WEBVTT - Chapter Eight: Cracked Actor (1975)

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<v Speaker 1>Off the record is a production of I Heart Radio.

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<v Speaker 1>What was that? Was that? A falling body? David Bowie

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<v Speaker 1>was sure he'd seen a body fall from the sky,

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<v Speaker 1>sailing downwards past the picture window of his Hollywood home.

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<v Speaker 1>He went to look, and it was gone, vanished. But

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<v Speaker 1>it seems so real. So did the phantom voices that

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<v Speaker 1>called to him from the intercom at the front gate.

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<v Speaker 1>So too did the spirit that haunted a swimming pool,

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<v Speaker 1>which manifested as a swirling vortex of bubbles. He was

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<v Speaker 1>in touch with a practitioner of white magic, a so

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<v Speaker 1>called good witch, to exercise the demons. This good which

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<v Speaker 1>could probably handle a pool, but she was gonna need

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<v Speaker 1>some serious backup if she was going to exercise the

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<v Speaker 1>demons that plagued David's soul. He pulled the blind shut,

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<v Speaker 1>desperate to block out the bright sun and the dark

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<v Speaker 1>forces that lurked outside. Now his world was a dimly

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<v Speaker 1>lit living room, made all the more tomb like by

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<v Speaker 1>the unsettling Egyptian decor. Often the only light emanated from

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<v Speaker 1>the film projector running loops of Nazi newsreels with alarming frequency.

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<v Speaker 1>For extra spiritual protection, David drew pentagrams on the wall

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<v Speaker 1>and lip black candles, tricks he'd gleaned from his growing

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<v Speaker 1>library on the occult, He'd collected volumes of religious and

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<v Speaker 1>mystic texts, including works on Tero, Kabbala, numerology, and Egyptology.

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<v Speaker 1>His spirit was under assault, and this would help keep

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<v Speaker 1>the enemies at day. Another enemy was sleep, which he

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<v Speaker 1>ward it off with mounds of white powder. A few

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<v Speaker 1>sniffs kept him awake, productive, vigilant, and safe. It was

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<v Speaker 1>the spring of or maybe summer. Who's to tell really.

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<v Speaker 1>For David, time passed and a breakneck blur as he

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<v Speaker 1>stayed up for three or four days at a stretch.

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<v Speaker 1>He was in town to make his feature film debut,

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<v Speaker 1>or production delays left into his own devices. Often these

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<v Speaker 1>devices were stable. The mix of sleep, deprivation and drugs

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<v Speaker 1>drove him to a state that bordered on psychosis. He

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<v Speaker 1>would remember a few specifics of this period in later years,

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<v Speaker 1>just disturbing emotional impressions. Over the course of his day's

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<v Speaker 1>long bouts of consciousness, his world would transform into, in

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<v Speaker 1>his words, a bizarre nihilistic fantasy of oncoming doom, mythological characters,

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<v Speaker 1>and imminent totalitarianism. The line between dream and reality was

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<v Speaker 1>becoming impossible to define. Each hour he remained awake, a

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<v Speaker 1>new enemy seemed to come for him. There were witches

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<v Speaker 1>who were after his seamen, intent on using it to

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<v Speaker 1>create a baby to sacrifice to Satan. Bowie kept a

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<v Speaker 1>close watch on his bodily fluids, even storing bottles of

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<v Speaker 1>his urine in the fridge. The CIA was interfering with

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<v Speaker 1>his writings. The Manson family had proud these hills just

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<v Speaker 1>a few years earlier, and their energy was still palpable.

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<v Speaker 1>The perceived threats came even from his fellow musicians. Ever

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<v Speaker 1>since a n s the altercation with Jimmy Page, David

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<v Speaker 1>was sure that the led Zeppelin guitarists was conspiring with

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<v Speaker 1>his coterie of black magic women to wish him ill

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<v Speaker 1>the Rolling Stones. Meanwhile, we're taunting him with messages hidden

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<v Speaker 1>in their albums Nazis Manson Satan. David felt surrounded by

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<v Speaker 1>forces of evil, but to his friends, the real enemy

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<v Speaker 1>was cocaine. Sigmund Freud had called it his magical substance.

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<v Speaker 1>It pushed David further into the realms of magical thinking,

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<v Speaker 1>which is looking awful lot like madness, and his reputation

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<v Speaker 1>was taking a hit. One Music magazine described him in

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<v Speaker 1>print as old vacuum cleaner nos but it wasn't a

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<v Speaker 1>laughing matter. Cocaine had overtaken food as his most crucial sustenance.

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<v Speaker 1>Blow milk and red peppers kept them alive, though just barely.

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<v Speaker 1>His skeletal frame now weighed around ninety pounds. He'd overdosed

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<v Speaker 1>on several occasions, and by his own admission, he could

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<v Speaker 1>have easily died. Partiers like Keith Richards and Elton John

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<v Speaker 1>seemed to so. It was the most destructive period of

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<v Speaker 1>David Bowie's life, as he pushed himself far past the

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<v Speaker 1>point of no return. Secluded in his mansion populated by

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<v Speaker 1>a parade of dealers and parasites, he was beyond help,

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<v Speaker 1>estranged from his family and old friends, and completely unmoored

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<v Speaker 1>from everything that had kept him grounded. After years on

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<v Speaker 1>the brink, he'd finally split snapped. He was a cracked

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<v Speaker 1>actor lost in the long l a night. Hello, and

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<v Speaker 1>welcome to Off the Record, the show that goes beyond

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<v Speaker 1>the songs and into the hearts and minds of rock's

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<v Speaker 1>greatest legends. I'm your host Jordan Runtug. This season explores

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<v Speaker 1>the life or rather lives of David Bowie. Today's episode

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<v Speaker 1>looks at Bowie's l a years a time when he

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<v Speaker 1>battled as deepest Demons in the City of Angels. It

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<v Speaker 1>was the high point of his career to date, but

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<v Speaker 1>it was the low point of his life and nearly

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<v Speaker 1>the end of it. Somehow, in the midst of this

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<v Speaker 1>personal native, he pulled himself back from the edge and

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<v Speaker 1>made an album that many consider a masterpiece. In January,

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<v Speaker 1>David Bowie completed his very first number one single, and

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<v Speaker 1>he had a beatle for backup. It was a twist

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<v Speaker 1>of faith that even he couldn't have predicted. A decade earlier,

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<v Speaker 1>David had attempted a feeble John Lennon impression on his

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<v Speaker 1>first ever release, Liza Jane. Now he was in the

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<v Speaker 1>studio with the man himself, hanging out, playing together, and

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<v Speaker 1>even writing together. The resulting track was called, appropriately enough, Fame.

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<v Speaker 1>Their burgeoning friendship had allowed the two to compare notes

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<v Speaker 1>about their extraordinary lives. David was beginning to learn the

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<v Speaker 1>hard truth that Lennon had arrived at years earlier. Being

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<v Speaker 1>a rock star ain't all it cracked up to be.

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<v Speaker 1>It's fitting that this meditation on the shallowness of show business.

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<v Speaker 1>Notoriety would ultimately take David to the top of the

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<v Speaker 1>American charts, but the achievement only underscored is growing dissatisfaction,

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<v Speaker 1>outlined in the song. Carlos Alamar's relentless guitar riff endlessly

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<v Speaker 1>swirling around the single chord evoked the monotony and claustrophobia

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<v Speaker 1>of celebrity. The lyrics, which David wrote on the spot

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<v Speaker 1>in just twenty minutes, were a snapshot of his life

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<v Speaker 1>at his supposed peak of success, a litany of money,

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<v Speaker 1>worries and insecurities. Fame takes you there where things are hollow,

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<v Speaker 1>he sang, what you need, you have to borrow. This

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<v Speaker 1>all led to one big question, why didn't David ever

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<v Speaker 1>seem to have any money? Through his friendships with Mick Jagger,

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<v Speaker 1>Elizabeth Taylor and John Lennon, he'd witnessed the lifestyles of

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<v Speaker 1>the obscenely wealthy. These people had a states tax, shelters,

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<v Speaker 1>fleets of cars, jewelry collections. David had none of that.

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<v Speaker 1>He just sold out a residency at Radio City Music

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<v Speaker 1>Hall and debuted his new single on national television. Yeah,

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<v Speaker 1>he had the r O petty cash from his management

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<v Speaker 1>offices just to buy a few records. Something didn't add up.

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<v Speaker 1>He began to grow suspicious of his manager, Tony Defrees.

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<v Speaker 1>The partnership had launched his career, but he became increasingly

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<v Speaker 1>fearful that he had nothing monetary to show for it.

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<v Speaker 1>He confided in John Lennon, who was still dealing with

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<v Speaker 1>the legal quagmire of the Beatles split more than four

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<v Speaker 1>years before. Managerial mishaps had played a pivotal role in

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<v Speaker 1>driving the fab for apart, and it made John wise

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<v Speaker 1>to the world of contracts. John advised his younger friend

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<v Speaker 1>to take a closer look at what he got himself into.

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<v Speaker 1>At the dawn of the decade, David and DeFries reunited

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<v Speaker 1>by the shared goal of making David the biggest rock

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<v Speaker 1>star on the planet, and they had more or less

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<v Speaker 1>succeeded together from the start. De Frieze offered him a

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<v Speaker 1>creative cocoon, taking care of all business and finance concerns.

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<v Speaker 1>There is management company Maine Man. When David was effectively penniless,

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<v Speaker 1>it was a pretty good deal. He didn't have to

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<v Speaker 1>worry about rent or food. To Freeze made sure everything

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<v Speaker 1>was covered, leaving him free to focus on his music.

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<v Speaker 1>In a way, it was every artist's dream. But the

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<v Speaker 1>campaign to launch David had come at a high cost,

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<v Speaker 1>and to freeze intended to recoup his investment. He'd operated

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<v Speaker 1>under the theory that to be a star, one had

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<v Speaker 1>to look like a star, act like a star, and

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<v Speaker 1>generally live like a star, a classic case of fake

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<v Speaker 1>it till you make it. David was fine with this.

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<v Speaker 1>He knew you had to spend money to make money.

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<v Speaker 1>He just didn't realize that the money being spent was

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<v Speaker 1>his own. The lavish expense accounts, the on call limos,

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<v Speaker 1>the failings of bodyguards, the elegant offices, the hotel suites

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<v Speaker 1>and room service, the whole big budget diamond dogs tore debacle,

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<v Speaker 1>every gleeful, shameless excess of the whole manman managerial stable.

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<v Speaker 1>David put the bill for all of it. What he

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<v Speaker 1>didn't have on hand was taken as an advance against

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<v Speaker 1>future earnings. At the present rate, he'd have to work

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<v Speaker 1>the rest of his life just to break even. David

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<v Speaker 1>had no idea, or so he'd claim. Like most artists,

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<v Speaker 1>he had little interest in the fine print. Early in

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<v Speaker 1>his career, he let his father manage every aspect of

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<v Speaker 1>his finances, from bills to taxes and insurance. The Frieze

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<v Speaker 1>was just another father figure, and he trusted him blindly

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<v Speaker 1>for years. David just left him to it. De Freeze

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<v Speaker 1>once handed a stack of contracts to a secretary, saying,

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<v Speaker 1>take these to David. Don't worry, it won't take long.

