WEBVTT - Chapter Four: Pretty Thing (1969–1971)

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<v Speaker 1>Off the Record is a production of I Heart Radio. September,

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<v Speaker 1>twenty year old David Bowie receives his very first American

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<v Speaker 1>fan letter. It comes as quite a surprise. His career

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<v Speaker 1>is hardly flourishing. He'd released his debut album a few

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<v Speaker 1>months prior in June, but hardly anyone in his native

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<v Speaker 1>England took any notice. Learning that his music and made

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<v Speaker 1>it all the way to America was like finding out

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<v Speaker 1>your message in a bottle made it to Antarctica. He's

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<v Speaker 1>so shocked by the note that he immediately sits down

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<v Speaker 1>and manager Ken Pitt's office and writes a friendly response

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<v Speaker 1>to the fourteen year old from New Mexico named Sandra.

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<v Speaker 1>Dear Sandra. A few moments ago, I was handed my

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<v Speaker 1>very first American fan letter, and it was from you.

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<v Speaker 1>I was so pleased that I had to sit down

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<v Speaker 1>and type an immediate reply. I've been waiting for some

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<v Speaker 1>reaction to the album from American listeners. There were, but

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<v Speaker 1>they were by professional critics and they rarely reflect the

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<v Speaker 1>opinions of the public. And answer to your questions. My

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<v Speaker 1>real name is David Jones, my birthday is January eighth,

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<v Speaker 1>and I guess I'm five ft ten. There is a

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<v Speaker 1>fan club here in England, but if things go well

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<v Speaker 1>on the States then we'll have one there. I suppose

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<v Speaker 1>it's a little early to even think about it. I

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<v Speaker 1>hope one day to get to America. My manager tells

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<v Speaker 1>me lots about it, as he's been there many times

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<v Speaker 1>with other acts. He manages. Thank you for being so

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<v Speaker 1>kind as the right to me and do please write

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<v Speaker 1>again and let me know some more about yourself. Yours, sincerely,

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<v Speaker 1>David Bowie. January David Bowie takes his first step on

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<v Speaker 1>US soil. He arrived solo at Dallas International Airport in Washington,

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<v Speaker 1>d C. There's no crowd to meet him, just a

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<v Speaker 1>lone pr rep from his record label. Despite the light reception,

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<v Speaker 1>David is dressed like a star, specifically Lauren Bacall. He

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<v Speaker 1>regally sasch eate off the plane, long locks spilling past

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<v Speaker 1>his shoulders in soft golden tendrils. He's wearing a dress.

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<v Speaker 1>Technically it was a blue maxicoat crafted by oh Koran

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<v Speaker 1>London designer Michael Fish, topped off with a white chiffon scarf,

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<v Speaker 1>but these finer points were lost on the American immigration officials.

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<v Speaker 1>To them, it was just a strange man in a dress,

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<v Speaker 1>which is always grounds for suspicion. They detained this soft spoken,

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<v Speaker 1>exceedingly polite cross dresser for more than an hour, interrogating

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<v Speaker 1>him about his attire and fay mannerisms. Finding nothing technically illegal,

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<v Speaker 1>they let him go, mothering various homophobic slurs as he went.

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<v Speaker 1>David's pr contact greased him warmly before asking about the

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<v Speaker 1>lengthy delay. Oh, they held me on the plane, David replied,

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<v Speaker 1>for some reason. They seemed to think I looked strange.

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<v Speaker 1>David Bowie was certainly ready for America, but was it

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<v Speaker 1>ready for him? Hello, and welcome to Off the Record,

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<v Speaker 1>the show that goes beyond the songs and into the

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<v Speaker 1>hearts and minds of rock's greatest legends. I'm your host,

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<v Speaker 1>Jordan Runt. This season explores the life, or should I

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<v Speaker 1>say lives, of David Bowie. In this episode, we're gonna

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<v Speaker 1>talk about Bowie at the dawn of the seventies, shedding

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<v Speaker 1>his hippie skin for something a little rougher and more raw.

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<v Speaker 1>The new decade saw him become the godfather of glam

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<v Speaker 1>but also a father and a husband more than any other.

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<v Speaker 1>It was an era of changes for David Bowie. David

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<v Speaker 1>Bowie needed a new pad in the summer of nineteen

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<v Speaker 1>He and his girlfriend Angie had worn out They're welcome

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<v Speaker 1>staying with David's increasingly fed up ex girlfriend Mary. The

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<v Speaker 1>final straw came when Angie attempted to seduce Mary, who

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<v Speaker 1>had never signed up from Nagati. So they were out. Aggressive.

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<v Speaker 1>Angie on a new home, and soon she found the

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<v Speaker 1>perfect place just a short distance away in the town

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<v Speaker 1>of Beckenham. Elvis Presley had Grace Land. David Bowie, with

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<v Speaker 1>whom he shared a birthday, had Hadden Hall. The imposing,

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<v Speaker 1>thirty room Victorian mansion had lost some of its grandeur

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<v Speaker 1>since being converted into suburban apartments, but the air of

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<v Speaker 1>faded glamor only added to the distinctly funky vibe. The

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<v Speaker 1>red brick turrets and wrought iron weather vans loomed over

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<v Speaker 1>a rambling English garden choked with weeds and barren trees.

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<v Speaker 1>It looked, for all the world like a haunted house,

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<v Speaker 1>and with good reason. Bowie and many of his housemates

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<v Speaker 1>claimed they saw the ghost of a young woman strolling

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<v Speaker 1>the property. Their ground floor apartment There's for just seven

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<v Speaker 1>pounds a week included access to the cavernous formal entrance hall,

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<v Speaker 1>featuring a massive staircase illuminated by a forty foot stained

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<v Speaker 1>glass window. Some friends called the Gothic pile Beckenham Palace,

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<v Speaker 1>others called a Dracula's living room. Both descriptions are apt, outrageous,

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<v Speaker 1>and ostentatious. Hadden Hall was the ideal place for David

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<v Speaker 1>and Angie to live out the eventful years ahead. At first,

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<v Speaker 1>they couldn't afford much in the way of decoration, furnishing

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<v Speaker 1>the flat with some old orange crate stolen from a

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<v Speaker 1>local market, But with some help from Angie's parents, the

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<v Speaker 1>young couple began to add their own touches. They painted

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<v Speaker 1>the walls and ceilings vibrant shades of green, pink, and silver.

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<v Speaker 1>David took a more personal approach in the bathroom, where

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<v Speaker 1>he pasted handmade collages of nude women cut from men's magazines.

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<v Speaker 1>Once David's space addity royalty started to roll in, the

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<v Speaker 1>pair began frequenting local antique shops, acquiring elegant art deco

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<v Speaker 1>lamps and a huge seven foot wide regency bed. After

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<v Speaker 1>doing up their living quarters, David began building a workspace,

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<v Speaker 1>He converted a small cupboard under the stairwell into a

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<v Speaker 1>makeshift rehearsal studio with rudimentary recording equipment. There he demo

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<v Speaker 1>many of his best known songs over the next three years,

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<v Speaker 1>often with the help of his friend and producer Tony Bisconti,

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<v Speaker 1>who was so taken with the place that he rented

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<v Speaker 1>the flat next door. Hadden Hall became the center of

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<v Speaker 1>gravity for David and his entourage, serving as a home,

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<v Speaker 1>an office, and a creative incubator. This was where music

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<v Speaker 1>was made, photo shoots were held, costumes were sold, journalists

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<v Speaker 1>were wined and dined, and grand plans were conceived. David

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<v Speaker 1>was in low spirits as summer turned to fall. The

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<v Speaker 1>single Space Oddity had been his first bona fide success

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<v Speaker 1>on the charts earlier that year, but the accompanying LP

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<v Speaker 1>did dismal numbers, selling barely five thousand copies in the UK.

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<v Speaker 1>The public who had known him for the dramatic sci

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<v Speaker 1>fi operetta were confused by the meandering folk of Unwashed

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<v Speaker 1>and Somewhat Slightly Dazed and the dystopian proto prog rock

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<v Speaker 1>of Signet Committee. And then there was the full on

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<v Speaker 1>psych freak out that concluded memory of a free festival.

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<v Speaker 1>If he sounded lost and unfocused, it's because he was.

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<v Speaker 1>David hoped at least for critical acclaim, yet that too

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<v Speaker 1>eluded him. This was mostly due to a major managerial

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<v Speaker 1>over ight. In November nine, David stage the showcase to

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<v Speaker 1>promote his album rather loftily dubbed an Evening with David Bowie.

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<v Speaker 1>David rose to the occasion, delivering one of his finest

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<v Speaker 1>and most passionate performances to date, But when he arrived

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<v Speaker 1>backstage after his triumphant set to charm the v I

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<v Speaker 1>P S, he was told there were none. The great

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<v Speaker 1>efforts have been made to invite friends and label reps,

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<v Speaker 1>they had completely forgotten to invite members of the press.

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<v Speaker 1>David's friend Calvin Mark Lee, the man who had introduced

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<v Speaker 1>him to Angie and got them his record deal in

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<v Speaker 1>the first place, took the heat for the snaffoo. He

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<v Speaker 1>was duly banned from David's circle. Still, the damage was done.

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<v Speaker 1>David felt like Major Tom, drifting further into the commercial abyss.

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<v Speaker 1>I was in the depths of despair, he later said.

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<v Speaker 1>I became disillusioned. I used to have periods weeks on end,

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<v Speaker 1>when I just couldn't cope anymore, I'd slump into myself.

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<v Speaker 1>I felt so depressed, I really felt so aimless, and

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<v Speaker 1>this torrential feeling of what's it all? War? Anyway, Angie

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<v Speaker 1>did what she could to lift him out of his funk.

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<v Speaker 1>She played an increasingly active partners career, falling somewhere between

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<v Speaker 1>an artistic collaborator and manager. Much to his actual manager,

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<v Speaker 1>Ken Pitts chagrin, Ken viewed is an opportunistic egomaniac, leaching

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<v Speaker 1>onto his talented client and disrupting his meticulously crafted promotional

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<v Speaker 1>strategy with ill advised stunts. Angie viewed Ken as, in

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<v Speaker 1>her own words, a deadweight albatross, one who's hopelessly out

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<v Speaker 1>of touch. Supper Club tactics weren't doing her avant garde

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<v Speaker 1>boyfriend any favors. They were both right and wrong. The

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<v Speaker 1>degree to which Angie shaped Bowie's music and persona has

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<v Speaker 1>has been exaggerated over the years, usually by Angie herself,

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<v Speaker 1>but her role as an organizer and hustler is undeniable.

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<v Speaker 1>In many ways, she inherited the advisor role formerly held

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<v Speaker 1>by David's father, John, a one time pr executive who

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<v Speaker 1>died of pneumonia in August nine sixty nine. David trusted

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<v Speaker 1>his father more than anyone and valued his creative instincts

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<v Speaker 1>and expertise. Now Angie, this big, dreaming, big talking American

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<v Speaker 1>with little formal training, became his most vital sounding board.

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<v Speaker 1>In addition to helping him land small gigs at local clubs,

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<v Speaker 1>she steered David down daring and sometimes outlandish, creative avenues.

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<v Speaker 1>There were partners, though some might say codependent ones. It

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<v Speaker 1>was difficult to see where David ended and Angie began,

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<v Speaker 1>and vice versa. That wasn't the only blurry line in

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<v Speaker 1>their relationship. Gender roles and sexual identities were exchanged at will.

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<v Speaker 1>Andie encouraged David to grow out as hippie perm into

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<v Speaker 1>long feminine waves, while she opted for a short crew cut.

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<v Speaker 1>She regularly bought women's clothing that she knew David would like.

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<v Speaker 1>Sure enough, he would rate her closet and borrow one

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<v Speaker 1>of her Mr Fish gowns. They were quite a site.

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<v Speaker 1>Walking down Beckenham High Street, he freshly made up an address,

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<v Speaker 1>and she with her close crop and pinstriped power suit.

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<v Speaker 1>In the literal and metaphorical sense, Andie wore the pan

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<v Speaker 1>in the relationship. She was prone to throwing tantrums designed

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<v Speaker 1>to manipulate, confuse, and sometimes even seduce. They'd come on

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<v Speaker 1>fast and sudden. David once said living with Angie was

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<v Speaker 1>like living with a blowtorch. Many would find themselves burned.

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<v Speaker 1>It was Angie's idea to install a phone line at

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<v Speaker 1>Hadden Hall, the better to handle David's business. Unfortunately, the

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<v Speaker 1>line was often jammed with pitiful calls from David's mother, Peggy.

