '83. 1399 01:25:01,380 --> 01:25:05,826 I mean... Everyone in China, in Korea, and everywhere else in the world 1400 01:25:05,827 --> 01:25:08,642 knew who David Bowie was because of that Serious Moonlight Tour, 1401 01:25:08,779 --> 01:25:11,942 and it's a peak level. 1402 01:25:13,528 --> 01:25:26,497 d Fame, fame, fame, fame, fame, fame, fame, fame, fame, fame, fame...d 1403 01:25:28,331 --> 01:25:29,641 d Fame, fame.d 1404 01:25:29,642 --> 01:25:31,884 There's some moment when the audience comes to you 1405 01:25:31,885 --> 01:25:33,520 as opposed to you going to them. 1406 01:25:33,784 --> 01:25:37,644 He made a record that was an experimental record for him 1407 01:25:39,079 --> 01:25:41,674 that actually worked on a pop level 1408 01:25:42,731 --> 01:25:44,630 and that happens a lot for people. 1409 01:25:44,631 --> 01:25:47,144 --- 1410 01:25:47,145 --> 01:25:51,087 Every artist, their core group resents the fact that 1411 01:25:51,088 --> 01:25:53,837 the outsiders are in on our secret, 1412 01:25:53,873 --> 01:25:56,025 but that's the danger of a good record. 1413 01:25:56,026 --> 01:25:57,860 You never know who's going to listen to it. 1414 01:25:58,456 --> 01:26:00,298 d Fame, fame. d 1415 01:26:00,345 --> 01:26:03,311 I allowed myself to be pushed into the commercial arena 1416 01:26:03,312 --> 01:26:06,764 because I'd never been there and it was sort of, "Ooh, what's it like?" 1417 01:26:07,052 --> 01:26:08,896 But there it was and I 1418 01:26:08,930 --> 01:26:13,090 I jumped in with my future in my hands. 1419 01:26:13,091 --> 01:26:17,799 d Fame, fame, fame, fame, fame... d 1420 01:26:17,800 --> 01:26:24,811 d What's your name? d 1421 01:26:29,895 --> 01:26:34,614 Over the next 20 years, David Bowie produced 11 more albums. 1422 01:26:34,615 --> 01:26:40,166 In 2007, he disappeared from the pubblic arena. 1423 01:26:41,671 --> 01:26:44,571 People have this idea that he sort of drifted off into the stratosphere 1424 01:26:44,572 --> 01:26:48,532 and, you know, rumour and gossip starts, and all of that. 1425 01:26:51,642 --> 01:26:54,580 In a sense, he's regained 1426 01:26:54,581 --> 01:26:57,835 the mystery and distance 1427 01:26:57,836 --> 01:27:01,179 which was so powerful a part 1428 01:27:01,180 --> 01:27:07,151 of what made him so exceptional in the 1970s. 1429 01:27:07,152 --> 01:27:11,563 Suddenly, we don't know who David Bowie is 1430 01:27:11,564 --> 01:27:13,260 once again. 1431 01:27:16,905 --> 01:27:20,838 Even the current rather cat-and-mouse game that Bowie 1432 01:27:20,839 --> 01:27:23,757 has been playing from his seclusion 1433 01:27:23,758 --> 01:27:27,937 is reminiscent of Warhol, the master of games, 1434 01:27:27,938 --> 01:27:29,512 pretending to be marginal, 1435 01:27:29,513 --> 01:27:33,153 when, in fact, he is the great puppet master controlling it all. 1436 01:27:35,943 --> 01:27:39,122 But then he comes back with this record, The Next Day, 1437 01:27:39,123 --> 01:27:41,146 and he doesn't do interviews. 1438 01:27:41,147 --> 01:27:44,139 We're back to the showbiz adage of leave them wanting more. 1439 01:27:44,140 --> 01:27:46,093 Very David Bowie thing to do. 1440 01:27:48,843 --> 01:27:50,577 Happy hump day, Phil. 1441 01:27:49,464 --> 01:27:53,661 {\a7}The Stars (Are Out Tonight) from "The Next Day" 2013 1442 01:27:51,117 --> 01:27:53,672 - I didn't get humped. You? - Yeah. 1443 01:27:54,067 --> 01:28:00,586 {\a6}CELEBRITY COUPLE'S TWISTED ANTICS. 1444 01:27:55,510 --> 01:27:57,528 Some people, huh, they just get lost. 1445 01:27:57,529 --> 01:28:01,325 Well, it's more exciting than anything we've got around here. 1446 01:28:01,531 --> 01:28:03,806 I wouldn't say that. 1447 01:28:04,072 --> 01:28:06,125 We have a nice life. 1448 01:28:06,810 --> 01:28:09,033 We have a nice life. 1449 01:28:12,251 --> 01:28:13,697 {\a5}"I never expected all this to happen. 1450 01:28:13,698 --> 01:28:21,176 {\a5}"I never expected all this to happen. In the sixties I was told... 1451 01:28:21,203 --> 01:28:21,211 {\a3}I was too avan-garde to be successful." 1452 01:28:22,235 --> 01:28:24,906 d Pushing through the market square 1453 01:28:27,914 --> 01:28:30,351 d So many mothers sighing 1454 01:28:33,591 --> 01:28:36,216 d News had just come over 1455 01:28:37,960 --> 01:28:41,491 d We had five years left to cry in 1456 01:28:44,942 --> 01:28:48,268 d News guy wept when he told us 1457 01:28:50,170 --> 01:28:53,662 d Earth was really dying 1458 01:28:57,097 --> 01:29:00,629 d Cried so much that his face was wet 1459 01:29:02,601 --> 01:29:05,134 d Knew he wasn't lying. d 1460 01:29:05,711 --> 01:29:09,804 Suscribe by wesko www.titlovi.com 1461 01:29:12,804 --> 01:29:16,804 Preuzeto sa www.titlovi.com