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<v Speaker 1>He'll sign anything. And it was true. I had my

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<v Speaker 1>eyes on the Star Prize. David would later admit nothing

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<v Speaker 1>else mattered. As a result, he was blissfully ignorant of

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<v Speaker 1>his precarious financial situation. But by four he began the

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<v Speaker 1>wonder allowed where his money was going. Why did the

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<v Speaker 1>Freeze own multiple properties in Manhattan and a country estate

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<v Speaker 1>in Connecticut, while he, the alleged Star made do with

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<v Speaker 1>a single Crumby townhouse. It was rented. Just like everything

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<v Speaker 1>else in his life, he didn't own anything. Yes, his

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<v Speaker 1>reliance on cocaine had made him a little edgy, but

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<v Speaker 1>surely something was badly wrong. DeFreeze, for his part, didn't

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<v Speaker 1>appreciate the torrent of questions from his mercurial client. Besides,

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<v Speaker 1>he had his own gripes with Bowie. Some of it

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<v Speaker 1>could be chalked up to creative differences. David's ferret into

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<v Speaker 1>R and B on his new, yet to be released

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<v Speaker 1>album Young Americans had left the Frieze cold. Plus the

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<v Speaker 1>abrupt abandonment of a quarter million dollar diamond dog stage

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<v Speaker 1>set got under his skin. Even a big spender like

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<v Speaker 1>DeFreeze had a shutter at the waist of it all.

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<v Speaker 1>But the artistic disagreements were just the beginning. More than

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<v Speaker 1>anything else, he disapproved of David's drug use. De Frieze

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<v Speaker 1>barely even drank. By now Bowie was snorting lines in

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<v Speaker 1>the middle of main man meetings, making communication all but impossible.

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<v Speaker 1>De Frieze knew better than the talk to David when

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<v Speaker 1>his eyes had that pecure earlier glimmer. To him, David

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<v Speaker 1>was becoming increasingly unmanageable. To David, the Frieze was becoming

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<v Speaker 1>increasingly useless. A collision seemed imminent. It occurred in July,

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<v Speaker 1>as David was set to play a doubleheader at Madison

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<v Speaker 1>Square Garden. De Frieze had taken David's wife Angie to

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<v Speaker 1>task for spending too much on airfare in recent months.

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<v Speaker 1>David had his own problems with Angie these days, but

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<v Speaker 1>he didn't react well to this criticism of his spouse,

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<v Speaker 1>even if their open relationship was on the rocks. Moreover,

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<v Speaker 1>he was confused, while they had the penny pinch, surely

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<v Speaker 1>they were doing well enough to cover airline fees. Annoyed

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<v Speaker 1>and more than a little baffled, David Cold MainMan president

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<v Speaker 1>Tony zenetted to his hotel suite for an uncharacteristically blunt

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<v Speaker 1>discussion of company finances. It was the first time he'd

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<v Speaker 1>ever really asked what was being done in his name.

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<v Speaker 1>Sanetta's explanation left him shocked. From the start. David thought

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<v Speaker 1>he and Defrieze has split everything down the middle as

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<v Speaker 1>equal partners. He believed that he was a co owner

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<v Speaker 1>of Maine Man, the company that controlled his music, his management,

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<v Speaker 1>his life. The reality mapped out in his contracts was

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<v Speaker 1>heartbreaking lee different. He owned no part of Maine Man.

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<v Speaker 1>He was an employee of DeFreeze, entitled of the profits

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<v Speaker 1>after expenses, expenses like tours, offices, hotel suites, everything. In

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<v Speaker 1>an instant, David realized that the business empire he strove

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<v Speaker 1>the build didn't belong to him. It was a mirage.

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<v Speaker 1>After a few moments of denial, he gasped, did I

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<v Speaker 1>work this hard to have nothing. From then on it

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<v Speaker 1>was over between him and Defrieze. David had no interest

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<v Speaker 1>in changing the terms of his deal. He simply wanted out.

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<v Speaker 1>David's assistant and right hand woman, Coco Schwab, found the

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<v Speaker 1>a lawyer named Michael Lippman, and in January of nine

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<v Speaker 1>five he began proceedings to sever all ties with MainMan

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<v Speaker 1>and DeFreeze. Lawyers shuttle between rooms in an l A

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<v Speaker 1>hotel for forty eight continuous hours before a settlement was

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<v Speaker 1>reached to Freeze emerged the clear Victor may Man would

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<v Speaker 1>receive half of all profits on all albums David had

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<v Speaker 1>made under their management forever. This included classics like Hunky Dory,

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<v Speaker 1>Ziggy Stardust, Aladdin, Saying, and Diamond Dogs. Defriese would also

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<v Speaker 1>receive a sizeable percentage of David's income through throughout the

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<v Speaker 1>long shadowy history of music management deals, these terms were

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<v Speaker 1>unusually favorable for an ex manager. Their partnership had begun

0:13:46.280 --> 0:13:49.720
<v Speaker 1>with Bowie and Tears desperate to leave. As former manager

0:13:49.800 --> 0:13:54.040
<v Speaker 1>Ken Pitt now that was how their union ended. David

0:13:54.080 --> 0:13:56.840
<v Speaker 1>broke down at the meeting as millions of his future

0:13:56.880 --> 0:14:00.240
<v Speaker 1>earnings were surrendered. He was escorted from the room and

0:14:00.320 --> 0:14:03.560
<v Speaker 1>what some believed was a state of clinical shock. For

0:14:03.720 --> 0:14:06.920
<v Speaker 1>days after, anguished cries could be heard coming from the

0:14:06.920 --> 0:14:09.720
<v Speaker 1>direction of his bedroom. He tried to take a zen

0:14:09.800 --> 0:14:12.880
<v Speaker 1>approach to the whole man man a fair later, saying

0:14:13.320 --> 0:14:16.200
<v Speaker 1>I certainly wouldn't have achieved that degree of notoriety without

0:14:16.200 --> 0:14:19.360
<v Speaker 1>all that nonsense going on. I guess I'm thankful for

0:14:19.360 --> 0:14:23.360
<v Speaker 1>that period. In a way, he was free, but he

0:14:23.440 --> 0:14:27.840
<v Speaker 1>was alone. Some changes were made to preserve the trickle

0:14:27.880 --> 0:14:30.800
<v Speaker 1>of money he had coming through. He moved out of

0:14:30.800 --> 0:14:33.600
<v Speaker 1>the two bedroom suite at the Pierre Hotel, where he'd

0:14:33.640 --> 0:14:36.280
<v Speaker 1>run up twenty dollars worth the room service in a

0:14:36.320 --> 0:14:39.560
<v Speaker 1>single month, and into a rented brownstone in New York's

0:14:39.640 --> 0:14:43.440
<v Speaker 1>Chelsea neighborhood. David barely bothered to furnish the place, and

0:14:43.480 --> 0:14:49.120
<v Speaker 1>the spartan accommodations left visitors feeling claustrophobic and depressed. David's

0:14:49.120 --> 0:14:52.560
<v Speaker 1>difficult financial position forced him to cancel the small allowance

0:14:52.560 --> 0:14:54.600
<v Speaker 1>that he had been paying to his mother Peggy back

0:14:54.640 --> 0:14:58.200
<v Speaker 1>home in England. The relationship wasn't exactly warm at the

0:14:58.200 --> 0:15:00.920
<v Speaker 1>best of times, and now Peg he was furious that

0:15:00.960 --> 0:15:03.960
<v Speaker 1>her boyd cut her off. She took her complaints to

0:15:04.000 --> 0:15:08.760
<v Speaker 1>the press, calling David a terrible hypocrite. David Cooley informed

0:15:08.760 --> 0:15:11.280
<v Speaker 1>her that if she ever repeated the stunt, she would

0:15:11.320 --> 0:15:15.080
<v Speaker 1>never see him or his money ever again. He reinstated

0:15:15.120 --> 0:15:18.120
<v Speaker 1>her allowance and even sent her a gold records and awards.

0:15:18.920 --> 0:15:21.720
<v Speaker 1>She set up a virtual shrine to David in her apartment,

0:15:22.120 --> 0:15:25.160
<v Speaker 1>but she seldom saw her son in the flesh for

0:15:25.280 --> 0:15:30.840
<v Speaker 1>much of the decade. He'd maintained his distance. After touring

0:15:30.920 --> 0:15:34.400
<v Speaker 1>NonStop for almost three years, David was rarely seen for

0:15:34.480 --> 0:15:38.600
<v Speaker 1>most of nineteen That March, he made one of his

0:15:38.640 --> 0:15:42.000
<v Speaker 1>only major appearances, presenting the Best Female R and B

0:15:42.080 --> 0:15:45.120
<v Speaker 1>Award at the Grammys in New York. Clad in an

0:15:45.160 --> 0:15:49.080
<v Speaker 1>elegant white tie tucks, he looked amazing, every bit the

0:15:49.160 --> 0:15:53.520
<v Speaker 1>classy show business idol, yet he was gripped by nerves. Beforehand.

0:15:54.760 --> 0:15:57.960
<v Speaker 1>He confided in John Lennon, a fellow presenter and a

0:15:58.000 --> 0:16:03.240
<v Speaker 1>fellow Englishman abroad, that he misunderstood in America, Yanks, David

0:16:03.280 --> 0:16:08.080
<v Speaker 1>believed just didn't get him creatively. After addressing the Grammy's

0:16:08.120 --> 0:16:11.920
<v Speaker 1>crowd with a very bowie like ladies, gentlemen and others,

0:16:12.600 --> 0:16:17.080
<v Speaker 1>He handed the trophy to winner Aretha Franklin, who blurted out, Wow,

0:16:17.160 --> 0:16:20.960
<v Speaker 1>this is so good. I could kiss David Bowie. She

0:16:21.320 --> 0:16:24.120
<v Speaker 1>didn't mean it as a compliment, and David was deeply

0:16:24.200 --> 0:16:27.880
<v Speaker 1>mortified by the line. He slunk off stage and into

0:16:27.920 --> 0:16:30.120
<v Speaker 1>the arms of Lenin, who tried to cheer him up

0:16:30.120 --> 0:16:33.600
<v Speaker 1>by planting a theatrical kiss on his cheek. See Dave

0:16:33.880 --> 0:16:38.440
<v Speaker 1>Lennon teased, America loves you. The incident was indicative of

0:16:38.440 --> 0:16:41.280
<v Speaker 1>a minor backlash that had set in, at least among

0:16:41.320 --> 0:16:44.880
<v Speaker 1>his musical peers. He learned that Fay meant not only

0:16:44.960 --> 0:16:48.440
<v Speaker 1>rubbing shoulders with fellow superstars, but ruffling the feathers of

0:16:48.480 --> 0:16:52.720
<v Speaker 1>a few, and it hurt. At one party, David met

0:16:52.760 --> 0:16:56.760
<v Speaker 1>Bob Dylan, who sniped, glam ROCKI isn't music before turning

0:16:56.760 --> 0:17:01.480
<v Speaker 1>his back on him. The rejection stung. David responded by

0:17:01.520 --> 0:17:05.240
<v Speaker 1>disappearing into the private quarters of his downtown brownstone and

0:17:05.280 --> 0:17:09.560
<v Speaker 1>indulging in an increasingly vampiric existence. For most of the year,

0:17:10.000 --> 0:17:21.760
<v Speaker 1>he'd retreat from the public eye and into himself. By

0:17:21.800 --> 0:17:25.720
<v Speaker 1>the spring of nine, David Bowie was ingesting what a

0:17:25.760 --> 0:17:28.879
<v Speaker 1>friend would refer to as enough cocaine to kill a horse.