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<v Speaker 1>Though she'd been a cold and remote figure all throughout

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<v Speaker 1>David's childhood, Peggy had grown increasingly needy since the death

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<v Speaker 1>of David's father. This added to the tension between mother

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<v Speaker 1>and son that had been brewing for years. Peggy's constant

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<v Speaker 1>accusations that the couple were living in sin took their

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<v Speaker 1>toll on Angie, who finally fled to her parents home

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<v Speaker 1>on the Mediterranean island of Cyprus that November. David had

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<v Speaker 1>been so preoccupied with his own affairs, business and otherwise

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<v Speaker 1>that she doubted he'd even noticed her departure. Much like

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<v Speaker 1>his mother, he always demurred when it came to outward

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<v Speaker 1>displays of affection. He couldn't even bring himself to say

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<v Speaker 1>the words I love you, preferring instead to whisper his

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<v Speaker 1>own code phrase in your ear. So imagine or surprise

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<v Speaker 1>when she received the postcard from David just before Christmas

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<v Speaker 1>that read, this year I promise we'll marry. This was

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<v Speaker 1>all so romantic and unlike David. Andie returned to Haddon

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<v Speaker 1>Hall soon after. David had posed a question early on

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<v Speaker 1>in their relationship, could she deal with the fact that

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<v Speaker 1>he didn't love her? He warned Angie not to expect

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<v Speaker 1>anything that even slightly resembled traditional monogamy. I'm not made

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<v Speaker 1>like that. I do things that other people might not

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<v Speaker 1>subscribe to. I think it's only fair that you should

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<v Speaker 1>know that before we set out. The suited Angie just fine.

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<v Speaker 1>She was no stranger to deviating from the sexual norm.

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<v Speaker 1>She had, after all, been expelled from school for having

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<v Speaker 1>an affair with a female student, Hadn't She and David

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<v Speaker 1>first met because they were both sleeping with the same man.

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<v Speaker 1>Clearly their relationship it was wide open from the start

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<v Speaker 1>and that's how it continued to be. And she had

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<v Speaker 1>no problem sharing David at first. Anyway, boys girls didn't matter.

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<v Speaker 1>If and you could get in on it even better.

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<v Speaker 1>That was the ethos of the age. If it feels good,

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<v Speaker 1>do it, as long as it's not hurting anybody. They

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<v Speaker 1>even had threesomes with David's old girlfriend, Danna Gilepsie, who

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<v Speaker 1>described them as less like boyfriend and girlfriend and more

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<v Speaker 1>like brother and sister and sometimes mother and son. For

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<v Speaker 1>such a renegade, and You took a surprisingly old fashioned

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<v Speaker 1>stance on housework, cooking and cleaning for David, and even

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<v Speaker 1>drawing his bath. Sometimes he called her mother Ma, and

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<v Speaker 1>even peg. And You would never fully shake the sense

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<v Speaker 1>that David stayed with her purely for practical reasons. She

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<v Speaker 1>was an all in one secretary, pr rep manager, creative partner,

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<v Speaker 1>maid and lover who had the added bonus of finding

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<v Speaker 1>him additional sex partners. Though they were obviously compatible. Immigration

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<v Speaker 1>issues played a key role in their decision to tie

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<v Speaker 1>the knot. Angie's visa was due to expire. A marriage

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<v Speaker 1>would prevent her from being deported. David's no fool, She claimed.

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<v Speaker 1>We got married because I was an American who needed

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<v Speaker 1>to stay in London, and he was a weak brit

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<v Speaker 1>who needed me to help break down doors and turn

0:13:14.679 --> 0:13:17.439
<v Speaker 1>him into a star. I was wild and he needed

0:13:17.480 --> 0:13:21.280
<v Speaker 1>me to help him be wild. It worked. Bowie himself

0:13:21.320 --> 0:13:23.480
<v Speaker 1>would admit that they probably wouldn't have gotten married if

0:13:23.480 --> 0:13:25.720
<v Speaker 1>it wasn't for her visa problems. Yet that didn't mean

0:13:25.720 --> 0:13:29.199
<v Speaker 1>he didn't care well. The marriage ceremony never mattered much

0:13:29.240 --> 0:13:34.319
<v Speaker 1>to him, Angie resolutely did. They married at the Bromley

0:13:34.360 --> 0:13:38.120
<v Speaker 1>Register Office in March nineteen seventy. The bride wore a

0:13:38.160 --> 0:13:41.160
<v Speaker 1>pink and purple silk dress from the nineteen twenties, purchased

0:13:41.160 --> 0:13:43.120
<v Speaker 1>the day before from one of the vintage stalls at

0:13:43.160 --> 0:13:47.160
<v Speaker 1>Kensington Market. The groom wore an oversize sheer ling afghan

0:13:47.160 --> 0:13:51.199
<v Speaker 1>and an ascot. Instead of rings, they exchanged two Peruvian

0:13:51.240 --> 0:13:54.839
<v Speaker 1>silver bracelets. They'd said farewell to single them the night

0:13:54.840 --> 0:13:58.200
<v Speaker 1>before by staging an impromptu threesome with a female artist friend.

0:13:58.760 --> 0:14:01.040
<v Speaker 1>As a result, they got a start that morning and

0:14:01.080 --> 0:14:04.079
<v Speaker 1>nearly missed their own wedding. The trio arrived at the

0:14:04.120 --> 0:14:06.880
<v Speaker 1>registry office only to find David's mother, Peggy, waiting on

0:14:06.920 --> 0:14:10.160
<v Speaker 1>the steps. This was unexpected, as David hadn't invited her.

0:14:11.120 --> 0:14:13.000
<v Speaker 1>There were only a handful of friends on hand to

0:14:13.040 --> 0:14:16.800
<v Speaker 1>watch the couple take their vows. Manager KEM Pitt the

0:14:16.800 --> 0:14:18.480
<v Speaker 1>man had been as much of a father to David

0:14:18.520 --> 0:14:21.160
<v Speaker 1>over the last few years as his own dad wasn't

0:14:21.200 --> 0:14:25.480
<v Speaker 1>among them. David hadn't invited him either, and you had

0:14:25.480 --> 0:14:29.480
<v Speaker 1>already supplanted him as David's ultimate confidant. Now it was official,

0:14:29.560 --> 0:14:33.720
<v Speaker 1>before God and law. The newlyweds posed for photos outside

0:14:33.760 --> 0:14:36.280
<v Speaker 1>the registry office before heading to a nearby pub for

0:14:36.320 --> 0:14:39.640
<v Speaker 1>a quick reception. It was raining, so they honeymooned at

0:14:39.640 --> 0:14:42.600
<v Speaker 1>Haddon Hall in front of the TV set. A couple

0:14:42.720 --> 0:14:45.720
<v Speaker 1>used their marital bed for their first ever fivesome that night,

0:14:46.120 --> 0:14:49.360
<v Speaker 1>bringing the day to an eventful end. Married life clearly

0:14:49.400 --> 0:14:53.160
<v Speaker 1>didn't slow them down. Shortly after their wedding, David introduced

0:14:53.200 --> 0:14:56.520
<v Speaker 1>Angie to a friend by merrily proclaiming, this is my wife.

0:14:56.640 --> 0:14:59.000
<v Speaker 1>She gets boys from me and I get girls for her,

0:14:59.440 --> 0:15:03.880
<v Speaker 1>and we're all very happy. You'll notice David's music hasn't

0:15:03.880 --> 0:15:07.480
<v Speaker 1>received much attention thus far. Between the death of his father,

0:15:07.640 --> 0:15:10.560
<v Speaker 1>the move to Hadden Hall, and the promotional responsibilities for

0:15:10.560 --> 0:15:13.360
<v Speaker 1>the Space Oddity album, David didn't have much time to

0:15:13.360 --> 0:15:16.160
<v Speaker 1>write during the tail end of nineteen sixty nine. One

0:15:16.160 --> 0:15:18.240
<v Speaker 1>of the only songs he completed in this period was

0:15:18.280 --> 0:15:21.440
<v Speaker 1>called The Prettiest Star. He'd written it for Angie while

0:15:21.480 --> 0:15:23.440
<v Speaker 1>she was away in Cyprus and played it to her

0:15:23.480 --> 0:15:26.280
<v Speaker 1>through the phone as part of his proposal. Recorded on

0:15:26.400 --> 0:15:30.680
<v Speaker 1>January event, his twenty third birthday, it was the first

0:15:30.680 --> 0:15:33.400
<v Speaker 1>song he released in the seventies, the decade. He'd grow

0:15:33.440 --> 0:15:36.240
<v Speaker 1>to dominate you and I will rise up all the

0:15:36.280 --> 0:15:39.080
<v Speaker 1>way he sang on the track. Though The Prettiest Star

0:15:39.200 --> 0:15:42.360
<v Speaker 1>sold a dismal eight hundred copies, he'd make good on

0:15:42.400 --> 0:15:53.840
<v Speaker 1>the lyrical promise. An explosion of glam rock shook the

0:15:53.880 --> 0:15:56.600
<v Speaker 1>English music scene in the early seventies, and he was

0:15:56.680 --> 0:15:59.840
<v Speaker 1>David Bowie who lit the fuse. The Big Bang occurred

0:15:59.840 --> 0:16:04.400
<v Speaker 1>on February twenty, nineteen seventy, at London's Roundhouse Theater, where

0:16:04.480 --> 0:16:07.560
<v Speaker 1>David was playing with this new band Hype. The other

0:16:07.600 --> 0:16:10.680
<v Speaker 1>acts on the bill epitomized the earthy root seed back

0:16:10.720 --> 0:16:13.880
<v Speaker 1>to the land hippie sensibility that permeated the rock escape

0:16:13.880 --> 0:16:16.520
<v Speaker 1>as the sixties drew to a close. It was all

0:16:16.520 --> 0:16:20.440
<v Speaker 1>about being real man Jeans and buckskin were the official

0:16:20.520 --> 0:16:25.240
<v Speaker 1>musician uniform. Performers were indistinguishable from their audience. Nobody was

0:16:25.280 --> 0:16:28.160
<v Speaker 1>a star. They were just on stage doing their thing.

0:16:29.160 --> 0:16:32.360
<v Speaker 1>This egalitarian ideal was shattered when David and his fellow

0:16:32.440 --> 0:16:36.960
<v Speaker 1>hype man appeared on stage dressed as literal superheroes. Bowie

0:16:36.960 --> 0:16:40.720
<v Speaker 1>took center stage as rainbow Man, decked out and multicolored

0:16:40.800 --> 0:16:44.920
<v Speaker 1>spandex thigh high boots and a flashy silver jacket. Tony

0:16:44.960 --> 0:16:48.440
<v Speaker 1>Wisconsin handled bass duties dressed in a white leotard, silver

0:16:48.480 --> 0:16:52.120
<v Speaker 1>crochet briefs and a green cape. A gold suited gangster

0:16:52.200 --> 0:16:55.640
<v Speaker 1>and a cartoonish lee gaudy cowboy completed the unusual lineup

0:16:56.680 --> 0:17:00.400
<v Speaker 1>homemade costumes. So with love, if not tremendous fell by

0:17:00.440 --> 0:17:03.640
<v Speaker 1>Angie went a long way and separating David, the sci

0:17:03.680 --> 0:17:06.600
<v Speaker 1>fi folky of space Oddity, from his latest guys as

0:17:06.600 --> 0:17:09.800
<v Speaker 1>a rock and roll frontman. But more than just putting

0:17:09.800 --> 0:17:13.280
<v Speaker 1>his past behind him, the sensationalist personas were a stand

0:17:13.320 --> 0:17:17.440
<v Speaker 1>against the snoozy status quo. David had spent the sixties

0:17:17.480 --> 0:17:20.919
<v Speaker 1>spotting trends and chasing them. Now he was determined to

0:17:20.960 --> 0:17:25.119
<v Speaker 1>subvert them. Hype was an exercise and rebellion, pure and simple.

0:17:25.760 --> 0:17:28.200
<v Speaker 1>You want a self serious poet, will get a load

0:17:28.240 --> 0:17:32.159
<v Speaker 1>of us. We're superheroes, all in good fun, of course.

0:17:34.960 --> 0:17:37.720
<v Speaker 1>Hype weren't the first band to bring a touch of theatricality,

0:17:37.760 --> 0:17:40.560
<v Speaker 1>and the rock and roll groups like Johnny Kidd and

0:17:40.560 --> 0:17:43.240
<v Speaker 1>the Pirates and Paul Revere and the Raiders had incorporated

0:17:43.280 --> 0:17:46.879
<v Speaker 1>elaborate period costumes into their acts back in nearly sixties,

0:17:47.640 --> 0:17:51.040
<v Speaker 1>self style horror rockers Screaming Lord such when even further,

0:17:51.400 --> 0:17:54.359
<v Speaker 1>opening each show by emerging from an oversized coffin and

0:17:54.400 --> 0:17:57.879
<v Speaker 1>toying with props, skulls and daggers. And then there was

0:17:58.040 --> 0:18:01.440
<v Speaker 1>Arthur Brown, who kicked off performer of his ninety eight

0:18:01.560 --> 0:18:05.120
<v Speaker 1>hit Fire by setting his head dress ablaze and draw

0:18:05.240 --> 0:18:08.360
<v Speaker 1>Jenny also seemed to be embedded in rocks DNA, stretching

0:18:08.359 --> 0:18:11.240
<v Speaker 1>back to the thick lashings of mascara worn by David's

0:18:11.240 --> 0:18:15.360
<v Speaker 1>HERA Little Richard, The Beatles Long Hair garnered an untold

0:18:15.440 --> 0:18:18.600
<v Speaker 1>number of column inches, and even the rebellious Rolling Stones

0:18:18.680 --> 0:18:21.320
<v Speaker 1>don Drag on the sleeve for their nineteen sixty six

0:18:21.359 --> 0:18:24.400
<v Speaker 1>single have You Seen Your Mother Baby Standing in the Shadows.