0:17:29.840 --> 0:17:31.760
<v Speaker 1>It had long since gone for being a tool to

0:17:31.840 --> 0:17:35.000
<v Speaker 1>being a necessity required to maintain his energy. On the

0:17:35.000 --> 0:17:38.639
<v Speaker 1>Diamond Dogs tour the prior year, he refused to go

0:17:38.720 --> 0:17:41.359
<v Speaker 1>on stage without it, and there was always a roady

0:17:41.400 --> 0:17:45.320
<v Speaker 1>groupier fan willing to keep him supplied. The gold topped

0:17:45.359 --> 0:17:47.919
<v Speaker 1>cane he twirled during the show wasn't merely a prop,

0:17:48.240 --> 0:17:52.040
<v Speaker 1>but sometimes necessary to hold up his frail frame. One

0:17:52.119 --> 0:17:55.240
<v Speaker 1>night in Detroit, he accidentally spilled a baggy of white

0:17:55.240 --> 0:17:59.240
<v Speaker 1>powder on his hotel room floor. Saying nothing, he dropped

0:17:59.240 --> 0:18:02.600
<v Speaker 1>to the ground a big and huffing the rug. Cocaine

0:18:02.600 --> 0:18:05.200
<v Speaker 1>was simply a part of his life. He thought nothing

0:18:05.200 --> 0:18:08.240
<v Speaker 1>of openly snorting lines during dinner in front of girlfriend

0:18:08.280 --> 0:18:12.960
<v Speaker 1>Avia Cherry's parents. At least on the road he had

0:18:13.000 --> 0:18:16.680
<v Speaker 1>performances to burn off as chemically enhanced stenergy. But when

0:18:16.680 --> 0:18:20.280
<v Speaker 1>the tour wrapped, he simply stowed in his house, foregoing

0:18:20.359 --> 0:18:23.880
<v Speaker 1>sleep with the aid of medical grade Merrick cocaine stronger

0:18:23.920 --> 0:18:27.560
<v Speaker 1>than anything he'd encountered in England. It was easily obtainable,

0:18:27.600 --> 0:18:30.280
<v Speaker 1>and it kept me working. He would recall, I wasn't

0:18:30.280 --> 0:18:33.520
<v Speaker 1>really an out on the town guy. I was much more. Okay,

0:18:33.600 --> 0:18:36.120
<v Speaker 1>let's write ten different projects this week and make four

0:18:36.200 --> 0:18:40.960
<v Speaker 1>or five sculptures. After several days awake, he started to hallucinate,

0:18:41.359 --> 0:18:45.840
<v Speaker 1>spotting angels floating outside his window. The delusions came hard

0:18:45.920 --> 0:18:50.320
<v Speaker 1>and fast. Even Mick Jagger, no stranger to elicit substances,

0:18:50.720 --> 0:18:53.919
<v Speaker 1>grew worried as David started rambling about enemies bugging his

0:18:54.000 --> 0:18:57.399
<v Speaker 1>phone or tailing his car. He spouted fears that the

0:18:57.480 --> 0:19:00.600
<v Speaker 1>freeze was Hitler incarnate and on again off again friend

0:19:00.640 --> 0:19:03.240
<v Speaker 1>lou Reid was inhabited by the spirit of a devil,

0:19:03.640 --> 0:19:06.960
<v Speaker 1>and together they were out to destroy him. He became

0:19:06.960 --> 0:19:10.600
<v Speaker 1>convinced that led Zeppelin's Jimmy Page, an enthusiastic student of

0:19:10.720 --> 0:19:16.120
<v Speaker 1>legendary Satanist Alistair Crowley, also intended to do him harm.

0:19:16.119 --> 0:19:18.720
<v Speaker 1>To ward them off, David embarked on what he would

0:19:18.760 --> 0:19:23.000
<v Speaker 1>later refer to as his wayward spiritual search. He developed

0:19:23.040 --> 0:19:27.879
<v Speaker 1>an all consuming interest in taro, astrology, numerology, and the Kabbalah,

0:19:28.400 --> 0:19:31.800
<v Speaker 1>not to mention more fringe theories like black magic, prehistoric

0:19:31.840 --> 0:19:35.320
<v Speaker 1>spacemen and the Third Reich's alleged search for the Holy Grail,

0:19:35.400 --> 0:19:39.520
<v Speaker 1>and pre war Britain. All manner of psychic phenomenon was explored,

0:19:39.880 --> 0:19:44.480
<v Speaker 1>and even the mundane took on supernatural significance. He insisted

0:19:44.560 --> 0:19:47.840
<v Speaker 1>he possessed the power of telepathy, once urging a friend

0:19:47.840 --> 0:19:52.000
<v Speaker 1>to concentrate on a five figure number. Amazingly, after a

0:19:52.040 --> 0:19:55.120
<v Speaker 1>few minutes of focus, David guessed four of the five

0:19:55.200 --> 0:19:58.680
<v Speaker 1>numbers in the sequence. Maybe he was onto something, after all.

0:20:00.160 --> 0:20:04.080
<v Speaker 1>David was fairly open about his idiosyncratic interests. During an

0:20:04.119 --> 0:20:07.800
<v Speaker 1>interview with American chat show host Dick Cavitt the prior December,

0:20:07.840 --> 0:20:12.080
<v Speaker 1>he confused television viewers and Cavitt himself by discussing not

0:20:12.160 --> 0:20:15.720
<v Speaker 1>his new single, but something called black Noise, a sound

0:20:15.800 --> 0:20:19.600
<v Speaker 1>powerful enough to level buildings or even destroy an entire city.

0:20:20.200 --> 0:20:24.960
<v Speaker 1>After several minutes of painfully stilted, semi comprehensible rambling, Cabot

0:20:24.960 --> 0:20:27.760
<v Speaker 1>finally asked his guest, do you want to be understood?

0:20:28.480 --> 0:20:33.840
<v Speaker 1>David replied, there's absolutely nothing to understand. A more worrisome

0:20:33.880 --> 0:20:36.199
<v Speaker 1>profile appeared a month later in the form of a

0:20:36.240 --> 0:20:41.680
<v Speaker 1>BBC television documentary. Young producer Alan Yentub initially planned to

0:20:41.720 --> 0:20:45.000
<v Speaker 1>call his film The Collector, based on Bowie's description of

0:20:45.040 --> 0:20:49.199
<v Speaker 1>himself as a collector of faces. Gestures and presences. But

0:20:49.280 --> 0:20:51.480
<v Speaker 1>when they first met up to begin filming during the

0:20:51.520 --> 0:20:54.840
<v Speaker 1>Diamond Docs tour the prior September, yent ub saw the

0:20:54.920 --> 0:20:59.159
<v Speaker 1>troubling effects of the endlessly shifting personalities, not to mention

0:20:59.160 --> 0:21:02.920
<v Speaker 1>the copious cope can use. He ultimately called the documentary

0:21:02.960 --> 0:21:06.760
<v Speaker 1>Cracked Actor, after the Aladdin Sane song about the perils

0:21:06.800 --> 0:21:11.240
<v Speaker 1>of fame. It was an appropriate title. The film presents

0:21:11.240 --> 0:21:14.880
<v Speaker 1>Bowie as a man perpetually in motion, driven by a potent,

0:21:14.960 --> 0:21:18.720
<v Speaker 1>toxic blend of ambition and fear, criss crossing America in

0:21:18.800 --> 0:21:22.679
<v Speaker 1>search of an identity, having jettison Ziggy for Diamond Dogs

0:21:22.760 --> 0:21:25.000
<v Speaker 1>and now this New Guys. As the soul singer of

0:21:25.040 --> 0:21:29.320
<v Speaker 1>young Americans, Bowie seemed haunted and lost throughout the shoot.

0:21:29.960 --> 0:21:34.080
<v Speaker 1>He was barely sleeping or eating, and looked fragile, aching, lee, sad,

0:21:34.400 --> 0:21:38.119
<v Speaker 1>and at times scarcely human. Their late night interviews were

0:21:38.160 --> 0:21:41.639
<v Speaker 1>obtuse and difficult to follow, with Bowie often speaking in

0:21:41.720 --> 0:21:45.199
<v Speaker 1>riddles and referring to himself and the third person. He

0:21:45.280 --> 0:21:48.840
<v Speaker 1>made repeated references to schizophrenia and claimed not to know

0:21:49.080 --> 0:21:52.560
<v Speaker 1>quote whether I was writing the characters or the characters

0:21:52.560 --> 0:21:56.960
<v Speaker 1>were writing me. The most memorable scenes and Cracked Actor

0:21:57.080 --> 0:22:00.080
<v Speaker 1>take place in the back of Bowie's limousine. There is

0:22:00.119 --> 0:22:03.159
<v Speaker 1>a nocturnal cruise through l A. The sound of a

0:22:03.160 --> 0:22:06.640
<v Speaker 1>police siren in the distance sends Bowie into a paranoid panic.

0:22:07.200 --> 0:22:10.480
<v Speaker 1>Is there anything behind us? He asks anxiously. Then he

0:22:10.560 --> 0:22:13.760
<v Speaker 1>sniffs a sniff all too familiar to anyone in the

0:22:13.880 --> 0:22:18.000
<v Speaker 1>entertainment scene of the seventies. There's an underlying unease here,

0:22:18.080 --> 0:22:20.919
<v Speaker 1>he tells you, trubs camera. You can feel it in

0:22:20.960 --> 0:22:24.320
<v Speaker 1>every avenue. It's very calm, and it's a kind of

0:22:24.320 --> 0:22:27.520
<v Speaker 1>superficial calmness that they've developed to underplay the fact that

0:22:27.560 --> 0:22:31.399
<v Speaker 1>there's a lot of high pressure here. Later, while driving

0:22:31.440 --> 0:22:35.280
<v Speaker 1>through the desert, yentabasques David how he's absorbed the American

0:22:35.320 --> 0:22:39.119
<v Speaker 1>culture that surrounds him. David responds by pointing to a

0:22:39.160 --> 0:22:41.280
<v Speaker 1>fly who had come to rest and his ever present

0:22:41.320 --> 0:22:44.920
<v Speaker 1>bottle of milk. He's a foreign body and he's getting

0:22:44.920 --> 0:22:47.920
<v Speaker 1>a lot of milk, David says of the insect. That's

0:22:47.920 --> 0:22:52.840
<v Speaker 1>how I feel a foreign body. For all of David's success,

0:22:52.880 --> 0:22:57.359
<v Speaker 1>he still felt like the perpetual outsider. Cracked Actor was

0:22:57.400 --> 0:23:00.680
<v Speaker 1>the most thorough portrait of David to date. It also

0:23:00.720 --> 0:23:04.240
<v Speaker 1>offered David the unique experience of viewing himself from the outside,

0:23:04.640 --> 0:23:08.119
<v Speaker 1>just like his audience. Bowie later told Yenub that he

0:23:08.160 --> 0:23:11.359
<v Speaker 1>watched the film again and again because, in his words,

0:23:11.840 --> 0:23:15.639
<v Speaker 1>he told the truth. What he saw captivated him and

0:23:15.720 --> 0:23:20.920
<v Speaker 1>horrified him. His debilitating cocaine addiction is on full display

0:23:21.119 --> 0:23:24.919
<v Speaker 1>edging him towards a precipitous mental decline. He looked awful,

0:23:25.400 --> 0:23:29.679
<v Speaker 1>waxy and emaciated. Cracked Actor is the defining document of

0:23:29.680 --> 0:23:32.680
<v Speaker 1>his most difficult period, and he would find it painful

0:23:32.720 --> 0:23:37.080
<v Speaker 1>to watch. But for a group of Hollywood film executives,

0:23:37.359 --> 0:23:40.440
<v Speaker 1>it was exactly what they were looking for. They were

0:23:40.480 --> 0:23:44.320
<v Speaker 1>casting for English director Nicholas rogues latest film, a sci

0:23:44.400 --> 0:23:47.960
<v Speaker 1>fi parable called The Man Who Fell to Earth. It's

0:23:47.960 --> 0:23:51.760
<v Speaker 1>an allegorical tale of an extraterrestrial soul destroyed by all

0:23:51.800 --> 0:23:58.880
<v Speaker 1>too human vices and frailties, power, greed, corruption, alcohol, and media.