0:18:25.280 --> 0:18:27.840
<v Speaker 1>Such camp was generally viewed as a gimmick meant to

0:18:27.920 --> 0:18:30.639
<v Speaker 1>mask lack of talent, lack of sex appeal, or some

0:18:30.720 --> 0:18:34.120
<v Speaker 1>combination of the two. To engage in such silliness while

0:18:34.160 --> 0:18:41.320
<v Speaker 1>retaining artistic credibility. Now that was the new frontier. With Hype,

0:18:41.680 --> 0:18:45.000
<v Speaker 1>David sought to present obvious artifice with a straight face,

0:18:45.480 --> 0:18:48.520
<v Speaker 1>performed so skillfully that you can't help but be impressed.

0:18:49.640 --> 0:18:53.240
<v Speaker 1>That attitude became the spirit of glam rock. Even the

0:18:53.280 --> 0:18:56.240
<v Speaker 1>band's name was the war Hollian Nods, the thin veneer

0:18:56.280 --> 0:19:00.600
<v Speaker 1>of glitz that separated mere human beings from stars. Hype

0:19:00.640 --> 0:19:03.840
<v Speaker 1>was almost provocatively on the nose, an averted mission of

0:19:03.880 --> 0:19:07.720
<v Speaker 1>phoniness that resolved David of so many show business sins.

0:19:07.960 --> 0:19:10.720
<v Speaker 1>I deliberately chose the name, he would say, because now

0:19:10.760 --> 0:19:13.440
<v Speaker 1>no one could say they were being conned. He could

0:19:13.480 --> 0:19:17.200
<v Speaker 1>be plastic, he could be disposable, He could be anyone

0:19:17.240 --> 0:19:22.479
<v Speaker 1>he wanted, although in the short term he didn't want

0:19:22.520 --> 0:19:26.040
<v Speaker 1>to be rainbow Man. Hype disintegrated a short time after

0:19:26.080 --> 0:19:29.719
<v Speaker 1>that day at the Roundhouse. The band endured vicious homophobic

0:19:29.760 --> 0:19:31.840
<v Speaker 1>heckels from the crowd, but there was at least one

0:19:31.840 --> 0:19:35.440
<v Speaker 1>person who enjoyed their set. It was Mark Bolan, David's

0:19:35.480 --> 0:19:39.200
<v Speaker 1>friend and sometimes friend of me. Their rivalry stretched back

0:19:39.240 --> 0:19:41.359
<v Speaker 1>to the R and B boom of the mid sixties,

0:19:41.520 --> 0:19:45.080
<v Speaker 1>and Mark was definitely winning the fame race. Heat earned

0:19:45.119 --> 0:19:48.879
<v Speaker 1>middling success with his band Tyrannosaurus Rex. Within months of

0:19:48.960 --> 0:19:52.200
<v Speaker 1>David's Roundhouse show, Mark had given himself a glam makeover,

0:19:52.600 --> 0:19:54.760
<v Speaker 1>launching himself to the top of the pop heap in

0:19:54.760 --> 0:19:58.359
<v Speaker 1>the UK, rivaling even the Beatles for mass adoration and

0:19:58.400 --> 0:20:01.480
<v Speaker 1>selling a hundred thousand copies of his single and one day.

0:20:02.119 --> 0:20:04.879
<v Speaker 1>He became the public face of glam Rock, which pisted

0:20:04.960 --> 0:20:07.119
<v Speaker 1>David off to no end, leading to one of the

0:20:07.119 --> 0:20:10.720
<v Speaker 1>many TIFFs between the pair, Telling Lee. Mark would later

0:20:10.760 --> 0:20:14.119
<v Speaker 1>deny that he ever attended David's Roundhouse gig. Whether he

0:20:14.200 --> 0:20:17.520
<v Speaker 1>simply forgot or had a guilty conscience is up for debate.

0:20:19.600 --> 0:20:22.679
<v Speaker 1>In addition to kick starting the glam Rock revolution, the

0:20:22.760 --> 0:20:26.159
<v Speaker 1>Roundhouse Show is notable for another reason. It marked the

0:20:26.280 --> 0:20:29.480
<v Speaker 1>first time David ever shared a stage with his new guitarist,

0:20:29.600 --> 0:20:33.320
<v Speaker 1>Mick Ronson. Just weeks earlier, Ronson was working as a

0:20:33.359 --> 0:20:36.919
<v Speaker 1>gardener in his hometown of Hull, England, not the best

0:20:37.000 --> 0:20:40.880
<v Speaker 1>use of his formidable musical talents. Ronson was a classically

0:20:40.960 --> 0:20:44.320
<v Speaker 1>trained pianist who also took up violin, cello and finally

0:20:44.359 --> 0:20:48.480
<v Speaker 1>guitar as a boy. As a teen Ronson idolized Jeff

0:20:48.520 --> 0:20:50.840
<v Speaker 1>Beck and moved to London in the mid sixties to

0:20:50.840 --> 0:20:53.399
<v Speaker 1>try his hand as a blues player, but he was

0:20:53.480 --> 0:20:56.480
<v Speaker 1>quickly reduced to living on tins of beans and returned

0:20:56.480 --> 0:20:58.560
<v Speaker 1>to Hall a short time later with his tail between

0:20:58.560 --> 0:21:03.280
<v Speaker 1>his legs. Ronson's route to Bowie is windy filled with

0:21:03.320 --> 0:21:08.360
<v Speaker 1>several fortuitous connections. Bowie had begun playing with Ronson's former bandmate,

0:21:08.440 --> 0:21:12.400
<v Speaker 1>drummer John Cambridge. When a heavy duty guitarist was required

0:21:12.440 --> 0:21:15.440
<v Speaker 1>for Bowie's hype project. Cambridge was sent up to haul

0:21:15.520 --> 0:21:18.520
<v Speaker 1>the recruit Ronson. They found them working for the Hull

0:21:18.600 --> 0:21:22.359
<v Speaker 1>City Council painting lines for a rugby field. Commenced his

0:21:22.480 --> 0:21:26.240
<v Speaker 1>musical career was over. Ronson was persuaded to call on

0:21:26.440 --> 0:21:29.000
<v Speaker 1>David and Angie at Hadden Hall, where they jammed in

0:21:29.080 --> 0:21:32.320
<v Speaker 1>the early morning hours. David invited him to play on

0:21:32.359 --> 0:21:36.440
<v Speaker 1>an upcoming BBC radio session two days later, on February fifth,

0:21:36.680 --> 0:21:41.439
<v Speaker 1>nineteen seventy. Ronson's high octane guitar lines added extra muscle

0:21:41.480 --> 0:21:46.000
<v Speaker 1>to David's music, making the songs rougher, roarer and sexier.

0:21:46.800 --> 0:21:50.920
<v Speaker 1>David was entranced, describing Ronson as Jeff Beck, Eric Clapton

0:21:50.960 --> 0:21:54.679
<v Speaker 1>and Jimmie Hendrix all rolled in the one person in Rono,

0:21:54.840 --> 0:21:57.920
<v Speaker 1>as he was forever known, David had found his secret

0:21:57.920 --> 0:22:01.320
<v Speaker 1>weapon and his musical soul brother, the first true partner

0:22:01.359 --> 0:22:07.280
<v Speaker 1>he'd ever had. Soon, Ronson moved into Haddon Hall, where he,

0:22:07.600 --> 0:22:10.960
<v Speaker 1>Bowie and Tony Visconti worked in their makeshift studio, the

0:22:11.000 --> 0:22:14.840
<v Speaker 1>old wine cellar under the stairwell. The homemade soundproofing made

0:22:14.840 --> 0:22:17.560
<v Speaker 1>from egg christ did little to muffle the noise, making

0:22:17.600 --> 0:22:21.280
<v Speaker 1>them less than popular with their neighbors. A new album began,

0:22:21.320 --> 0:22:24.560
<v Speaker 1>the Coalesce. Inspired by the creative spirit of the Beatles

0:22:24.600 --> 0:22:27.640
<v Speaker 1>at their most daring, they wanted to craft a studio

0:22:27.720 --> 0:22:31.199
<v Speaker 1>production with sounds that could only exist on tape. It

0:22:31.240 --> 0:22:34.840
<v Speaker 1>was to be David's personal sergeant Pepper, his pet sounds,

0:22:34.880 --> 0:22:38.360
<v Speaker 1>his magnum opus, but the result, called The Man Who

0:22:38.400 --> 0:22:43.240
<v Speaker 1>Sold the World, didn't quite turn out like that. David's

0:22:43.280 --> 0:22:45.520
<v Speaker 1>mood had plummeted by the time he and his hatt

0:22:45.520 --> 0:22:48.960
<v Speaker 1>In Hall cohorts convened in the studio in April of ninete.

0:22:50.160 --> 0:22:53.080
<v Speaker 1>The small amount of buzz that space Oddity afforded him

0:22:53.080 --> 0:22:56.040
<v Speaker 1>had died down, and as follow up, the Prettiest star

0:22:56.200 --> 0:22:59.959
<v Speaker 1>had flopped. The band itself was an upheaval as Ronson

0:23:00.040 --> 0:23:02.879
<v Speaker 1>engineered the arrival of a new drummer, Mick woodman Z,

0:23:03.320 --> 0:23:07.040
<v Speaker 1>known to all Is Woody. They all camped at Haddon Hall,

0:23:07.320 --> 0:23:11.240
<v Speaker 1>bringing their financial fears and other anxieties literally to David's door.

0:23:12.000 --> 0:23:14.840
<v Speaker 1>Everyone was broke and this album was make or break.

0:23:15.720 --> 0:23:18.399
<v Speaker 1>For the first time, the hyper ambitious David began to

0:23:18.400 --> 0:23:22.160
<v Speaker 1>shrink from the challenge. In Visconti's words, this man would

0:23:22.240 --> 0:23:24.080
<v Speaker 1>just knock it out of bed and write a song.

0:23:25.119 --> 0:23:27.600
<v Speaker 1>The producers spent much of the sessions trying to retrieve

0:23:27.680 --> 0:23:30.400
<v Speaker 1>David from the studio hallway, where he and Angie could

0:23:30.440 --> 0:23:34.879
<v Speaker 1>be found holding hands and cooing at one another. With

0:23:35.040 --> 0:23:39.040
<v Speaker 1>David indisposed, Visconti and Ronson played an oversized role in

0:23:39.080 --> 0:23:43.200
<v Speaker 1>shaping the sound of the record. Ronson, the young buck guitarist,

0:23:43.600 --> 0:23:46.160
<v Speaker 1>was eager to emulate his heroes Jeff Beck and Eric

0:23:46.200 --> 0:23:49.480
<v Speaker 1>Clapton with his cranked up les Paul and towering stack

0:23:49.520 --> 0:23:52.959
<v Speaker 1>of marshal lamps. As a result, many of the songs

0:23:52.960 --> 0:23:56.240
<v Speaker 1>were significantly louder and harder than anything that bore Bowie's

0:23:56.320 --> 0:23:59.400
<v Speaker 1>name to date. Forged from the same fire that would

0:23:59.480 --> 0:24:04.040
<v Speaker 1>yield heavy metal beatles were Dead Long, Live led Zeppelin,

0:24:04.040 --> 0:24:07.520
<v Speaker 1>and Black Sabbath. She Shook Me Cold. There's more than

0:24:07.560 --> 0:24:10.520
<v Speaker 1>a passing similarity to Beck's cover of Muddy Waters. You

0:24:10.560 --> 0:24:14.040
<v Speaker 1>Shook Me Black Country Rock is an overt homage to

0:24:14.160 --> 0:24:17.040
<v Speaker 1>t Rex and the quavering vocal stylings of David's friend

0:24:17.040 --> 0:24:20.080
<v Speaker 1>of me, Mark Boland. The Width of the Circles an

0:24:20.080 --> 0:24:23.439
<v Speaker 1>eight minute tour to Force with Ronson's guitar pyrotechnics as

0:24:23.440 --> 0:24:26.960
<v Speaker 1>the main event. Many of these instrumentals were assembled by

0:24:27.040 --> 0:24:30.480
<v Speaker 1>Visconti and Ronson, who all but begged their nominal leader

0:24:30.560 --> 0:24:34.080
<v Speaker 1>David to put pen to paper and write lyrics. Visconti

0:24:34.160 --> 0:24:37.040
<v Speaker 1>was not a fan of David's new writing process, defined

0:24:37.080 --> 0:24:40.399
<v Speaker 1>as I can't be bothered until I have to. David's

0:24:40.400 --> 0:24:43.680
<v Speaker 1>procrastination was so extreme that he was still recording vocals

0:24:43.680 --> 0:24:46.480
<v Speaker 1>on the last day of album mixing, writing lyrics in

0:24:46.520 --> 0:24:49.639
<v Speaker 1>the studio lobby, while Visconti and Ronson waited impatiently at

0:24:49.640 --> 0:24:54.240
<v Speaker 1>the mixing desk. When David finally did decide to write,

0:24:54.400 --> 0:24:59.000
<v Speaker 1>the words were often dark, unsettled, and deeply disturbing. The

0:24:59.080 --> 0:25:02.520
<v Speaker 1>record company had given him a shoe string budget, necessitating

0:25:02.560 --> 0:25:07.200
<v Speaker 1>weekend sessions done on the graveyards shift This darkness permeated

0:25:07.240 --> 0:25:10.600
<v Speaker 1>his output. David would remember the sessions for The Man

0:25:10.640 --> 0:25:13.959
<v Speaker 1>Who Sold the World as quote a nightmare, and characterized

0:25:14.000 --> 0:25:17.040
<v Speaker 1>the record as the most drug oriented album I've ever made.

0:25:17.960 --> 0:25:20.560
<v Speaker 1>Few in this period recalled David is lost in any

0:25:20.600 --> 0:25:22.840
<v Speaker 1>sort of drug haze, but it was clear that he

0:25:22.880 --> 0:25:26.199
<v Speaker 1>was engulfed by some form of black cloud. In the

0:25:26.280 --> 0:25:29.240
<v Speaker 1>last year, he'd lost his father and slipped away from

0:25:29.280 --> 0:25:33.480
<v Speaker 1>his manager and mentor, Ken Pitt. The utopian hippie dream

0:25:33.520 --> 0:25:35.960
<v Speaker 1>of the Arts Lab had crumbled to nothing, and his

0:25:36.080 --> 0:25:39.440
<v Speaker 1>first taste of fame had turned sour. And what would

0:25:39.480 --> 0:25:42.360
<v Speaker 1>become something of a theme David acted out as personal

0:25:42.400 --> 0:25:47.880
<v Speaker 1>traumas through science fiction tales. Violence, alienation, confusion, and madness

0:25:47.920 --> 0:25:51.600
<v Speaker 1>are recurring themes throughout the songs, obvious indicators of his

0:25:51.640 --> 0:25:55.400
<v Speaker 1>haunted and paranoid state. The width of a Circle describes

0:25:55.440 --> 0:25:58.320
<v Speaker 1>a sexual encounter in the depths of Hell, though it's

0:25:58.359 --> 0:26:00.680
<v Speaker 1>unclear whether the figure is God out of the Devil

0:26:01.520 --> 0:26:06.159
<v Speaker 1>after all, features a nod defamed Satanist Alistair Crowley. The

0:26:06.240 --> 0:26:10.199
<v Speaker 1>Superman is an apocalyptic Nietzschean Tale and Running Gun Blues

0:26:10.240 --> 0:26:13.440
<v Speaker 1>alluded to the Milai massacre and Vietnam told from the

0:26:13.480 --> 0:26:19.600
<v Speaker 1>point of view of an unhinged veteran. The most potent

0:26:19.680 --> 0:26:22.720
<v Speaker 1>track was All the Madmen, one of the first songs

0:26:22.720 --> 0:26:27.160
<v Speaker 1>recorded for the sessions. It's rooted in David's own personal nightmare,

0:26:27.520 --> 0:26:31.879
<v Speaker 1>the mental deterioration of his elder half brother, Terry. David

0:26:31.880 --> 0:26:34.840
<v Speaker 1>had worshiped Terry as a young boy, looking to him

0:26:34.840 --> 0:26:37.640
<v Speaker 1>as the sole source of emotional warmth in their otherwise

0:26:37.720 --> 0:26:42.000
<v Speaker 1>frigid family home. Later, as a teen, it was Terry

0:26:42.040 --> 0:26:45.520
<v Speaker 1>who turned David onto free jazz and beat poetry, which

0:26:45.560 --> 0:26:50.720
<v Speaker 1>became crucial pillars of his creative identity. Terry encouraged his individuality,

0:26:50.920 --> 0:26:56.119
<v Speaker 1>fostering David's unrivaled single mindedness. Most importantly, they cared for

0:26:56.160 --> 0:27:00.119
<v Speaker 1>one another. It was the only uncomplicatedly loving relation and

0:27:00.119 --> 0:27:03.960
<v Speaker 1>ship in young David's life. But then Terry's moods became

0:27:04.000 --> 0:27:10.800
<v Speaker 1>more erratic, leading to terrifying hallucinations, lengthy disappearances, and horrific breakdowns.

0:27:11.560 --> 0:27:15.119
<v Speaker 1>Schizophrenia had ripped Terry's reality to shreds, just as it

0:27:15.160 --> 0:27:18.520
<v Speaker 1>had done to so many in David's family. By the

0:27:18.600 --> 0:27:22.359
<v Speaker 1>late sixties, Terry was living at Cane Hill Hospital, the

0:27:22.440 --> 0:27:26.320
<v Speaker 1>notorious Gothic asylum south of London, where patients were once

0:27:26.359 --> 0:27:30.720
<v Speaker 1>confined to padded rooms, doused with ice water, and brutalized

0:27:30.720 --> 0:27:34.800
<v Speaker 1>with an arcane form of electro shock therapy. Terry endured

0:27:34.840 --> 0:27:37.840
<v Speaker 1>slightly less abuse during his stay, but life behind the

0:27:37.880 --> 0:27:43.800
<v Speaker 1>imposing gates was undoubtedly disconcerning and tinged with fear. Because

0:27:43.920 --> 0:27:46.280
<v Speaker 1>Terry was a voluntary patient, he could come and go

0:27:46.320 --> 0:27:50.320
<v Speaker 1>as he pleased. Often he'd visited David Crashing at Haddon

0:27:50.440 --> 0:27:54.520
<v Speaker 1>Hall for sometimes weeks on end. Terry had responded well

0:27:54.560 --> 0:27:56.920
<v Speaker 1>to his treatment, and, like many patients on the men,

0:27:57.080 --> 0:28:00.439
<v Speaker 1>decided he didn't need to take his medication anymore. This

0:28:00.560 --> 0:28:04.480
<v Speaker 1>wrought havoc on his neural chemistry. David usually tried to

0:28:04.560 --> 0:28:08.360
<v Speaker 1>keep things light, steering the conversation to topical things like soccer,

0:28:08.920 --> 0:28:11.640
<v Speaker 1>but while they shared the same roof, they rarely shared

0:28:11.680 --> 0:28:15.720
<v Speaker 1>the same reality. Whenever Terry would leave Haddon Hall, David

0:28:15.800 --> 0:28:19.320
<v Speaker 1>was flooded with relief, followed by an immense wave of guilt.

0:28:20.160 --> 0:28:24.080
<v Speaker 1>Why couldn't he help his brother? Why this happened to Terry?

0:28:24.320 --> 0:28:27.240
<v Speaker 1>It could have just as easily happened to him? Could

0:28:27.280 --> 0:28:33.240
<v Speaker 1>it still? David lived in constant fear of the madness

0:28:33.240 --> 0:28:36.280
<v Speaker 1>that he felt coursing through his veins. He could feel

0:28:36.280 --> 0:28:39.920
<v Speaker 1>it bubbling up whenever he got drunk or high. His

0:28:40.000 --> 0:28:45.080
<v Speaker 1>mental stability was fragile. His art was his salvation. Among

0:28:45.120 --> 0:28:47.760
<v Speaker 1>his first songs to confront this phobia head on was

0:28:47.840 --> 0:28:50.600
<v Speaker 1>All the mad Men, an empathetic look at Terry and

0:28:50.680 --> 0:28:56.080
<v Speaker 1>the trials he endured. It contained lyrical references to lobotomies, librium,

0:28:56.240 --> 0:29:00.960
<v Speaker 1>and electroshock therapy. Most poignantly, the reef Frank quotes Jack

0:29:01.040 --> 0:29:04.240
<v Speaker 1>Caro Wax on the Road. Terry had given the book

0:29:04.240 --> 0:29:07.520
<v Speaker 1>to David as a young boy. Now he repurposed Caro

0:29:07.560 --> 0:29:11.080
<v Speaker 1>wax words and tribute to his stricken brother. The only

0:29:11.120 --> 0:29:13.880
<v Speaker 1>people for me are the mad ones, David sings, the

0:29:13.920 --> 0:29:18.560
<v Speaker 1>ones who never yawn or say a commonplace thing, but burn, burn, burn,

0:29:18.680 --> 0:29:23.360
<v Speaker 1>like fabulous yellow Roman candles. Terry had encouraged David to

0:29:23.400 --> 0:29:27.920
<v Speaker 1>embrace his inner madness, that wildfire that burned within. Now

0:29:28.040 --> 0:29:31.360
<v Speaker 1>Terry was paying the price. David couldn't help, But wonder

0:29:32.280 --> 0:29:37.120
<v Speaker 1>was he next? He wrestled with this question on the

0:29:37.160 --> 0:29:40.560
<v Speaker 1>album's title track, The Man Who Sold the World as

0:29:40.640 --> 0:29:43.920
<v Speaker 1>vexed fans for decades. With its dense lyrics that obliquely

0:29:44.000 --> 0:29:48.000
<v Speaker 1>hint at David's worsening identity crisis. It speaks to the

0:29:48.040 --> 0:29:51.600
<v Speaker 1>devils and angels inside of him. In the song, the

0:29:51.760 --> 0:29:55.400
<v Speaker 1>narrator has an encounter with a ghostly doppelganger on a stairwell.

0:29:56.360 --> 0:29:59.920
<v Speaker 1>Is it a past self, a future self, a potent

0:30:00.080 --> 0:30:04.720
<v Speaker 1>entual self that he'd never become? It's unclear. I thought

0:30:04.800 --> 0:30:08.000
<v Speaker 1>you died alone a long, long time ago, he says

0:30:08.080 --> 0:30:11.680
<v Speaker 1>to the figure in the song. Oh no, the double replies,

0:30:12.240 --> 0:30:17.080
<v Speaker 1>not me. I never lost control. Control was a word

0:30:17.080 --> 0:30:19.040
<v Speaker 1>that comes up again and again in the life of

0:30:19.120 --> 0:30:22.920
<v Speaker 1>David Bowie. Control was a necessary part of his survival

0:30:23.760 --> 0:30:30.560
<v Speaker 1>the fragile border between reality and madness. David struggled to

0:30:30.600 --> 0:30:32.720
<v Speaker 1>define himself as a parent in his search for a

0:30:32.800 --> 0:30:36.040
<v Speaker 1>cover for the Man Who Sold the World. Initially, he

0:30:36.120 --> 0:30:39.200
<v Speaker 1>commissioned a painting by his old Beckenham Arts lab friend

0:30:39.280 --> 0:30:43.160
<v Speaker 1>Mike Weller. The foreboding music inspired Weller to paint and

0:30:43.240 --> 0:30:46.720
<v Speaker 1>illustration of a rifle wielding cowboy standing at the entrance

0:30:46.800 --> 0:30:51.000
<v Speaker 1>of of all places, Cane Hill Hospital. The choice was

0:30:51.080 --> 0:30:54.600
<v Speaker 1>pure chance. Weller had no idea of David's connection to

0:30:54.640 --> 0:30:58.240
<v Speaker 1>the place. The coincidence was not lost on David, who

0:30:58.280 --> 0:31:02.240
<v Speaker 1>loved the cartoonish pop our style cover design at first

0:31:02.280 --> 0:31:05.280
<v Speaker 1>at least, but soon he changed his mind in favor

0:31:05.320 --> 0:31:07.520
<v Speaker 1>of an image that would showcase himself in a more

0:31:07.920 --> 0:31:11.680
<v Speaker 1>domestic environment. A photo shoot duly took place in the

0:31:11.720 --> 0:31:15.120
<v Speaker 1>living room at Hadden Hall. The final shot is striking,

0:31:15.240 --> 0:31:20.200
<v Speaker 1>resembling a pre Raphaelite painting more than a rock album cover. David,

0:31:20.520 --> 0:31:24.040
<v Speaker 1>surrounded by rich red drapes and his growing assortment of antiques,

0:31:24.480 --> 0:31:28.240
<v Speaker 1>is seen reclining in an elegant chase lounge, fingering his long,

0:31:28.400 --> 0:31:32.479
<v Speaker 1>elegantly styled blonde curls with one hand while casually spilling

0:31:32.480 --> 0:31:35.760
<v Speaker 1>a deck of playing cards with the other. He provocatively

0:31:35.840 --> 0:31:39.000
<v Speaker 1>stares down the lens in a cream and blue satin dress.