0:23:59.280 --> 0:24:01.679
<v Speaker 1>It's Senator Out, an alien visitor who had come to

0:24:01.720 --> 0:24:05.000
<v Speaker 1>Earth to save his planet and his family, shielding his

0:24:05.080 --> 0:24:07.840
<v Speaker 1>true identity with a human alter ego known as Thomas

0:24:07.960 --> 0:24:11.760
<v Speaker 1>Jerome Newton. The endeavor initially made him rich and influential,

0:24:12.640 --> 0:24:15.639
<v Speaker 1>then It left him spiritually depleted and addicted as he

0:24:15.680 --> 0:24:17.760
<v Speaker 1>fell in with those who sought to cash in and

0:24:17.800 --> 0:24:24.200
<v Speaker 1>take advantage. Any of this sounding familiar, the producers searched

0:24:24.240 --> 0:24:27.119
<v Speaker 1>for their leading man had so far been fruitless. They

0:24:27.240 --> 0:24:30.160
<v Speaker 1>kicked around established names like Peter O'Toole, but it didn't

0:24:30.240 --> 0:24:34.840
<v Speaker 1>quite feel right. No, said Nick Rogue. I want someone weak, slender,

0:24:34.880 --> 0:24:37.080
<v Speaker 1>and pale. I want them to look as if they

0:24:37.119 --> 0:24:40.800
<v Speaker 1>have no bones. By chance, a casting agent caught a

0:24:40.840 --> 0:24:43.960
<v Speaker 1>screening of Cracked actor. The shots of Bowie in the

0:24:44.000 --> 0:24:46.800
<v Speaker 1>back of the limo, clinched it, gazing out the window,

0:24:47.200 --> 0:24:52.120
<v Speaker 1>totally disconnected from the world outside, alone, isolated an alien.

0:24:53.480 --> 0:24:56.080
<v Speaker 1>Bowie was initially wary when he was first approached for

0:24:56.119 --> 0:24:58.760
<v Speaker 1>The Man Who Fell to Earth. He had been pitched

0:24:58.760 --> 0:25:03.160
<v Speaker 1>piles of alien film gimmicky, ziggy stardus the movie type vehicles,

0:25:03.560 --> 0:25:06.840
<v Speaker 1>but this one had a little more substance. He invited

0:25:06.920 --> 0:25:09.919
<v Speaker 1>Rogue over to his apartment to discuss it further. The

0:25:10.000 --> 0:25:13.840
<v Speaker 1>director arrived at nine thirty that night. David arrived at

0:25:13.880 --> 0:25:17.879
<v Speaker 1>five thirty the next morning. After some brief apologies, David

0:25:17.920 --> 0:25:20.880
<v Speaker 1>said he'd do the film, then headed directly for his bed.

0:25:21.640 --> 0:25:26.160
<v Speaker 1>He admired rogues persistence. Moreover, he liked that Roguad directed

0:25:26.160 --> 0:25:29.840
<v Speaker 1>his friendly rival Mick Jagger in the nineteen seventy film Performance.

0:25:30.440 --> 0:25:33.680
<v Speaker 1>Bowie's sense of competition kicked in and he dove headlong

0:25:33.720 --> 0:25:36.520
<v Speaker 1>into the role. And what a perfect role. It was.

0:25:37.280 --> 0:25:40.159
<v Speaker 1>Estranged from reality on a daily basis, he could more

0:25:40.240 --> 0:25:43.399
<v Speaker 1>or less just be himself. I was definitely living in

0:25:43.440 --> 0:25:46.480
<v Speaker 1>two separate worlds at that time, he later admitted. My

0:25:46.560 --> 0:25:49.560
<v Speaker 1>state of mind was quite fractured and fragmented. It was

0:25:49.640 --> 0:25:51.600
<v Speaker 1>quite easy for me not to relate to well with

0:25:51.640 --> 0:25:58.080
<v Speaker 1>those around me. The production brought him to l A,

0:25:58.280 --> 0:26:01.359
<v Speaker 1>which remained his home base for the next year. He

0:26:01.440 --> 0:26:04.520
<v Speaker 1>initially crashed at the home of his friend Deep Purple Basis,

0:26:04.600 --> 0:26:08.119
<v Speaker 1>Glenn Hughes. It wasn't long until the pain and paranoia

0:26:08.160 --> 0:26:10.959
<v Speaker 1>that gripped him on the East returned. Part of it

0:26:11.000 --> 0:26:15.199
<v Speaker 1>was environmental then, as now, the city bore the psychic

0:26:15.280 --> 0:26:19.480
<v Speaker 1>weight of incalculable crushed dreams. The hard working, heartbroken were

0:26:19.480 --> 0:26:22.359
<v Speaker 1>taunted by the shameful excesses of the high flying few,

0:26:22.680 --> 0:26:26.280
<v Speaker 1>who partied like the last days of Rome. Too much money,

0:26:26.480 --> 0:26:29.679
<v Speaker 1>too much power, too many drugs, and they'd stabb you

0:26:29.720 --> 0:26:34.720
<v Speaker 1>on the back to keep it. One wannabe singer turned

0:26:34.720 --> 0:26:38.440
<v Speaker 1>the tables in the most terrifying way imaginable. His name

0:26:38.480 --> 0:26:42.480
<v Speaker 1>is Charles Manson. In the summer of sixty he sent

0:26:42.560 --> 0:26:45.119
<v Speaker 1>his band of young followers into the Hollywood Hills. The

0:26:45.160 --> 0:26:48.840
<v Speaker 1>slaughter innocence a vengeful act of rage against the community

0:26:48.880 --> 0:26:52.479
<v Speaker 1>who had shunned him. Pregnant actress Sharon Tate was murdered

0:26:52.520 --> 0:26:55.760
<v Speaker 1>along with her friends inside her exclusive Bendedict Canyon home.

0:26:56.680 --> 0:27:00.280
<v Speaker 1>The following day, they struck again, carving supermarket exit couldve

0:27:00.359 --> 0:27:02.840
<v Speaker 1>Lena la Bianca and his wife Rosemary with their own

0:27:02.920 --> 0:27:07.240
<v Speaker 1>kitchen forks and knives. From then on, whis Angelenos could

0:27:07.280 --> 0:27:10.160
<v Speaker 1>never shake the sense that some vague, unnamed evil lurked

0:27:10.160 --> 0:27:13.600
<v Speaker 1>in the Bucolic Hills, and every beautiful flower child was

0:27:13.640 --> 0:27:17.199
<v Speaker 1>actually a brainwashed murderer. L A had always been a

0:27:17.200 --> 0:27:20.160
<v Speaker 1>two faced town, but never before had the duplicity been

0:27:20.240 --> 0:27:23.800
<v Speaker 1>so deadly or demonic. For David, the nightmare of six

0:27:23.880 --> 0:27:27.360
<v Speaker 1>years earlier struck even closer to home. The La Biancas

0:27:27.359 --> 0:27:29.280
<v Speaker 1>had been killed just a few doors down from the

0:27:29.280 --> 0:27:33.040
<v Speaker 1>house where he stayed. For protection, he kept a stash

0:27:33.080 --> 0:27:37.199
<v Speaker 1>of knives under his bed. All this to say, the

0:27:37.280 --> 0:27:40.679
<v Speaker 1>vibes were bad, making matters worse. The production of the

0:27:40.680 --> 0:27:43.280
<v Speaker 1>Man Who Fell the Earth was delayed, leaving Bowie with

0:27:43.359 --> 0:27:46.920
<v Speaker 1>little ado for several months. So began with David would

0:27:47.000 --> 0:27:49.679
<v Speaker 1>later describe as quote one of the worst periods of

0:27:49.720 --> 0:27:53.119
<v Speaker 1>my life. At loose ends, he carried on much as

0:27:53.119 --> 0:27:55.639
<v Speaker 1>he had in New York, holding up in Glen Hugh's

0:27:55.680 --> 0:27:59.320
<v Speaker 1>house and disappearing into a blizzard of cocaine. As one

0:27:59.359 --> 0:28:02.119
<v Speaker 1>friend would know, a common form of greeting around l

0:28:02.160 --> 0:28:04.160
<v Speaker 1>A in this period was for someone to simply say

0:28:04.240 --> 0:28:07.720
<v Speaker 1>hi and stick a silver spoon under your nose. Dealers,

0:28:07.800 --> 0:28:10.960
<v Speaker 1>hustlers and other hangers on quickly sussed out Bowie's address,

0:28:11.400 --> 0:28:16.320
<v Speaker 1>and they arrived with whole platefuls of the stuff. Despite

0:28:16.320 --> 0:28:19.800
<v Speaker 1>its reputation as a party favor, cocaine is fundamentally in

0:28:19.880 --> 0:28:23.280
<v Speaker 1>any social drug, and a cruel one at that. It

0:28:23.320 --> 0:28:26.760
<v Speaker 1>provides energy and confidence, but it also eliminates the innate

0:28:26.800 --> 0:28:30.080
<v Speaker 1>need to be liked. After a few tutes, you don't

0:28:30.119 --> 0:28:33.760
<v Speaker 1>care if you upset people. Cocaine severs any link you

0:28:33.800 --> 0:28:37.040
<v Speaker 1>have to another human being. David would later say, if

0:28:37.040 --> 0:28:38.760
<v Speaker 1>you really want to lose all your friends and all

0:28:38.760 --> 0:28:41.720
<v Speaker 1>your relationships that you ever held. Dear, that's the drug

0:28:41.760 --> 0:28:44.360
<v Speaker 1>to do it with. He would describe himself in this

0:28:44.400 --> 0:28:48.040
<v Speaker 1>era as numb and an ice man. Rather than go out,

0:28:48.560 --> 0:28:53.640
<v Speaker 1>everything was brought in food, drugs, art supplies. David busied

0:28:53.720 --> 0:28:57.280
<v Speaker 1>himself with new songs and other creative pursuits like paintings, sketches,

0:28:57.280 --> 0:29:01.120
<v Speaker 1>and sculptures. He'd work obsessively on the clock for literally

0:29:01.200 --> 0:29:04.360
<v Speaker 1>days on end. I hate sleep, he said at the time.