0:31:39.640 --> 0:31:42.600
<v Speaker 1>It is, as he would explain numerous times, a man's

0:31:42.680 --> 0:31:46.880
<v Speaker 1>dress purchased from cutting edge designer Michael Fish's Savoreau boutique.

0:31:48.160 --> 0:31:50.760
<v Speaker 1>But as David would soon learn on his American arrival,

0:31:51.040 --> 0:31:55.080
<v Speaker 1>a man's dress is still dress too many His androgynous

0:31:55.080 --> 0:31:59.080
<v Speaker 1>attire flirted uncomfortably close to drag and not the can't

0:31:59.080 --> 0:32:01.360
<v Speaker 1>be silly except double kind of drag, which had long

0:32:01.400 --> 0:32:04.760
<v Speaker 1>been a staple of British comedy. Transvestites were fine if

0:32:04.800 --> 0:32:07.560
<v Speaker 1>they're there to be laughed at, after all, but Bowie

0:32:07.600 --> 0:32:12.000
<v Speaker 1>demanded respect. He was used to challenging gender norms back

0:32:12.040 --> 0:32:15.040
<v Speaker 1>in the mid sixties. His shockingly long mop top hair

0:32:15.120 --> 0:32:18.440
<v Speaker 1>got him threatened and spat at. This cover image took

0:32:18.440 --> 0:32:22.720
<v Speaker 1>it even further, daring or even welcoming outrage. Leave it

0:32:22.760 --> 0:32:25.440
<v Speaker 1>to David Bowie to court controversy just by lounging in

0:32:25.480 --> 0:32:30.800
<v Speaker 1>his living room. As with the rest of his albums

0:32:30.800 --> 0:32:33.520
<v Speaker 1>to date, the Man Who Sold the World failed to sell.

0:32:34.560 --> 0:32:37.720
<v Speaker 1>Relations between David and Tony Visconti grew strained during the

0:32:37.720 --> 0:32:40.200
<v Speaker 1>difficult sessions, and it will be years before the pair

0:32:40.240 --> 0:32:44.000
<v Speaker 1>would work together again. But the troubled recording saw David

0:32:44.040 --> 0:32:47.880
<v Speaker 1>split more permanently from another intimate, his manager, Ken Pitt.

0:32:48.880 --> 0:32:52.400
<v Speaker 1>Their four year relationship had been monumental but hard to define.

0:32:53.360 --> 0:32:57.240
<v Speaker 1>Ken guided David's career with class and skill. At times

0:32:57.280 --> 0:33:00.640
<v Speaker 1>he also did David's laundry. The old man had been

0:33:00.680 --> 0:33:03.560
<v Speaker 1>like a surrogate father to David, welcoming him into his

0:33:03.600 --> 0:33:06.360
<v Speaker 1>elegant London flat after David moved out of his family

0:33:06.400 --> 0:33:10.040
<v Speaker 1>home for the first time. Like any good show business figure,

0:33:10.120 --> 0:33:14.160
<v Speaker 1>he introduced David to entertainment luminaries and industry titans. He

0:33:14.240 --> 0:33:17.760
<v Speaker 1>also introduced David the classic literature, fine art in the theater.

0:33:18.760 --> 0:33:20.680
<v Speaker 1>There was indeed a lot of love between the men,

0:33:20.920 --> 0:33:24.520
<v Speaker 1>though Ken's intentions seemed more amorous than David's. It's not

0:33:24.640 --> 0:33:26.840
<v Speaker 1>quite fair to add lover to the lengthy list of

0:33:26.840 --> 0:33:29.479
<v Speaker 1>words that applied to their relationship, but there was an

0:33:29.520 --> 0:33:36.080
<v Speaker 1>intensity that transcended the usual manager client bond Angie clocked

0:33:36.080 --> 0:33:39.640
<v Speaker 1>this from the start. To her, Ken was enemy number one.

0:33:40.520 --> 0:33:43.480
<v Speaker 1>He was the only other person David listened to. She

0:33:43.520 --> 0:33:45.920
<v Speaker 1>didn't need the competition and was eager to get him

0:33:45.920 --> 0:33:49.440
<v Speaker 1>out of the picture. Andrew regarded Ken as a show

0:33:49.480 --> 0:33:53.720
<v Speaker 1>business dinosaur, a holdover from the old school style of management.

0:33:54.560 --> 0:33:57.280
<v Speaker 1>Ken would take the heat for David's stalled career, as

0:33:57.280 --> 0:33:59.560
<v Speaker 1>many over the years accused him of trying to steer

0:33:59.560 --> 0:34:02.800
<v Speaker 1>as unly talented client down the stagy supper club and

0:34:02.880 --> 0:34:07.640
<v Speaker 1>cabaret route. This is both unfair and untrue. Ken may

0:34:07.640 --> 0:34:10.200
<v Speaker 1>have been lost amid the hippie dippy world of mimes

0:34:10.200 --> 0:34:12.920
<v Speaker 1>and arts labs, but he believed in David's more avant

0:34:12.960 --> 0:34:16.480
<v Speaker 1>garde work, even financing sessions for Space Oddity out of

0:34:16.480 --> 0:34:21.880
<v Speaker 1>his own pocket when David was without a label. In

0:34:21.920 --> 0:34:26.080
<v Speaker 1>the end, Ken's extensive experience was his undoing. He was

0:34:26.160 --> 0:34:28.359
<v Speaker 1>used to doing business the way it had always been done.

0:34:29.280 --> 0:34:31.560
<v Speaker 1>David had no interest in doing anything the way it

0:34:31.600 --> 0:34:34.960
<v Speaker 1>had always been done. As time went on, David grew

0:34:35.000 --> 0:34:37.680
<v Speaker 1>emboldened by the achievements that Ken had a major role

0:34:37.680 --> 0:34:42.759
<v Speaker 1>in engineering. He became stubborn and contrarian, disregarding Ken's well

0:34:42.840 --> 0:34:46.880
<v Speaker 1>considered advice. He complained to friends that he was drowning

0:34:46.920 --> 0:34:51.080
<v Speaker 1>with Ken, who he no longer related to. Creatively, during

0:34:51.120 --> 0:34:54.080
<v Speaker 1>sessions for The Man Who Sold the World, David decided

0:34:54.120 --> 0:34:57.360
<v Speaker 1>that he'd had enough. He tearfully sought advice from the

0:34:57.360 --> 0:34:59.520
<v Speaker 1>head of his record label, telling him that he wanted

0:34:59.560 --> 0:35:02.759
<v Speaker 1>out of his management deal. The label chief didn't want

0:35:02.760 --> 0:35:06.239
<v Speaker 1>to get involved breaking such contracts was seen as ungentlemanly

0:35:06.280 --> 0:35:09.360
<v Speaker 1>and also a conflict of interest, but he recommended a

0:35:09.440 --> 0:35:12.200
<v Speaker 1>legal firm who could do the dirty work for him.

0:35:12.239 --> 0:35:16.960
<v Speaker 1>So in April, David sent Can a letter informing him

0:35:16.960 --> 0:35:22.960
<v Speaker 1>that their professional relationship was over. The following week, David

0:35:23.040 --> 0:35:25.080
<v Speaker 1>arrived at the apartment they used to share for what

0:35:25.160 --> 0:35:29.880
<v Speaker 1>amounted to a farewell meeting. David's counsel, bullish litigation clerk

0:35:29.960 --> 0:35:33.760
<v Speaker 1>named Tony Defreese, did most of the talking. David himself

0:35:33.800 --> 0:35:37.480
<v Speaker 1>sat quietly on the chase lounge, looking frail and deeply sad.

0:35:38.440 --> 0:35:42.680
<v Speaker 1>Pitt was equally devastated, not to mention shocked, but ever

0:35:42.719 --> 0:35:45.440
<v Speaker 1>the gentleman who refused to stand in David's way and

0:35:45.480 --> 0:35:48.800
<v Speaker 1>agreed to step aside. When the meeting was over and

0:35:48.840 --> 0:35:52.960
<v Speaker 1>the dust settled, they shook hands. David offered a simple

0:35:53.040 --> 0:35:57.120
<v Speaker 1>with sad, thank you, Ken. Then he disappeared down the

0:35:57.160 --> 0:36:01.040
<v Speaker 1>street with the frieze. Ken. Pitt or in fifteen thousand

0:36:01.120 --> 0:36:03.760
<v Speaker 1>pounds from the split, but his role in his client's

0:36:03.760 --> 0:36:07.880
<v Speaker 1>development is incalculable. David maintained a warmth for Ken as

0:36:07.920 --> 0:36:10.319
<v Speaker 1>the years went by, sending him rare books for his

0:36:10.360 --> 0:36:14.760
<v Speaker 1>formidable collection. In three, during the height of the Ziggy

0:36:14.800 --> 0:36:17.720
<v Speaker 1>Stardust craze, he invited Ken the one of his gigs

0:36:17.719 --> 0:36:20.000
<v Speaker 1>with a note that read, come and see what your

0:36:20.040 --> 0:36:28.800
<v Speaker 1>boys doing. Now. Without a manager, David looked to Tony

0:36:28.840 --> 0:36:32.040
<v Speaker 1>DeFries for career guidance. He'd been won over by the

0:36:32.160 --> 0:36:35.360
<v Speaker 1>freeze magical ability to extract him from contracts, which is

0:36:35.400 --> 0:36:39.040
<v Speaker 1>the wave of his pen. David initially wanted him only

0:36:39.080 --> 0:36:41.640
<v Speaker 1>to handle his finances, but the Frieze had his sight

0:36:41.760 --> 0:36:45.200
<v Speaker 1>set on something bigger. He believed David Bowie could be

0:36:45.280 --> 0:36:47.920
<v Speaker 1>the biggest rock act in the world, and he was

0:36:48.000 --> 0:36:50.960
<v Speaker 1>just the guy to help him do it. David obviously

0:36:51.000 --> 0:36:55.840
<v Speaker 1>appreciated the sentiment de Freeze drive matched those own sizeable ambition,

0:36:56.280 --> 0:36:59.200
<v Speaker 1>and together the pair hashed the plan for world domination.

0:37:00.120 --> 0:37:04.319
<v Speaker 1>In many ways, they were similar, captivating, charismatic, and gregarious

0:37:04.320 --> 0:37:08.040
<v Speaker 1>in public. Behind closed doors, they were calm, focused and

0:37:08.320 --> 0:37:12.360
<v Speaker 1>very shrewd. So. Barely three years older than David, Tony

0:37:12.440 --> 0:37:14.680
<v Speaker 1>spoke with a measured tone that led you to believe

0:37:14.719 --> 0:37:17.000
<v Speaker 1>that all was well and your life was about to

0:37:17.000 --> 0:37:21.120
<v Speaker 1>get better. For David, this was indeed true. All of

0:37:21.160 --> 0:37:24.520
<v Speaker 1>the Freeze gambles would pay off handsomely in the short term,

0:37:24.520 --> 0:37:28.480
<v Speaker 1>at least. Tony's fast and loose management style and ethically

0:37:28.560 --> 0:37:31.360
<v Speaker 1>questionable financial dealings with so the seeds for much of

0:37:31.360 --> 0:37:34.000
<v Speaker 1>the insanity that would plague Bowie's professional life in the

0:37:34.040 --> 0:37:37.640
<v Speaker 1>years to come. Angi Bowie would describe Tony Defreese as

0:37:37.680 --> 0:37:40.360
<v Speaker 1>a thief and a gangster. But if he was something done,

0:37:40.400 --> 0:37:44.840
<v Speaker 1>who do you hire in David hired Tony Defrees to

0:37:44.920 --> 0:37:49.200
<v Speaker 1>make him a star, and he would. But first David

0:37:49.239 --> 0:38:00.720
<v Speaker 1>had to go to America. David bow he had dreamed

0:38:00.760 --> 0:38:03.399
<v Speaker 1>of going to America since he was a little boy,

0:38:03.440 --> 0:38:06.960
<v Speaker 1>but the fantasy never included a full body search. That

0:38:07.160 --> 0:38:09.720
<v Speaker 1>was the welcome he received after touching down at Dulles

0:38:09.760 --> 0:38:14.640
<v Speaker 1>International Airport in Washington, d c. America in ninety one

0:38:14.680 --> 0:38:17.920
<v Speaker 1>could be an uptight place, and immigration officials weren't accustomed

0:38:17.920 --> 0:38:22.080
<v Speaker 1>to men arriving on their shore dressed in women's clothing. Eventually,

0:38:22.200 --> 0:38:24.719
<v Speaker 1>David was released to the care of Ron Oberman, a

0:38:24.760 --> 0:38:30.200
<v Speaker 1>publicist that has labeled Mercury Records. The purpose of the

0:38:30.200 --> 0:38:33.000
<v Speaker 1>trip was to try to up the abysmal sales figures

0:38:33.040 --> 0:38:35.240
<v Speaker 1>for The Man Who Sold the World, which had moved

0:38:35.280 --> 0:38:37.760
<v Speaker 1>only a thousand copies in the months since its release.

0:38:38.480 --> 0:38:40.880
<v Speaker 1>The label hoped that an in person visit would convey

0:38:40.960 --> 0:38:44.399
<v Speaker 1>the singular magnetism of their unusual artist and America would

0:38:44.440 --> 0:38:48.160
<v Speaker 1>fall under the spell of Bowiemania. Things didn't quite work

0:38:48.200 --> 0:38:52.439
<v Speaker 1>out like that. A paperwork snaffoo with the American Musicians Union,

0:38:52.480 --> 0:38:56.160
<v Speaker 1>many was barred from performing. David's visit was restricted to

0:38:56.239 --> 0:38:59.880
<v Speaker 1>interviews in general glad handing with local DJs across the country.

0:39:03.239 --> 0:39:06.600
<v Speaker 1>The first interview David gave was to Ron Oberman's brother Michael,

0:39:06.760 --> 0:39:09.200
<v Speaker 1>in the living room with their parents all American ranch

0:39:09.280 --> 0:39:13.760
<v Speaker 1>house in Silver Springs, Maryland. A photograph preserved the surreal moment.

0:39:13.960 --> 0:39:17.719
<v Speaker 1>It looks like a bizarre TV special. Bowie meets the Bradys.

0:39:18.280 --> 0:39:21.560
<v Speaker 1>Wearing pink crushed velvet pants and a mob turtleneck. He

0:39:21.640 --> 0:39:24.799
<v Speaker 1>sits on an avocado green couch in front of him

0:39:24.840 --> 0:39:27.640
<v Speaker 1>as a TV tray, perfect for eating a frozen dinner

0:39:27.640 --> 0:39:31.160
<v Speaker 1>while catching an episode of The Beverly Hillbillies. David had

0:39:31.200 --> 0:39:34.440
<v Speaker 1>wanted to see the real America. Just hours after arriving

0:39:34.440 --> 0:39:38.160
<v Speaker 1>on us soil, he'd found it. When the interview was complete,

0:39:38.280 --> 0:39:41.080
<v Speaker 1>the Oberman's middle aged parents treated everyone to dinner at

0:39:41.080 --> 0:39:44.399
<v Speaker 1>a local steakhouse. The other diners were so freaked out

0:39:44.440 --> 0:39:47.000
<v Speaker 1>by David's long hair and loud attire that a waitress

0:39:47.000 --> 0:39:48.920
<v Speaker 1>stuck them in the back room and closed the curtain

0:39:48.960 --> 0:39:52.359
<v Speaker 1>on their booth. After the meal, the Oberman brothers took

0:39:52.440 --> 0:39:54.959
<v Speaker 1>David the Michael's Pad, where some friends from a local

0:39:55.040 --> 0:39:57.880
<v Speaker 1>rock group had come to hang out. David's first night

0:39:57.920 --> 0:40:00.680
<v Speaker 1>in the US marked another first first time he ever

0:40:00.719 --> 0:40:06.480
<v Speaker 1>saw a bomb American man. Far out from d C,

0:40:07.040 --> 0:40:09.880
<v Speaker 1>David headed north to New York, where Mercury booked him

0:40:09.880 --> 0:40:13.279
<v Speaker 1>into the Holiday Inn at Times Square, the urban epicenter

0:40:13.320 --> 0:40:16.520
<v Speaker 1>of sleeves and smut, where the porn theater marquees glowed

0:40:16.600 --> 0:40:20.920
<v Speaker 1>just as bright as the grotesquely oversized billboards. Times Square

0:40:20.960 --> 0:40:23.520
<v Speaker 1>in the seventies was a shimmering sea of peep shows,

0:40:23.640 --> 0:40:27.120
<v Speaker 1>sex shops, and nudy mag stalls, and their contents spilled

0:40:27.120 --> 0:40:30.520
<v Speaker 1>out into the dirty street. The cold January air was

0:40:30.560 --> 0:40:34.720
<v Speaker 1>thick with car exhaust, subway steam and trash. David warded

0:40:34.760 --> 0:40:37.400
<v Speaker 1>off the winter chill with the French beret, cuffed boots

0:40:37.440 --> 0:40:40.840
<v Speaker 1>and a huge fur coat, drawing stairs from the hawkers

0:40:40.840 --> 0:40:44.680
<v Speaker 1>and the hookers. David stared right back. He couldn't get enough.

0:40:45.360 --> 0:40:49.040
<v Speaker 1>I couldn't believe the country could be so free, so intoxicating,

0:40:49.120 --> 0:40:52.680
<v Speaker 1>and so dangerous, he remembered. It was filthy, but it

0:40:52.760 --> 0:40:55.920
<v Speaker 1>was fun, like a velvet underground song come to life.

0:40:59.200 --> 0:41:01.799
<v Speaker 1>It inspired Dvid to take a trip downtown and see

0:41:01.800 --> 0:41:05.279
<v Speaker 1>the Velvets in the Flesh at the Electric Circus on St. Mark's.

0:41:05.640 --> 0:41:08.680
<v Speaker 1>For years, they've been David's favorite American band, and the

0:41:08.719 --> 0:41:11.879
<v Speaker 1>experience of watching them perform new songs like Sweet Jane

0:41:11.920 --> 0:41:15.879
<v Speaker 1>at close range left him mesmerized. After the show was over,

0:41:16.160 --> 0:41:19.920
<v Speaker 1>an uncharacteristically star struck David talked his way backstage and

0:41:19.960 --> 0:41:23.160
<v Speaker 1>cornered the man he thought was lou Reid. He spoke

0:41:23.239 --> 0:41:25.680
<v Speaker 1>breathlessly about what Reid's work had meant to him, and

0:41:25.760 --> 0:41:27.600
<v Speaker 1>let it slip that he used to cover waiting for

0:41:27.640 --> 0:41:31.160
<v Speaker 1>the man himself. It was only later that Bowie realized

0:41:31.160 --> 0:41:34.200
<v Speaker 1>that lou Reid had left The Velvet Underground several months earlier,

0:41:34.360 --> 0:41:36.480
<v Speaker 1>and the man he gushed too had been a new member,

0:41:36.600 --> 0:41:40.680
<v Speaker 1>Doug Yule. Rather than being heartbroken, David found the humor

0:41:40.719 --> 0:41:44.200
<v Speaker 1>in the situation. An idea started to coalesce in his mind.

0:41:44.880 --> 0:41:49.560
<v Speaker 1>Maybe he could also impersonate someone on stage, not an actual, living, breathing,

0:41:49.600 --> 0:41:53.160
<v Speaker 1>famous person, but someone else entirely, a character of his

0:41:53.200 --> 0:41:59.840
<v Speaker 1>own creation. He mold the idea over as he strolled

0:42:00.000 --> 0:42:04.040
<v Speaker 1>and hattan, shamelessly playing the tourist he visited the enormous

0:42:04.120 --> 0:42:06.960
<v Speaker 1>met Museum, and the many record shops stocked with rare

0:42:07.080 --> 0:42:11.040
<v Speaker 1>jazz LPs. He even spent time with Moondog, the blind

0:42:11.120 --> 0:42:14.240
<v Speaker 1>eccentric street artists who stalked fifty two Street in full

0:42:14.360 --> 0:42:18.680
<v Speaker 1>Viking regalia. Moondog was a familiar sight around Midtown, but

0:42:18.840 --> 0:42:22.960
<v Speaker 1>David and his androgynous clothes were definitely not. People were

0:42:23.000 --> 0:42:27.640
<v Speaker 1>fascinated by this strange, elegantly dressed young man. Strangers approached

0:42:27.719 --> 0:42:31.080
<v Speaker 1>him with classic New Yorker aggression, striking up conversations and

0:42:31.080 --> 0:42:32.719
<v Speaker 1>even touching him as if he was some sort of

0:42:32.719 --> 0:42:36.120
<v Speaker 1>a zoo animal. One elderly lady stopped him on the

0:42:36.160 --> 0:42:38.400
<v Speaker 1>street and asked David what animal had been used to

0:42:38.400 --> 0:42:46.239
<v Speaker 1>make his oversized fur coat. David replied, teddy bear. The

0:42:46.320 --> 0:42:48.920
<v Speaker 1>locals were less amused as his press tour took him

0:42:48.920 --> 0:42:51.520
<v Speaker 1>through Texas, where a man apparently pulled out a gun

0:42:51.520 --> 0:42:55.560
<v Speaker 1>and unleashed a torrent of homophobic slurs. David tone things

0:42:55.600 --> 0:42:57.520
<v Speaker 1>down a bit as he made his way through Chicago

0:42:57.560 --> 0:43:00.120
<v Speaker 1>and the Midwest, but the man dresses were back in

0:43:00.200 --> 0:43:03.239
<v Speaker 1>full force as he touched down in Los Angeles. His

0:43:03.320 --> 0:43:06.799
<v Speaker 1>welcome committee took the form of Rodney Bingenheimer, the legendary

0:43:06.960 --> 0:43:10.120
<v Speaker 1>l a scenemaker and so called mayor of the Sunset Strip.

0:43:10.800 --> 0:43:14.279
<v Speaker 1>A dedicated anglophile, he played host to Elton, John kat

0:43:14.400 --> 0:43:17.960
<v Speaker 1>Stevens Rod Stewart, another British artist beginning to break through

0:43:17.960 --> 0:43:20.719
<v Speaker 1>in the States, but none prepared him for the sight

0:43:20.800 --> 0:43:23.440
<v Speaker 1>of David Bowie, who looked more like a silver screen

0:43:23.520 --> 0:43:26.200
<v Speaker 1>starlet than a rising rock star in his long dress,

0:43:26.400 --> 0:43:30.040
<v Speaker 1>floppy hat, and bright blonde hair. As they strolled past

0:43:30.080 --> 0:43:33.520
<v Speaker 1>Hollywood high on Sunset, the teens at recess went wild

0:43:33.560 --> 0:43:35.799
<v Speaker 1>when they caught a glimpse of David. They had no

0:43:35.880 --> 0:43:39.960
<v Speaker 1>idea who he was, but obviously he was someone. Rodney

0:43:39.920 --> 0:43:43.239
<v Speaker 1>Bigenheimer took note. This was definitely different than taking Rod

0:43:43.320 --> 0:43:49.800
<v Speaker 1>Stewart around. Rodney became David's social secretary, taking him to

0:43:49.880 --> 0:43:52.120
<v Speaker 1>all the right places and introducing him to all the

0:43:52.200 --> 0:43:56.640
<v Speaker 1>right people. Fellow ex pad Elton John, Marlon Brando, even

0:43:56.719 --> 0:44:00.120
<v Speaker 1>rough and ready fifties rock or gene Vincent Dave It

0:44:00.239 --> 0:44:03.000
<v Speaker 1>was thrilled to meet the man behind beef Appolula, and

0:44:03.040 --> 0:44:05.560
<v Speaker 1>together they jammed on a pair of David's new songs,

0:44:05.800 --> 0:44:09.080
<v Speaker 1>Hang Onto Yourself and moon Age day Dream. During the

0:44:09.160 --> 0:44:12.799
<v Speaker 1>day Rodney shuttled David around to local radio stations, where

0:44:12.800 --> 0:44:15.279
<v Speaker 1>he freaked out at least one DJ by touching up

0:44:15.280 --> 0:44:18.920
<v Speaker 1>his makeup during a commercial break. One night, Rodney threw

0:44:18.920 --> 0:44:22.480
<v Speaker 1>a party in David's honor, bringing the hip scene to him.

0:44:22.600 --> 0:44:24.640
<v Speaker 1>David held court in the middle of the room, sitting

0:44:24.640 --> 0:44:27.160
<v Speaker 1>cross legged on the floor in his exotic man dress,

0:44:27.400 --> 0:44:31.520
<v Speaker 1>quietly playing half completed songs and his acoustic guitar. Guests

0:44:31.560 --> 0:44:34.799
<v Speaker 1>found them enchanting and funny, but also shy, wide eyed,

0:44:34.840 --> 0:44:39.080
<v Speaker 1>and extremely polite, even asking permission to go to the bathroom.

0:44:39.200 --> 0:44:42.200
<v Speaker 1>Between songs, David scribbled lyrics and ideas on a stack

0:44:42.239 --> 0:44:45.560
<v Speaker 1>of notebooks and holiday in napkins. A new concept was

0:44:45.600 --> 0:44:49.719
<v Speaker 1>slowly beginning to take shape in his imagination. America had

0:44:49.719 --> 0:44:53.560
<v Speaker 1>awoken David to the possibilities of reinventing yourself. It was

0:44:53.600 --> 0:44:57.440
<v Speaker 1>classic Hollywood. You could be whoever you like. He began

0:44:57.520 --> 0:45:00.440
<v Speaker 1>talking more and more about an alter ego from Mars.