0:29:04.760 --> 0:29:07.400
<v Speaker 1>I much prefer staying up just working all the time.

0:29:07.720 --> 0:29:09.680
<v Speaker 1>It makes me so mad that we can't do anything

0:29:09.680 --> 0:29:13.520
<v Speaker 1>about sleep or the common cold. The neurological effects of

0:29:13.560 --> 0:29:18.280
<v Speaker 1>extreme sleep deprivation is almost indistinguishable from psychosis. After a

0:29:18.320 --> 0:29:23.480
<v Speaker 1>few days awake, auditory and visual hallucinations become commonplace. So

0:29:23.520 --> 0:29:26.720
<v Speaker 1>are paranoid delusions that others are plotting against you, and

0:29:26.800 --> 0:29:30.720
<v Speaker 1>narcissistic notions that you're the cause of worldly and supernatural events.

0:29:31.560 --> 0:29:34.040
<v Speaker 1>It's no exaggeration to say that David bo always spent

0:29:34.120 --> 0:29:37.840
<v Speaker 1>much of nine in a state of self induced insanity.

0:29:38.240 --> 0:29:41.160
<v Speaker 1>It had always been his greatest fear. He'd watch it

0:29:41.240 --> 0:29:44.440
<v Speaker 1>happened to his beloved half brother, Terry, A vibrant life

0:29:44.440 --> 0:29:47.720
<v Speaker 1>destroyed by mental illness. Now it had come for David,

0:29:48.240 --> 0:29:50.880
<v Speaker 1>just like he knew it would. He would remember these

0:29:50.960 --> 0:29:53.719
<v Speaker 1>days as quote the worst manic depression of my life.

0:29:54.120 --> 0:29:57.720
<v Speaker 1>My psyche just fractured into pieces. I was hallucinating twenty

0:29:57.720 --> 0:30:00.560
<v Speaker 1>four hours a day. I felt like I falling into

0:30:00.600 --> 0:30:07.160
<v Speaker 1>the bowels of the earth. His body began to give way,

0:30:07.400 --> 0:30:11.840
<v Speaker 1>or rather almost vanished completely. Always slender, he shrunked to

0:30:12.640 --> 0:30:16.840
<v Speaker 1>pounds through a diet of coffee, Marlborough cigarettes, finally chopped

0:30:16.880 --> 0:30:21.360
<v Speaker 1>red peppers, and cartons of milk. Coco Schwab tried desperately

0:30:21.400 --> 0:30:24.640
<v Speaker 1>to swap out two for whole milk, anything for a

0:30:24.680 --> 0:30:28.200
<v Speaker 1>little extra sustenance to balance out the pure pharmaceutical cocaine

0:30:28.240 --> 0:30:31.080
<v Speaker 1>in his system. It was Coco who bore the brunt

0:30:31.120 --> 0:30:34.200
<v Speaker 1>of his self abuse. Sometimes she'd find him lying on

0:30:34.240 --> 0:30:36.520
<v Speaker 1>the floor and she told one of his coke mirrors

0:30:36.600 --> 0:30:38.600
<v Speaker 1>under his nose the check if he was still breathing.

0:30:39.440 --> 0:30:42.800
<v Speaker 1>He overdosed on several occasions, once saved from death by

0:30:42.800 --> 0:30:44.840
<v Speaker 1>one quick thinking person to threw him in a bath

0:30:44.920 --> 0:30:48.160
<v Speaker 1>to lower his blood pressure. Friends like Elton John and

0:30:48.280 --> 0:30:51.000
<v Speaker 1>Keith Richard's, both in the throes of their own addictions.

0:30:51.000 --> 0:30:53.680
<v Speaker 1>At the time, grew seriously concerned that he was going

0:30:53.720 --> 0:30:58.000
<v Speaker 1>to die. Mick Ronson, David's one time musical soul brother

0:30:58.080 --> 0:31:02.080
<v Speaker 1>and confidante, watched helpless Lee from Afar, voicing his fear

0:31:02.120 --> 0:31:05.000
<v Speaker 1>and frustration in the press. I wish that Dave would

0:31:05.040 --> 0:31:08.880
<v Speaker 1>get himself sorted out, Ronson said, he's so very confused.

0:31:09.280 --> 0:31:11.360
<v Speaker 1>What he really needs is to have some good friends

0:31:11.360 --> 0:31:14.760
<v Speaker 1>around him. He needs one person who won't bow to him.

0:31:14.800 --> 0:31:17.680
<v Speaker 1>I could kick some sense into him. That's what he needs.

0:31:20.400 --> 0:31:23.680
<v Speaker 1>But that wasn't what he got. Instead, his grip on

0:31:23.800 --> 0:31:27.040
<v Speaker 1>reality became more and more tenuous as he drifted further

0:31:27.080 --> 0:31:30.720
<v Speaker 1>into the world of metaphysical mystics. He spent his days

0:31:30.720 --> 0:31:33.320
<v Speaker 1>and nights huddle up in a room, burning candles and

0:31:33.400 --> 0:31:37.920
<v Speaker 1>chanting spells. His music had included the odd reference to occultism,

0:31:38.000 --> 0:31:40.480
<v Speaker 1>dating back to Hunky Dory tracks like Oh You Pretty

0:31:40.520 --> 0:31:43.360
<v Speaker 1>Things in Quicksand. But now he was locked in a

0:31:43.400 --> 0:31:46.800
<v Speaker 1>battle for his very soul, which he believed was under siege.

0:31:47.720 --> 0:31:51.320
<v Speaker 1>He poured over arcane books on witchcraft and magic, both

0:31:51.360 --> 0:31:55.320
<v Speaker 1>the benign white and more sinister black varieties. The favorite

0:31:55.320 --> 0:31:58.320
<v Speaker 1>guide was Psychic self defense, which promised to be a

0:31:58.360 --> 0:32:03.440
<v Speaker 1>safeguard for protecting yourself against paranormal malevolence. The book's instructions

0:32:03.480 --> 0:32:07.880
<v Speaker 1>to several connections was suspected originators of psychic malice struck

0:32:07.920 --> 0:32:11.080
<v Speaker 1>a chord with the increasingly paranoid Bowie, who didn't need

0:32:11.160 --> 0:32:14.520
<v Speaker 1>much encouragement to keep former friends at arm's length. He

0:32:14.600 --> 0:32:17.680
<v Speaker 1>became convinced that his lawyer, Michael Lippman, was a mafioso

0:32:18.040 --> 0:32:21.840
<v Speaker 1>and another associate, a CIA agent, sent a spy on him.

0:32:21.880 --> 0:32:25.880
<v Speaker 1>He believed that Girlfriendnva Cherry was a vampire. She recalls

0:32:25.920 --> 0:32:27.880
<v Speaker 1>seeing him burn a bracelet that had been given to

0:32:27.960 --> 0:32:30.640
<v Speaker 1>him by another woman who we suspected of being a witch.

0:32:31.480 --> 0:32:37.680
<v Speaker 1>Before long, Ava retired from the sorry scene. To safeguard

0:32:37.720 --> 0:32:41.680
<v Speaker 1>his spirit, he began drawing protective pentagrams and other symbols

0:32:41.680 --> 0:32:45.040
<v Speaker 1>on the walls and windows of Glen Hugh's home. More

0:32:45.080 --> 0:32:48.600
<v Speaker 1>than mere security, some were gateways into different worlds and

0:32:48.640 --> 0:32:53.600
<v Speaker 1>other dimensions. The shades were kept permanently drawn because, as

0:32:53.680 --> 0:32:56.560
<v Speaker 1>David later recalled, he didn't want the l a sun

0:32:56.720 --> 0:33:01.360
<v Speaker 1>spoiling the vibe of the eternal. Now, he often seemed

0:33:01.360 --> 0:33:04.400
<v Speaker 1>to go into a trance becoming hyper focused on whatever

0:33:04.520 --> 0:33:07.560
<v Speaker 1>was at hand. He'd spent days working on a song,

0:33:08.080 --> 0:33:10.320
<v Speaker 1>only to realize that he had been endlessly rewriting the

0:33:10.360 --> 0:33:14.400
<v Speaker 1>first four bars. Glenn Hughes would go days without seeing David,

0:33:14.840 --> 0:33:17.160
<v Speaker 1>only to find him in the same place, wearing the

0:33:17.240 --> 0:33:21.120
<v Speaker 1>same clothes and the same intense expression, rerunning the same

0:33:21.160 --> 0:33:26.120
<v Speaker 1>silent German expressionist films or Nazi newsreels. His fascination with

0:33:26.160 --> 0:33:29.360
<v Speaker 1>the Third Reich had intensified since reading The Spear of Destiny.

0:33:30.480 --> 0:33:34.400
<v Speaker 1>The book explored Hitler's supposed obsession with occult powers in

0:33:34.400 --> 0:33:37.160
<v Speaker 1>his search for divine artifacts like the Holy Grail and

0:33:37.200 --> 0:33:41.400
<v Speaker 1>the lance that stabbed Jesus side. David found himself drawn

0:33:41.480 --> 0:33:44.240
<v Speaker 1>to this need to possess the mythological link to God.

0:33:45.080 --> 0:33:48.640
<v Speaker 1>He became interested in a form of astral photography called Killian,

0:33:49.000 --> 0:33:51.840
<v Speaker 1>designed to capture the spiritual aura in addition to the

0:33:51.880 --> 0:33:55.280
<v Speaker 1>physical body. While visiting the u c l A Department

0:33:55.280 --> 0:33:58.680
<v Speaker 1>of Parapsychology to learn more about Killian, he stopped in

0:33:58.720 --> 0:34:01.480
<v Speaker 1>to see his friend Iggy Pop, who was undergoing court

0:34:01.520 --> 0:34:04.960
<v Speaker 1>mandated psychiatric evaluation after pushing his mind and body to

0:34:05.000 --> 0:34:08.239
<v Speaker 1>the brink through drug abuse. David could have taken this

0:34:08.320 --> 0:34:10.480
<v Speaker 1>as a warning sign from the universe to take it

0:34:10.520 --> 0:34:14.200
<v Speaker 1>easy and clean up his act, but he didn't. Instead,

0:34:14.239 --> 0:34:17.560
<v Speaker 1>he showed up and immediately offered Iggy some coke. I

0:34:17.600 --> 0:34:19.800
<v Speaker 1>thought we should bring him some drugs because he probably

0:34:19.800 --> 0:34:24.360
<v Speaker 1>hadn't had any for days, David would remember. Clearly, David

0:34:24.440 --> 0:34:28.719
<v Speaker 1>wasn't getting the hint. Instead, he looked for patterns elsewhere,

0:34:29.200 --> 0:34:32.200
<v Speaker 1>desperate to find order and deeper meaning, or some sign

0:34:32.239 --> 0:34:36.240
<v Speaker 1>of preordained fate. He became convinced that the Rolling Stones

0:34:36.280 --> 0:34:39.040
<v Speaker 1>were sending secret messages to him through their album covers.