0:45:01.000 --> 0:45:03.840
<v Speaker 1>The party guests weren't totally sure what David was on about,

0:45:04.040 --> 0:45:09.160
<v Speaker 1>but it sounded far out. David outlined the concept to

0:45:09.239 --> 0:45:12.360
<v Speaker 1>journalist John Mendelssohn, who profiled David in l A for

0:45:12.440 --> 0:45:16.160
<v Speaker 1>his first Rolling Stone feature. My performances have got to

0:45:16.200 --> 0:45:19.160
<v Speaker 1>be theatrical experiences for me as well as the audience.

0:45:19.200 --> 0:45:21.440
<v Speaker 1>He said. I don't want to climb out of my

0:45:21.520 --> 0:45:24.160
<v Speaker 1>fantasies in order to go up on stage. I want

0:45:24.160 --> 0:45:27.000
<v Speaker 1>to take them on stage with me. What the music

0:45:27.080 --> 0:45:29.960
<v Speaker 1>says maybe serious, but as a medium it should not

0:45:30.000 --> 0:45:34.200
<v Speaker 1>be questioned, analyzed or taken too seriously. I think it

0:45:34.239 --> 0:45:37.640
<v Speaker 1>should be tarted up, made into a prostitute, a parody

0:45:37.719 --> 0:45:41.800
<v Speaker 1>of itself. It should be the clown, the piro medium.

0:45:41.840 --> 0:45:44.920
<v Speaker 1>The music is the mask, the message wears music is

0:45:44.920 --> 0:45:49.360
<v Speaker 1>the pirou, and I the performer and the message. David

0:45:49.360 --> 0:45:52.160
<v Speaker 1>had combined the mime teachings of Lindsay Kemp with the

0:45:52.200 --> 0:45:56.160
<v Speaker 1>meta artistic awareness of Andy Warhol and Marshall McLuhan's theories

0:45:56.160 --> 0:46:00.759
<v Speaker 1>of communication. The result was a Frankenstein's Monster, or rather

0:46:00.920 --> 0:46:05.200
<v Speaker 1>Martian of his own design. Ziggy start Us was conceived,

0:46:05.640 --> 0:46:08.680
<v Speaker 1>but his birth was still a little ways off. Not

0:46:08.880 --> 0:46:12.160
<v Speaker 1>long after David returned home to Haddon Hall, he experienced

0:46:12.160 --> 0:46:16.040
<v Speaker 1>a different kind of birth. On May thirtieth, nineteen seventy one,

0:46:16.280 --> 0:46:19.920
<v Speaker 1>he and Angie became parents. They named their son Duncan

0:46:20.040 --> 0:46:24.399
<v Speaker 1>Zoey Heywood Jones Heywood after David's late father, and Zoe

0:46:24.560 --> 0:46:27.480
<v Speaker 1>after the Greek word for the life. The delivery was

0:46:27.560 --> 0:46:30.800
<v Speaker 1>rough on Angie, who suffered a cracked pelvis, blood loss

0:46:30.840 --> 0:46:34.440
<v Speaker 1>and exhaustion. Weeks after Zoe's birth, She took a trip

0:46:34.520 --> 0:46:38.239
<v Speaker 1>to her parents villa in Italy to recuperate. David said

0:46:38.280 --> 0:46:41.760
<v Speaker 1>he didn't mind Angie's vacation and wished her well, but later,

0:46:41.920 --> 0:46:45.160
<v Speaker 1>after the relationship had disintegrated, she couldn't help but wonder

0:46:45.200 --> 0:46:47.320
<v Speaker 1>if that was the moment it had all gone wrong

0:46:47.680 --> 0:46:50.239
<v Speaker 1>that David viewed her getaway as an abandonment of their

0:46:50.239 --> 0:46:54.640
<v Speaker 1>new family. She was, by her own admission, not the

0:46:54.680 --> 0:46:57.760
<v Speaker 1>maternal type, but the Bowie set about child proofing Hadden

0:46:57.880 --> 0:47:00.719
<v Speaker 1>Hall as much as they could. Little Zoe slept in

0:47:00.760 --> 0:47:04.400
<v Speaker 1>a crib with blue stars painted above it. When work intervened,

0:47:04.560 --> 0:47:08.160
<v Speaker 1>friends and neighbors took turns nannying the baby, and David's

0:47:08.200 --> 0:47:10.239
<v Speaker 1>play was fool As he geared up to record a

0:47:10.239 --> 0:47:15.959
<v Speaker 1>new album, he moved the piano into the room. Tony

0:47:16.040 --> 0:47:19.400
<v Speaker 1>Visconti had recently vacated a bright space that overlooked the

0:47:19.400 --> 0:47:22.719
<v Speaker 1>back garden of Hadden Hall. It was David's first time

0:47:22.760 --> 0:47:26.280
<v Speaker 1>that he seriously composed on the instrument, previously preferring the guitar.

0:47:27.080 --> 0:47:29.600
<v Speaker 1>The battered out of tune upright sounded more like an

0:47:29.600 --> 0:47:32.560
<v Speaker 1>old honky tonk pub piano than a Steinway, but it

0:47:32.600 --> 0:47:35.840
<v Speaker 1>opened up a whole new world of harmonic potential. He

0:47:35.880 --> 0:47:38.959
<v Speaker 1>would sit there for hours in the spring of while

0:47:39.000 --> 0:47:42.280
<v Speaker 1>his fingers searched for the right melodies. I forced myself

0:47:42.360 --> 0:47:44.560
<v Speaker 1>to become a good songwriter, he said at the time.

0:47:45.040 --> 0:47:47.239
<v Speaker 1>And I became a good songwriter, but I had no

0:47:47.360 --> 0:47:50.680
<v Speaker 1>natural talents whatsoever. I made a job of working at

0:47:50.680 --> 0:47:55.480
<v Speaker 1>getting good. He worked feverishly, producing demos at an impressive clip,

0:47:56.080 --> 0:47:59.040
<v Speaker 1>and the music was unlike anything he'd ever written in

0:47:59.080 --> 0:48:01.560
<v Speaker 1>the past. Many of his songs could be derivative, if

0:48:01.560 --> 0:48:05.160
<v Speaker 1>not contrived, engineered with an eye towards trends and the charts.

0:48:05.760 --> 0:48:09.760
<v Speaker 1>Now his music came from pure inspiration, deep in his subconscious.

0:48:10.600 --> 0:48:13.000
<v Speaker 1>One day, he was awoken in the pre dawn hours

0:48:13.040 --> 0:48:15.960
<v Speaker 1>by a tune. He was calling out to him, Wake up,

0:48:15.960 --> 0:48:18.600
<v Speaker 1>you sleepyhead, put on some clothes, get out of bed.

0:48:19.480 --> 0:48:21.279
<v Speaker 1>He ran to the piano to play it out of

0:48:21.320 --> 0:48:24.000
<v Speaker 1>him so he could go back to sleep. It started

0:48:24.040 --> 0:48:26.319
<v Speaker 1>off as a rather off colored did he called I'd

0:48:26.320 --> 0:48:28.760
<v Speaker 1>Like a Big Girl with a couple of melons, before

0:48:28.800 --> 0:48:32.240
<v Speaker 1>morphing into something a bit more serious. The lyrics fused

0:48:32.280 --> 0:48:37.080
<v Speaker 1>an impressive blend of sci fi influences wells or Well Crowley,

0:48:37.280 --> 0:48:41.680
<v Speaker 1>iron Rand, but the refrain oh you pretty things, that

0:48:41.800 --> 0:48:46.839
<v Speaker 1>was pure Bowie. The tune for Life on Mars came

0:48:46.840 --> 0:48:49.080
<v Speaker 1>to David while he was on a bus heading into

0:48:49.080 --> 0:48:52.880
<v Speaker 1>town to buy some shoes. Feeling inspiration coming on, he

0:48:52.960 --> 0:48:54.840
<v Speaker 1>got off with the next stop and ran home. It

0:48:54.960 --> 0:48:58.800
<v Speaker 1>was piano. He finished the song that afternoon with chords

0:48:58.800 --> 0:49:02.479
<v Speaker 1>borrowed from an unlikely place. Back in the sixties, Ken

0:49:02.520 --> 0:49:05.400
<v Speaker 1>Pitt persuaded David to write English lyrics to a French

0:49:05.440 --> 0:49:09.920
<v Speaker 1>song called Come Debbutude. David complied, but his efforts were

0:49:10.000 --> 0:49:14.719
<v Speaker 1>unceremoniously rejected. Singer Paul Anka had better luck, rewriting the

0:49:14.760 --> 0:49:17.279
<v Speaker 1>tune as My Way, which became a smash for Frank

0:49:17.320 --> 0:49:21.759
<v Speaker 1>Sinatra and an instant pop standard. Still smarting from the rejection,

0:49:22.160 --> 0:49:24.840
<v Speaker 1>David initially wrote Life on Mars as a takeoff of

0:49:24.840 --> 0:49:28.440
<v Speaker 1>the Mawkish ballad Not unlike Space Oddity and It's playful

0:49:28.480 --> 0:49:31.800
<v Speaker 1>nod to the Kubrick film. Yet Life on Mars packs

0:49:31.840 --> 0:49:35.480
<v Speaker 1>more emotion than a mere parody. It's a plea for escape,

0:49:35.880 --> 0:49:39.279
<v Speaker 1>freedom and transcendence. David would admit that his songs were

0:49:39.280 --> 0:49:42.799
<v Speaker 1>like talking to a psychoanalyst. My act, he said, is

0:49:42.840 --> 0:49:46.360
<v Speaker 1>my couch. The music helped him process the tumult of

0:49:46.400 --> 0:49:51.000
<v Speaker 1>the last few years. Everything seemed influx and impermanent. Life

0:49:51.040 --> 0:49:55.680
<v Speaker 1>was scary and chaotic. Despite the uncertainty, David seemed happier

0:49:55.680 --> 0:49:58.680
<v Speaker 1>and more optimistic than ever. The birth of his son

0:49:58.760 --> 0:50:01.800
<v Speaker 1>and his trip to America reignited his sense of the possible.

0:50:02.480 --> 0:50:07.080
<v Speaker 1>He felt good, he was okay. The feeling was reflected

0:50:07.080 --> 0:50:09.600
<v Speaker 1>in the title he chose for this new collection of songs,

0:50:10.239 --> 0:50:14.480
<v Speaker 1>Hunky Dory. He was almost ready to record, but first

0:50:14.480 --> 0:50:18.080
<v Speaker 1>he needed a band. David had been inactive on stage

0:50:18.080 --> 0:50:20.440
<v Speaker 1>and in the studio since completing The Man Who Sold

0:50:20.440 --> 0:50:23.920
<v Speaker 1>the World nearly a year earlier. Without their front man,

0:50:24.120 --> 0:50:26.960
<v Speaker 1>Hype began to wither, and both Mick Ronson and Woody

0:50:27.000 --> 0:50:30.239
<v Speaker 1>Woodman's left London for cheaper lodgings in their hometown of

0:50:30.320 --> 0:50:34.960
<v Speaker 1>Hall In May one. David tracked them down and persuaded

0:50:35.000 --> 0:50:37.960
<v Speaker 1>them to return to the fold. For a bassist, they

0:50:38.040 --> 0:50:42.640
<v Speaker 1>enlisted Trevor Bolder to replace Tony Visconti. To produce, David

0:50:42.680 --> 0:50:45.880
<v Speaker 1>asked Ken Scott, the engineer on his last two albums.

0:50:46.560 --> 0:50:49.440
<v Speaker 1>Scott hadn't been impressed with David's work so far, but

0:50:49.480 --> 0:50:51.840
<v Speaker 1>when he listened to his new demo, he was floored.

0:50:52.520 --> 0:50:55.200
<v Speaker 1>Scott had spent the last few years working with the Beatles.

0:50:55.760 --> 0:50:59.200
<v Speaker 1>Now he was getting that feeling again. This guy, he thought,

0:50:59.520 --> 0:51:05.080
<v Speaker 1>he's gonna be massive. Recording began in June one at

0:51:05.120 --> 0:51:09.640
<v Speaker 1>Trident Studios in central London. David's demos had included guitar

0:51:09.760 --> 0:51:13.399
<v Speaker 1>driven songs like moon Age, day Dream, Lady, Stardust and Star,

0:51:14.080 --> 0:51:16.279
<v Speaker 1>but they decided to hold them back in favor of

0:51:16.320 --> 0:51:20.400
<v Speaker 1>the piano oriented sounds born in the Haddon Hall Music Room.

0:51:20.440 --> 0:51:23.240
<v Speaker 1>They hired Rick Wakeman, a veteran of the Space Oddity

0:51:23.320 --> 0:51:26.560
<v Speaker 1>Session and future member of the band Yes Dad Is Broke.