0:34:39.640 --> 0:34:43.280
<v Speaker 1>He began to study letters from friends, using small details

0:34:43.280 --> 0:34:46.319
<v Speaker 1>like the number of lines, repeated words, or even the

0:34:46.400 --> 0:34:48.319
<v Speaker 1>day it was sent to work out the date of

0:34:48.360 --> 0:34:52.279
<v Speaker 1>his own death. Journalists requesting an interview were required to

0:34:52.320 --> 0:34:55.200
<v Speaker 1>submit their zodiac sign an exact time of their birth.

0:34:55.920 --> 0:34:58.520
<v Speaker 1>Once Bowie consulted a tarot deck, he would be in

0:34:58.560 --> 0:35:00.560
<v Speaker 1>touch about whether or not the number is were right

0:35:00.640 --> 0:35:05.560
<v Speaker 1>for a meeting. One of the few interviews he gave

0:35:05.600 --> 0:35:09.080
<v Speaker 1>in this period was to Cameron Crow, Rolling Stones teenage

0:35:09.120 --> 0:35:12.400
<v Speaker 1>whiz kid. Many of the most unsettling Bowie myths and

0:35:12.440 --> 0:35:16.800
<v Speaker 1>snapshots from this erah, like the Black candles, falling phantom bodies,

0:35:17.040 --> 0:35:20.120
<v Speaker 1>and stockpiling jars of his own urine can be traced

0:35:20.120 --> 0:35:24.160
<v Speaker 1>to this profile. His uncomfortable preoccupation with Nazis is on

0:35:24.239 --> 0:35:27.320
<v Speaker 1>full display as he compares his own on stage charisma

0:35:27.440 --> 0:35:31.000
<v Speaker 1>ziggy start us to the fur. Everybody was convincing me

0:35:31.040 --> 0:35:34.239
<v Speaker 1>I was a messiah, especially on that first American tour,

0:35:34.400 --> 0:35:37.960
<v Speaker 1>he said, I got hopelessly lost in the fantasy. I

0:35:38.000 --> 0:35:40.839
<v Speaker 1>could have been Hitler in England. Wouldn't have been very hard.

0:35:41.400 --> 0:35:43.080
<v Speaker 1>I think I would have made a bloody good hitler.

0:35:43.560 --> 0:35:47.080
<v Speaker 1>I'd be an excellent dictator, very eccentric and quite mad.

0:35:48.520 --> 0:35:51.799
<v Speaker 1>That's summer. Bowie moved out of Glenn Hughes's path and

0:35:51.840 --> 0:35:54.600
<v Speaker 1>into the home of his new manager and lawyer, Michael Lippman.

0:35:55.280 --> 0:35:57.360
<v Speaker 1>If Lippmann thought he could rescue his client from the

0:35:57.400 --> 0:36:00.320
<v Speaker 1>depths of his personal abyss, he was sorely my steak,

0:36:00.400 --> 0:36:04.120
<v Speaker 1>and any suggestions threats are pleased for Bowie to lay

0:36:04.120 --> 0:36:06.319
<v Speaker 1>off the blow were met with an irate don't tell

0:36:06.320 --> 0:36:09.160
<v Speaker 1>me what to do. Before David beat a hasty retreat

0:36:09.200 --> 0:36:11.840
<v Speaker 1>to his bedroom, where he could snort in private and

0:36:11.920 --> 0:36:15.759
<v Speaker 1>chance spells to his heart's content. He was seldom seen

0:36:15.800 --> 0:36:19.040
<v Speaker 1>without the large gold crucifix that Littman had given him.

0:36:19.080 --> 0:36:21.400
<v Speaker 1>It came in handy for warding off the witches that

0:36:21.480 --> 0:36:24.000
<v Speaker 1>David believed were attempting to steal a seamen to make

0:36:24.040 --> 0:36:27.360
<v Speaker 1>a sacrificial child for the devil. A novel twist on

0:36:27.400 --> 0:36:31.160
<v Speaker 1>the film, Rosemary's baby Angie, who was still living at

0:36:31.160 --> 0:36:34.200
<v Speaker 1>their home in England with their son, Zoe, remembers receiving

0:36:34.239 --> 0:36:37.080
<v Speaker 1>a terrified phone call from her husband saying he'd been

0:36:37.160 --> 0:36:41.040
<v Speaker 1>kidnapped by a warlock and two witches. An alleged good

0:36:41.080 --> 0:36:43.319
<v Speaker 1>witch was duly summoned from New York in order to

0:36:43.320 --> 0:36:47.080
<v Speaker 1>remove the dreaded curse. The witch also succeeded in performing

0:36:47.080 --> 0:36:49.880
<v Speaker 1>an exorcism of the new house Bowie rented after he

0:36:49.960 --> 0:36:53.040
<v Speaker 1>wore out as welcome with the Littman's the Egyptian theme,

0:36:53.080 --> 0:36:55.160
<v Speaker 1>the bode was great, except for the fact that the

0:36:55.160 --> 0:36:59.160
<v Speaker 1>swimming pool was apparently haunted. He swore he'd seen bubbles

0:36:59.160 --> 0:37:02.919
<v Speaker 1>and whirlpools the obvious work of Satan so the which

0:37:03.000 --> 0:37:06.200
<v Speaker 1>did her thing healthfully, writing out a list of incantations

0:37:06.200 --> 0:37:09.000
<v Speaker 1>for David just in case the Lord of Darkness decided

0:37:09.040 --> 0:37:13.160
<v Speaker 1>to return and take a few cannonballs, Andie came to

0:37:13.239 --> 0:37:15.719
<v Speaker 1>join David, and they lived together as a family with

0:37:15.760 --> 0:37:19.520
<v Speaker 1>four year old Zoe. Despite sharing a roof, they mostly

0:37:19.600 --> 0:37:23.520
<v Speaker 1>led separate lives on separate schedules, with very separate interests.

0:37:24.280 --> 0:37:27.840
<v Speaker 1>Andrew recalls David sleeping until the afternoon and then spending

0:37:27.840 --> 0:37:31.200
<v Speaker 1>most nights entertaining. In her words, two types of guests

0:37:31.880 --> 0:37:35.960
<v Speaker 1>Rhodes delivering fat packages of the best Peruvian flake or

0:37:36.040 --> 0:37:40.319
<v Speaker 1>semi famous show biz co cores. One frequent visitor was

0:37:40.320 --> 0:37:43.000
<v Speaker 1>a costume designer named Ola Hudson, with whom he was

0:37:43.040 --> 0:37:46.160
<v Speaker 1>seriously involved for a time. This was far out news

0:37:46.239 --> 0:37:49.120
<v Speaker 1>to OLA's ten year old son, Saul, who once walked

0:37:49.120 --> 0:37:52.520
<v Speaker 1>in on his mom and her rockstar boyfriend naked. Saul

0:37:52.560 --> 0:37:54.799
<v Speaker 1>would achieve his own level of musical infamy by the

0:37:54.840 --> 0:37:57.200
<v Speaker 1>time he reached adulthood, when he was better known as

0:37:57.280 --> 0:38:01.080
<v Speaker 1>slash guitarists for the band Guns n Roses. He would

0:38:01.120 --> 0:38:04.080
<v Speaker 1>always have vivid memories of Bowie swinging by his mother's house,

0:38:04.400 --> 0:38:07.319
<v Speaker 1>often with Angie and Zoee and Toe. It was like

0:38:07.360 --> 0:38:10.439
<v Speaker 1>watching an alien land in your backyard, he would later say.

0:38:11.640 --> 0:38:14.160
<v Speaker 1>David would always have fond memories of putting the future

0:38:14.160 --> 0:38:18.680
<v Speaker 1>guitar god to bed. David also played a more active

0:38:18.760 --> 0:38:21.760
<v Speaker 1>role in his own son's life. Up until that point,

0:38:22.000 --> 0:38:24.439
<v Speaker 1>he'd largely been so focused on the business of being

0:38:24.520 --> 0:38:26.960
<v Speaker 1>David Bowie that he had been mostly absent in the

0:38:27.000 --> 0:38:31.600
<v Speaker 1>toddler's world, to his increasing regret. David would later admit,

0:38:32.000 --> 0:38:34.719
<v Speaker 1>I was around so unfrequently. I can't imagine when an

0:38:34.719 --> 0:38:39.839
<v Speaker 1>abyss that caused granted David's reintroduction into Zoey's life at

0:38:39.880 --> 0:38:42.400
<v Speaker 1>this particular moment brought with it a unique set of

0:38:42.440 --> 0:38:45.799
<v Speaker 1>hazards as David wrestled for some sense of control over

0:38:45.840 --> 0:38:48.480
<v Speaker 1>his life. My son see me through some of the

0:38:48.480 --> 0:38:52.040
<v Speaker 1>most awful, depressing times when I was really an absolute

0:38:52.080 --> 0:38:55.480
<v Speaker 1>abject agony over my emotional state, the heights of my

0:38:55.560 --> 0:39:01.000
<v Speaker 1>drinking and drug doing. He's seen a lot. What ultimately

0:39:01.040 --> 0:39:03.839
<v Speaker 1>saved David from himself was the production of The Man

0:39:03.840 --> 0:39:06.960
<v Speaker 1>Who Fell to Earth, which finally began shooting that June.

0:39:07.800 --> 0:39:11.000
<v Speaker 1>Ironically pretending to be an alien brought him back down

0:39:11.080 --> 0:39:13.640
<v Speaker 1>to the concrete reality of being a human on Earth.

0:39:14.640 --> 0:39:17.560
<v Speaker 1>He arrived on set so thin that the film's customers

0:39:17.640 --> 0:39:20.440
<v Speaker 1>dressed him in little boy's clothes, but the change of

0:39:20.480 --> 0:39:23.320
<v Speaker 1>pay seemed to suit him. He was only too eager

0:39:23.360 --> 0:39:25.640
<v Speaker 1>to trade the Hollywood high life for the more rugged

0:39:25.680 --> 0:39:29.560
<v Speaker 1>world of the ranch. The cowboys and their uncomplicated meat

0:39:29.560 --> 0:39:34.040
<v Speaker 1>and potatoes lifestyle had a stabilizing effect on them. They're fascinating,

0:39:34.160 --> 0:39:36.480
<v Speaker 1>David would say. They can look at a leaf and

0:39:36.520 --> 0:39:38.279
<v Speaker 1>tell you what kind of tree it's from and where

0:39:38.280 --> 0:39:42.280
<v Speaker 1>it grows. It's a different breed. When he wasn't required

0:39:42.320 --> 0:39:46.040
<v Speaker 1>on set, he explored the countryside, hunting the clear desert

0:39:46.080 --> 0:39:49.840
<v Speaker 1>skies for UFOs were descending into the bat infested Carl's

0:39:49.840 --> 0:39:53.200
<v Speaker 1>Bad caverns. He found New Mexico to be so clean

0:39:53.239 --> 0:39:55.680
<v Speaker 1>and pure. This is the way I like the rest

0:39:55.719 --> 0:40:00.640
<v Speaker 1>of America to be, he'd say. Filming was perhaps the

0:40:00.719 --> 0:40:05.640
<v Speaker 1>highlight of Bowie's pretty dismal n The shoot provided some

0:40:05.719 --> 0:40:09.600
<v Speaker 1>semblance of structure to his previously open ended existence. He

0:40:09.680 --> 0:40:12.960
<v Speaker 1>shunned cocaine in favor of no dos tablets, crushed up

0:40:12.960 --> 0:40:17.279
<v Speaker 1>and snorted old habits. After all, even without the aid

0:40:17.320 --> 0:40:22.000
<v Speaker 1>of Class A stimulants, he remained unusually productive creatively. In

0:40:22.040 --> 0:40:24.920
<v Speaker 1>between takes, he could often be found in his trailer

0:40:25.320 --> 0:40:27.600
<v Speaker 1>painting or reading one of the four hundred books that

0:40:27.640 --> 0:40:30.560
<v Speaker 1>he cartered with him for the eleven weeks shoot. He

0:40:30.640 --> 0:40:35.520
<v Speaker 1>also wrote prolifically, including pages for a proposed autobiography, provisionally

0:40:35.600 --> 0:40:39.120
<v Speaker 1>titled The Return of the Thin White Duke. The fragments

0:40:39.160 --> 0:40:42.600
<v Speaker 1>that have surface reveal a series of self mythologizing vignettes,

0:40:43.000 --> 0:40:46.040
<v Speaker 1>providing a portrait of his own fragmented mind rather than

0:40:46.080 --> 0:40:49.680
<v Speaker 1>a linear personal history. He also claimed to have written

0:40:49.760 --> 0:40:53.960
<v Speaker 1>nine film scripts, with words accompanied by elaborate storyboard sketches.

0:40:54.640 --> 0:40:56.440
<v Speaker 1>He told all who would listen that he wanted to

0:40:56.520 --> 0:40:59.120
<v Speaker 1>chuck his rock star life for a career as a filmmaker.

0:40:59.680 --> 0:41:02.000
<v Speaker 1>I've always been a screenwriter, he said at the time.

0:41:02.600 --> 0:41:07.400
<v Speaker 1>My songs have just been practiced for scripts to bowie.

0:41:07.680 --> 0:41:10.000
<v Speaker 1>The isolated themes of The Man Who Fell to Earth

0:41:10.040 --> 0:41:13.879
<v Speaker 1>cut scarily close to the bone. My one snapshot memory

0:41:13.920 --> 0:41:16.120
<v Speaker 1>of that film is not having to act. He later

0:41:16.160 --> 0:41:20.120
<v Speaker 1>admitted he remained Thomas Jerome Newton long after the filming

0:41:20.160 --> 0:41:22.640
<v Speaker 1>wrapped at the end of the summer. He left the

0:41:22.680 --> 0:41:25.359
<v Speaker 1>set still wearing his wardrobe for the movie, which would

0:41:25.400 --> 0:41:27.640
<v Speaker 1>become his permanent attire more or less over the next

0:41:27.680 --> 0:41:31.279
<v Speaker 1>few months. He also kept the striking center parted red

0:41:31.320 --> 0:41:35.279
<v Speaker 1>hair do Newton's air of loneliness and paranoia stuck with

0:41:35.360 --> 0:41:38.640
<v Speaker 1>him too. He settled back into l A and back

0:41:38.640 --> 0:41:41.480
<v Speaker 1>into his bad habits, and prepared to make a record

0:41:41.520 --> 0:41:44.439
<v Speaker 1>that would be the definitive document of his descent into hell.

0:41:50.840 --> 0:41:53.440
<v Speaker 1>When David Bowie completed filming for The Man Who Fell

0:41:53.520 --> 0:41:57.760
<v Speaker 1>to Earth in September of he returned from New Mexico

0:41:57.840 --> 0:42:00.239
<v Speaker 1>to l A, moving into the rented home him in

0:42:00.280 --> 0:42:03.920
<v Speaker 1>bel Air that Coco Schwab had found for him. For weeks,

0:42:04.080 --> 0:42:07.680
<v Speaker 1>it would service his creative laboratory as he composed music

0:42:07.760 --> 0:42:12.400
<v Speaker 1>intended for the film's soundtrack. Inspired by German electro pioneers

0:42:12.440 --> 0:42:15.600
<v Speaker 1>craft work, David's new music began to experiment with the

0:42:15.640 --> 0:42:20.080
<v Speaker 1>computerized sounds of a arp odyssey since and Japanese drum machines,

0:42:20.520 --> 0:42:24.200
<v Speaker 1>primitive by today's standards, but effective and highly evocative for

0:42:24.200 --> 0:42:28.360
<v Speaker 1>the instrumentals. It seemed to suit the disembodied and disengaged

0:42:28.440 --> 0:42:31.960
<v Speaker 1>mood of Bowie's character in the movie, and added an unsettling,

0:42:32.160 --> 0:42:35.600
<v Speaker 1>coldly clinical edge to the atonal pieces, which has showed

0:42:35.680 --> 0:42:41.160
<v Speaker 1>traditional song structure almost completely. It was unlike anything he'd

0:42:41.160 --> 0:42:43.920
<v Speaker 1>ever written for any of his David Bowie guys, but

0:42:44.040 --> 0:42:46.520
<v Speaker 1>ultimately his efforts weren't used for The Man Who Fell

0:42:46.600 --> 0:42:49.839
<v Speaker 1>to Earth. The precise reasons why I have been disputed.

0:42:50.480 --> 0:42:53.080
<v Speaker 1>Some reports claimed that Bowie demanded more money than the

0:42:53.080 --> 0:42:57.120
<v Speaker 1>producers could afford. Others say Bowie felt snubbed upon learning

0:42:57.120 --> 0:42:59.400
<v Speaker 1>that he was just one of several artists being considered

0:42:59.440 --> 0:43:01.600
<v Speaker 1>to write music for the film, and he pulled out

0:43:01.600 --> 0:43:05.120
<v Speaker 1>in a huff, But most likely director Nick Rogue simply

0:43:05.160 --> 0:43:08.880
<v Speaker 1>felt that Bowie's offerings were inappropriate, too unconventional for the

0:43:08.920 --> 0:43:13.560
<v Speaker 1>already pretty unconventional film. Instead, Rogue went with John Phillips

0:43:13.600 --> 0:43:15.839
<v Speaker 1>of The Mamas and the Papas, who assembled a folk

0:43:15.880 --> 0:43:21.000
<v Speaker 1>tinge soundtrack. Bowie was hurt by the whole debacle, but

0:43:21.080 --> 0:43:23.680
<v Speaker 1>he wasn't gonna let his daring new pieces go to waste.

0:43:24.280 --> 0:43:27.759
<v Speaker 1>The experience had reinvigorated his passion for songwriting, and he

0:43:27.840 --> 0:43:30.120
<v Speaker 1>prepared to enter the studio to begin work on his

0:43:30.200 --> 0:43:33.480
<v Speaker 1>first new album since completing Young Americans nine months earlier.

0:43:34.040 --> 0:43:37.399
<v Speaker 1>He assembled a new band with guitarist Carlos Alamar as

0:43:37.400 --> 0:43:40.279
<v Speaker 1>his trusty musical director, as well as a core crew

0:43:40.320 --> 0:43:43.919
<v Speaker 1>of Dennis Davis on drums George Murray on bass Roy

0:43:44.000 --> 0:43:48.120
<v Speaker 1>Bitten on piano and Earl Slick on guitar. Unable to

0:43:48.160 --> 0:43:51.680
<v Speaker 1>secure his friend and longtime collaborator Tony Visconti at such

0:43:51.680 --> 0:43:54.960
<v Speaker 1>short notice, David tapped Harry Maslin to co produce the

0:43:55.000 --> 0:43:58.640
<v Speaker 1>ad hoc sessions. The result would be the album Station,

0:43:58.719 --> 0:44:03.320
<v Speaker 1>the station they decided to record in l A, opting

0:44:03.320 --> 0:44:07.400
<v Speaker 1>to work at Hollywood's Cherokee Studios. The brand new facility

0:44:07.440 --> 0:44:10.400
<v Speaker 1>boasted a state of the art twenty four track tape machine,

0:44:10.600 --> 0:44:14.799
<v Speaker 1>which offered Bowie imprecedented freedom to experiment on record. In

0:44:14.840 --> 0:44:17.640
<v Speaker 1>addition to the top of the line equipment, Cherokee also

0:44:17.680 --> 0:44:22.160
<v Speaker 1>offered something equally important, a loose, laid back environment. At

0:44:22.160 --> 0:44:25.240
<v Speaker 1>a time when most recording studios still clung to a sterile,

0:44:25.280 --> 0:44:29.480
<v Speaker 1>almost hospital like vibe, Cherokee was homing, with burning incense

0:44:29.520 --> 0:44:32.440
<v Speaker 1>and Christmas lights constantly lit in the chill out lounge.

0:44:32.880 --> 0:44:34.839
<v Speaker 1>David liked it so much that he more or less

0:44:34.880 --> 0:44:38.560
<v Speaker 1>moved in. He worked for days at a stretch. At

0:44:38.600 --> 0:44:40.760
<v Speaker 1>one point he even installed a bed in the studio.

0:44:41.640 --> 0:44:44.400
<v Speaker 1>The room had no windows or clocks, and the concept

0:44:44.440 --> 0:44:48.080
<v Speaker 1>of time began. The melt away. Engineers and studio staff

0:44:48.120 --> 0:44:50.600
<v Speaker 1>would go home to sleep, only to return the next

0:44:50.680 --> 0:44:53.120
<v Speaker 1>day to find David and his players unmoved from the

0:44:53.200 --> 0:44:58.640
<v Speaker 1>night before, still working. Once after one marathon six hour session,

0:44:59.120 --> 0:45:00.960
<v Speaker 1>David was some four until they had to clear out

0:45:01.000 --> 0:45:03.000
<v Speaker 1>of the studio to make room for another band had

0:45:03.000 --> 0:45:06.640
<v Speaker 1>booked a session. Rather than break, it was now nine am,

0:45:06.680 --> 0:45:09.600
<v Speaker 1>after all, he simply steered his band across town to

0:45:09.680 --> 0:45:14.440
<v Speaker 1>another studio, where they carried on work until midnight. It's

0:45:14.480 --> 0:45:16.960
<v Speaker 1>worth noting that after the relative abstinence of the Man

0:45:17.000 --> 0:45:19.920
<v Speaker 1>Who Fell to Earth shoot, David was back on cocaine

0:45:20.000 --> 0:45:23.520
<v Speaker 1>in a big way. According to co producer Harry Maslin,

0:45:23.920 --> 0:45:25.960
<v Speaker 1>he had a habit of laying out piles of white

0:45:25.960 --> 0:45:29.640
<v Speaker 1>powder at various places in the studio, on the mixing console,

0:45:29.920 --> 0:45:33.200
<v Speaker 1>on the piano, and the vocal booth. That way, he

0:45:33.280 --> 0:45:36.320
<v Speaker 1>never had to go far to get another bump. Between

0:45:36.360 --> 0:45:38.960
<v Speaker 1>the blow and the lack of sleep, it's not surprising

0:45:39.000 --> 0:45:41.760
<v Speaker 1>that David claimed to remember almost nothing about the recording

0:45:41.800 --> 0:45:45.160
<v Speaker 1>of Station The Station. In later years, he'd say that

0:45:45.200 --> 0:45:47.600
<v Speaker 1>the only reason he knew was recorded in Los Angeles

0:45:47.880 --> 0:45:50.799
<v Speaker 1>was because that was what he'd read. David had only

0:45:50.840 --> 0:45:53.800
<v Speaker 1>one memory of the session, screaming the sound of guitar

0:45:53.880 --> 0:45:56.280
<v Speaker 1>feedback that he wanted for the opening of the title track.