0:51:26.680 --> 0:51:30.600
<v Speaker 1>Keyboard Flourishes played on the same Beckstein piano Paul McCartney

0:51:30.600 --> 0:51:34.360
<v Speaker 1>had used to record Hey Jude. Mick Ronson resumed his

0:51:34.480 --> 0:51:38.320
<v Speaker 1>role as unofficial musical director, crafting the orchestrations for Life

0:51:38.360 --> 0:51:41.520
<v Speaker 1>on Mars, Fill Your Heart and quicksand around Wakeman's or

0:51:41.560 --> 0:51:45.800
<v Speaker 1>Nate piano parts. David could sometimes be a hard task master,

0:51:46.200 --> 0:51:49.279
<v Speaker 1>once shouting just play the songwright during a fumbled take

0:51:49.360 --> 0:51:52.160
<v Speaker 1>of song for Bob Dylan, but by and large he

0:51:52.239 --> 0:51:54.920
<v Speaker 1>was a benevolent dictator with a knack for motivating his

0:51:54.960 --> 0:51:58.640
<v Speaker 1>talented bandmate. Go On, do it, Boy would say, after

0:51:58.719 --> 0:52:01.600
<v Speaker 1>hearing what of Ronson's more out their ideas. If it

0:52:01.600 --> 0:52:03.920
<v Speaker 1>doesn't work out, it doesn't work out, but have a go.

0:52:05.320 --> 0:52:08.480
<v Speaker 1>More often than not it worked out. The album was

0:52:08.520 --> 0:52:11.759
<v Speaker 1>a breakthrough. David Bowie made the music he heard in

0:52:11.800 --> 0:52:15.680
<v Speaker 1>his head, an exotic gumbo of as many influences modern

0:52:15.760 --> 0:52:19.720
<v Speaker 1>jazz and British music, hall avant garde and radio friendly pop,

0:52:20.080 --> 0:52:23.680
<v Speaker 1>folk rock and the velvet underground. He quite literally found

0:52:23.719 --> 0:52:28.120
<v Speaker 1>his voice, not Anthony Newley's, not Lou Reid's, not Bob Dylan's,

0:52:28.160 --> 0:52:31.840
<v Speaker 1>but his own, a cockney tinged baritone that, when provoked,

0:52:32.120 --> 0:52:36.360
<v Speaker 1>could rise to a crazed, wailing falsetto. For the first time,

0:52:36.440 --> 0:52:40.120
<v Speaker 1>he'd achieved transcendence on record. For the first time, he

0:52:40.239 --> 0:52:44.640
<v Speaker 1>wasn't trying to please anyone except himself. An early version

0:52:44.640 --> 0:52:47.799
<v Speaker 1>of the Hunky Dory cover featured David in full Egyptian

0:52:47.880 --> 0:52:51.080
<v Speaker 1>pharaoh regalia, a play on the media buzz around the

0:52:51.080 --> 0:52:54.719
<v Speaker 1>new King Tut exhibit that had taken London by storm.

0:52:54.800 --> 0:52:57.800
<v Speaker 1>But rather than go for easy hype, David looked inward.

0:52:58.400 --> 0:53:02.200
<v Speaker 1>The final image, taken by photographer Brian Ward, is how

0:53:02.200 --> 0:53:06.440
<v Speaker 1>he saw himself. It's a tribute to Hollywood glamour. The

0:53:06.520 --> 0:53:09.880
<v Speaker 1>ever Androgynus Bowie plays both Bogart and Bacall on a

0:53:09.920 --> 0:53:13.440
<v Speaker 1>fluffy blouse, pulling his long locks off his gorgeous face

0:53:13.520 --> 0:53:16.920
<v Speaker 1>and staring wistfully into the distance, like Norma Desmond awaiting

0:53:16.960 --> 0:53:20.239
<v Speaker 1>her close up. David's time on the spotlight would come

0:53:20.360 --> 0:53:25.840
<v Speaker 1>soon enough, but first there was some business to attend to.

0:53:26.640 --> 0:53:30.200
<v Speaker 1>David wanted out of his record contract with Mercury. Tony

0:53:30.280 --> 0:53:33.319
<v Speaker 1>de Friese believed he could get more money elsewhere. A

0:53:33.440 --> 0:53:36.760
<v Speaker 1>label executive flew all the way from Chicago to London

0:53:36.800 --> 0:53:40.400
<v Speaker 1>the proudly offered David a slightly better deal. De Frieze

0:53:40.440 --> 0:53:43.160
<v Speaker 1>would hear none of it. David will never record for

0:53:43.200 --> 0:53:46.680
<v Speaker 1>you again, he dramatically informed the jet Lag exact, and

0:53:46.719 --> 0:53:49.120
<v Speaker 1>if you insist on it, we will deliver the biggest

0:53:49.160 --> 0:53:52.480
<v Speaker 1>piece of crap you've ever heard. Though Mercury could have

0:53:52.520 --> 0:53:55.960
<v Speaker 1>easily unleashed a legal tornado on David and his haughty manager,

0:53:56.200 --> 0:54:00.320
<v Speaker 1>they chose not to press the point. David walked De

0:54:00.440 --> 0:54:03.000
<v Speaker 1>Freeze went right to our Cia, which had once been

0:54:03.040 --> 0:54:05.880
<v Speaker 1>the biggest record company in the world. Hell it was

0:54:05.920 --> 0:54:09.400
<v Speaker 1>Elvis's label. De Frieze wasn't star struck in the least.

0:54:10.000 --> 0:54:12.640
<v Speaker 1>You've had nothing since the fifties and you missed out

0:54:12.640 --> 0:54:15.200
<v Speaker 1>on the sixties, he told our c a brass but

0:54:15.320 --> 0:54:18.200
<v Speaker 1>you can own the seventies because David Bowie is going

0:54:18.239 --> 0:54:20.680
<v Speaker 1>to remake the decade, just like the Beatles did in

0:54:20.680 --> 0:54:24.120
<v Speaker 1>the sixties. The bully approach worked, but it would take

0:54:24.160 --> 0:54:26.719
<v Speaker 1>some time to iron out the finer points, delaying the

0:54:26.719 --> 0:54:28.799
<v Speaker 1>release of Hunky Dorry until the end of the year.

0:54:29.960 --> 0:54:32.920
<v Speaker 1>In the meantime, David played a handful of gigs, his

0:54:33.040 --> 0:54:36.239
<v Speaker 1>first real shows in nearly a year. The first, a

0:54:36.280 --> 0:54:39.560
<v Speaker 1>BBC Radio session in June, allowed him to test out

0:54:39.600 --> 0:54:42.200
<v Speaker 1>his new band, who would soon be dubbed The Spiders

0:54:42.239 --> 0:54:45.640
<v Speaker 1>from Mars. David played without them a few weeks later

0:54:45.680 --> 0:54:50.439
<v Speaker 1>on June for the first official Glastonbury Festival. This wasn't

0:54:50.440 --> 0:54:53.440
<v Speaker 1>a festival in the modern sense, but a hippie approximation

0:54:53.480 --> 0:54:58.000
<v Speaker 1>of a medieval fair with music, dance, poetry, theater, lights,

0:54:58.080 --> 0:55:01.960
<v Speaker 1>and other more spontaneous entertain Tickets were free, and so

0:55:02.040 --> 0:55:05.920
<v Speaker 1>were the revelers. Some ten thousand and number many splayed

0:55:05.960 --> 0:55:08.400
<v Speaker 1>out in the nude across the farm pasture to catch

0:55:08.400 --> 0:55:11.760
<v Speaker 1>acts like traffic and Fairport Convention perform atop a giant

0:55:11.880 --> 0:55:14.960
<v Speaker 1>sheet metal pyramid, a one tenth replica of the Great

0:55:15.000 --> 0:55:22.200
<v Speaker 1>Pyramids of Giza. David Angie and a small entourage had

0:55:22.239 --> 0:55:25.200
<v Speaker 1>traveled south from London by train, intending to walk the

0:55:25.280 --> 0:55:28.279
<v Speaker 1>last few miles to the venue, but their journey was

0:55:28.320 --> 0:55:32.200
<v Speaker 1>impeded by David's less than practical choice of outfit ultra

0:55:32.280 --> 0:55:36.480
<v Speaker 1>baggy Oxford pants, square heeled boots, a blue magician's cloak,

0:55:36.560 --> 0:55:40.560
<v Speaker 1>and a floppy brimmed Three Musketeers style hat that kind

0:55:40.560 --> 0:55:43.279
<v Speaker 1>of set the tone for the whole experience. He'd been

0:55:43.320 --> 0:55:45.400
<v Speaker 1>due to perform in the evening, but the show was

0:55:45.480 --> 0:55:48.880
<v Speaker 1>running over time. Instead, he climbed the top the wobbly

0:55:48.960 --> 0:55:51.640
<v Speaker 1>pyramid stage at the very un rock and roll hour

0:55:51.719 --> 0:55:55.120
<v Speaker 1>of five am. He started playing for the muddy crowds

0:55:55.160 --> 0:55:59.760
<v Speaker 1>slumbering in their tents alternating between acoustic guitar and electric

0:55:59.800 --> 0:56:03.200
<v Speaker 1>key board, David played ten songs, many from his work

0:56:03.200 --> 0:56:07.040
<v Speaker 1>in progress, Hunky Dory. He was accompanied by Mick Ronson

0:56:07.200 --> 0:56:11.120
<v Speaker 1>and briefly a random Scandinavian woman who, in the spirit

0:56:11.160 --> 0:56:13.799
<v Speaker 1>of the time, had gotten too high and watered onto

0:56:13.840 --> 0:56:16.759
<v Speaker 1>the stage to sing with him. The sun began the

0:56:16.880 --> 0:56:19.920
<v Speaker 1>rise over the hill, warming the cold and groggy festival

0:56:19.960 --> 0:56:24.040
<v Speaker 1>goers and bathing David and glorious Dawn rays God does

0:56:24.080 --> 0:56:27.040
<v Speaker 1>a hell of a light show. As David sang songs

0:56:27.080 --> 0:56:30.759
<v Speaker 1>like the Superman, Quicksand and Kooks, the audience assembled in

0:56:30.840 --> 0:56:33.840
<v Speaker 1>larger numbers, swaying in time to the music like a great,

0:56:33.960 --> 0:56:38.160
<v Speaker 1>long haired ocean. David felt the seed change. Even at

0:56:38.160 --> 0:56:41.799
<v Speaker 1>this unholy hour, people were listening, and they liked it.

0:56:42.520 --> 0:56:46.359
<v Speaker 1>He addressed the captivated crowd with touching sincerity. I'll try

0:56:46.360 --> 0:56:48.680
<v Speaker 1>and be serious for a second, he said. I just

0:56:48.719 --> 0:56:50.880
<v Speaker 1>want to say that you've given me more pleasure than

0:56:50.920 --> 0:56:53.879
<v Speaker 1>I've had in a good few months of working. It's

0:56:53.920 --> 0:56:56.480
<v Speaker 1>really nice to have somebody appreciate me for a change.

0:56:57.600 --> 0:57:00.600
<v Speaker 1>David debuted a new song that day, Change Ages, who

0:57:00.600 --> 0:57:03.560
<v Speaker 1>had written just a short time before. It was a

0:57:03.560 --> 0:57:06.040
<v Speaker 1>song that seemed to define David in the summer of nine.

0:57:07.640 --> 0:57:11.279
<v Speaker 1>It was a time of constant transition. He had experienced

0:57:11.280 --> 0:57:14.280
<v Speaker 1>his first taste of fame, followed by his rapid return

0:57:14.320 --> 0:57:17.520
<v Speaker 1>to obscurity, the death of his father and the mental

0:57:17.560 --> 0:57:20.880
<v Speaker 1>decline of his half brother, changes in his band and

0:57:20.960 --> 0:57:24.560
<v Speaker 1>his management. He'd become a husband and a father, but

0:57:24.640 --> 0:57:28.040
<v Speaker 1>there were more changes to come. David Bowie was about

0:57:28.040 --> 0:57:40.280
<v Speaker 1>to become Ziggy Stardust Off. The Record is a production

0:57:40.280 --> 0:57:43.240
<v Speaker 1>of I Heart Radio. The executive producers are Noel Brown

0:57:43.280 --> 0:57:46.480
<v Speaker 1>and shan Ty Tone. The supervising producers are Taylor Shikoin

0:57:46.560 --> 0:57:49.360
<v Speaker 1>and Tristan McNeil. The show was written and hosted by

0:57:49.400 --> 0:57:52.640
<v Speaker 1>me Jordan run Tug and edited, scored and sound designed

0:57:52.640 --> 0:57:55.640
<v Speaker 1>by Tristan McNeil. If you liked what you heard, please

0:57:55.640 --> 0:57:58.400
<v Speaker 1>subscribe and leave us a review. For more podcasts from

0:57:58.400 --> 0:58:01.520
<v Speaker 1>my Heart Radio, visit the I heart Radio app, Apple podcast,

0:58:01.760 --> 0:58:03.440
<v Speaker 1>or wherever you listen to your favorite shows.