0:45:57.160 --> 0:46:01.840
<v Speaker 1>Beyond that solitary glimpse, it was all blur. It was

0:46:01.920 --> 0:46:05.440
<v Speaker 1>some of the most unusual, though undeniably creative sessions that

0:46:05.480 --> 0:46:09.799
<v Speaker 1>he'd ever undertaken. In the four years since recording Ziggy Stardust,

0:46:10.040 --> 0:46:13.520
<v Speaker 1>his working methods had completely altered. Gone were the days

0:46:13.560 --> 0:46:16.240
<v Speaker 1>of arriving in the studio with the selection of pre written,

0:46:16.320 --> 0:46:20.600
<v Speaker 1>fully rehearsed compositions. Instead, the songs were born from rough

0:46:20.640 --> 0:46:23.640
<v Speaker 1>sketches that took shape in the studio. Now that he

0:46:23.680 --> 0:46:26.680
<v Speaker 1>built up sufficient star power and was rid of Tony

0:46:26.760 --> 0:46:30.280
<v Speaker 1>to freeze, he wasn't required to squeeze in recordings between

0:46:30.320 --> 0:46:33.320
<v Speaker 1>stretches of tour dates. Now he could take his time.

0:46:34.120 --> 0:46:38.480
<v Speaker 1>David could be more deliberate, considerate, and experimental. He could

0:46:38.480 --> 0:46:40.879
<v Speaker 1>follow the wise words he was famous for dolling out

0:46:40.880 --> 0:46:44.600
<v Speaker 1>to friends in this period. Do the contrary action, do

0:46:44.719 --> 0:46:47.520
<v Speaker 1>something you're not used to, He'd tell them. Let's not

0:46:47.600 --> 0:46:51.960
<v Speaker 1>make it comfortable, Let's make it uncomfortable. David was making

0:46:52.000 --> 0:46:55.680
<v Speaker 1>things uncomfortable for himself and his sleep deprived band, but

0:46:55.800 --> 0:46:59.600
<v Speaker 1>the results were astounding. As author Paul Trunko would observe.

0:47:00.040 --> 0:47:03.560
<v Speaker 1>This was not an exercise and songwriting, It was sculpture

0:47:03.640 --> 0:47:07.560
<v Speaker 1>carved out of sound. In the midst of his bold

0:47:07.640 --> 0:47:11.440
<v Speaker 1>sonic exploration, David became acquainted with the overlord of the

0:47:11.480 --> 0:47:15.040
<v Speaker 1>Old Guard, the chairman of the board himself, Frank Sinatra.

0:47:15.760 --> 0:47:18.760
<v Speaker 1>Old Blue Eyes, dropped in at Cherokee Studios in October

0:47:18.920 --> 0:47:23.560
<v Speaker 1>nine to record staff and other studio clients. Were prepped

0:47:23.560 --> 0:47:26.240
<v Speaker 1>as if it were a state visit. Bowie was briefed

0:47:26.280 --> 0:47:28.840
<v Speaker 1>to be on his best behavior, not to speak unless

0:47:28.880 --> 0:47:32.200
<v Speaker 1>spoken to, and only refer to Frank as Mr. Sinatra,

0:47:32.920 --> 0:47:36.280
<v Speaker 1>but there was no need for such fussiness. Hoboken's favorite

0:47:36.280 --> 0:47:39.640
<v Speaker 1>son was a delight personable and funny, telling old jokes

0:47:39.640 --> 0:47:42.680
<v Speaker 1>and road stories to the assorted staff and crew. He

0:47:42.760 --> 0:47:45.680
<v Speaker 1>supposedly had no idea who David was, but they quickly

0:47:45.760 --> 0:47:48.160
<v Speaker 1>hit it off, even getting dinner together at one of

0:47:48.200 --> 0:47:51.759
<v Speaker 1>Sinatra's favorite Italian hole in the walls. Bowie played him

0:47:51.760 --> 0:47:54.080
<v Speaker 1>a new song he'd recorded, a cover of the old

0:47:54.160 --> 0:47:58.719
<v Speaker 1>Johnny Mathis Chestnut wind is the Wild. His skillful sincere

0:47:58.800 --> 0:48:01.960
<v Speaker 1>take on the standards did Sinatra to a t. His

0:48:02.120 --> 0:48:05.200
<v Speaker 1>enthusiasm for the tracks cemented Bowie's decision to include the

0:48:05.239 --> 0:48:09.880
<v Speaker 1>offbeat choice on station to station. The first song David

0:48:09.920 --> 0:48:12.719
<v Speaker 1>completed for his new project was inspired in part by

0:48:12.760 --> 0:48:17.319
<v Speaker 1>another show business icon, Elvis Presley. It evolved early in

0:48:17.360 --> 0:48:20.120
<v Speaker 1>the sessions when David banged out a two chord vamp

0:48:20.200 --> 0:48:23.160
<v Speaker 1>on the piano. After he and the band fooled around

0:48:23.200 --> 0:48:25.480
<v Speaker 1>with it for a time, they realized that it sounded

0:48:25.520 --> 0:48:27.759
<v Speaker 1>a little too much like the early sixties R and

0:48:27.800 --> 0:48:31.960
<v Speaker 1>B track on Broadway by the Drifters, So Carlos Alamar

0:48:32.040 --> 0:48:35.160
<v Speaker 1>and Earl Slick worked their magic, weaving a funky, early

0:48:35.239 --> 0:48:40.280
<v Speaker 1>Philly soul styled drift that transformed the piece completely. David

0:48:40.280 --> 0:48:42.200
<v Speaker 1>went to the bathroom with a pad of paper and

0:48:42.239 --> 0:48:45.920
<v Speaker 1>emerged minutes later with the lyrics to Golden Years. He

0:48:45.960 --> 0:48:49.160
<v Speaker 1>reportedly first offered the song to Elvis himself, who was

0:48:49.200 --> 0:48:52.040
<v Speaker 1>getting near the end of his sad decade long personal

0:48:52.080 --> 0:48:56.040
<v Speaker 1>and professional slide, but the King rejected the song, so

0:48:56.120 --> 0:48:59.400
<v Speaker 1>Bowie gave it a go himself. He nailed the duop

0:48:59.440 --> 0:49:02.720
<v Speaker 1>flavored vocals and just one tape slipping in and Elvis

0:49:02.800 --> 0:49:06.480
<v Speaker 1>like voice quiver just for fun. Both Angie Bowie and

0:49:06.600 --> 0:49:10.160
<v Speaker 1>David's former girlfriend David Cherry have come Forward, saying that

0:49:10.200 --> 0:49:13.719
<v Speaker 1>they were the angel of David's irrepressively optimistic love song,

0:49:14.560 --> 0:49:17.839
<v Speaker 1>interesting considering the fact that both relationships were either dead

0:49:17.920 --> 0:49:21.160
<v Speaker 1>or dying when David recorded the song. Though the new

0:49:21.200 --> 0:49:24.400
<v Speaker 1>album was far from done, David's label r C A

0:49:24.840 --> 0:49:27.080
<v Speaker 1>was eager for a follow up to his chart topping

0:49:27.160 --> 0:49:30.960
<v Speaker 1>latest single, Fame. They rushed released Golden Years That Ball,

0:49:31.080 --> 0:49:35.240
<v Speaker 1>which crashed into the top ten almost immediately. Bowie promoted

0:49:35.280 --> 0:49:37.960
<v Speaker 1>the song with an appearance on Soul Train that November,

0:49:38.280 --> 0:49:40.800
<v Speaker 1>becoming just the second white act to ever perform on

0:49:40.840 --> 0:49:45.279
<v Speaker 1>the hit TV show Elton John's first Bowie's nerves got

0:49:45.320 --> 0:49:46.759
<v Speaker 1>the better of him and he hit the ball a

0:49:46.800 --> 0:49:51.960
<v Speaker 1>little too hard beforehand, leading the several flubbed takes. Host

0:49:52.040 --> 0:49:55.200
<v Speaker 1>Don Cornelius took Bowie aside and had a fatherly word,

0:49:55.719 --> 0:49:58.239
<v Speaker 1>reminding him how many other singers would give anything for

0:49:58.280 --> 0:50:03.160
<v Speaker 1>the opportunity that he was currently blowing. When sessions for

0:50:03.280 --> 0:50:07.640
<v Speaker 1>Station the Station wrapped in the last weeks of David

0:50:07.640 --> 0:50:10.759
<v Speaker 1>had completed just six songs, but it was the most

0:50:10.760 --> 0:50:14.600
<v Speaker 1>adventurous music he'd made to date. The centerpiece was the

0:50:14.640 --> 0:50:17.880
<v Speaker 1>title track, a ten minute epic that broke just about

0:50:17.960 --> 0:50:22.360
<v Speaker 1>every rule of conventional pop songcraft. The first minute consists

0:50:22.400 --> 0:50:25.040
<v Speaker 1>solely of the sound of a passing steam train panning

0:50:25.040 --> 0:50:28.440
<v Speaker 1>across the speaker, before the howl of Earl Slick's guitar

0:50:28.520 --> 0:50:31.920
<v Speaker 1>feedback emerges from the haze, the perfect welcome to the

0:50:31.960 --> 0:50:36.640
<v Speaker 1>sinister soundscape to come. The introduction is every childhood nightmare

0:50:36.680 --> 0:50:39.880
<v Speaker 1>rolled into one. From the moment you hear Roy Bitten's

0:50:39.960 --> 0:50:43.200
<v Speaker 1>ominous two note figure on a honky tonk piano, it's

0:50:43.200 --> 0:50:47.840
<v Speaker 1>pretty clear this place is definitely haunted. The howling guitar

0:50:47.920 --> 0:50:50.680
<v Speaker 1>shrieks pierced through like a maniacal laugh of an evil

0:50:50.719 --> 0:50:54.520
<v Speaker 1>clown and a dilapidated fun house. George Murray's tight bass

0:50:54.560 --> 0:50:57.640
<v Speaker 1>groove and Dennis Davis's drums barge in like the plotting

0:50:57.680 --> 0:51:01.880
<v Speaker 1>footsteps of a demented zombie. It's offset by delicately Gray's

0:51:01.960 --> 0:51:05.439
<v Speaker 1>guitar strings like individual hairs being raised on the back

0:51:05.480 --> 0:51:08.239
<v Speaker 1>of one's neck. A fair ground or We're gonna peers

0:51:08.239 --> 0:51:11.160
<v Speaker 1>out up nowhere and suddenly you're on a flaming carousel

0:51:11.280 --> 0:51:15.000
<v Speaker 1>from hades, round and round and round. It goes locked

0:51:15.000 --> 0:51:18.800
<v Speaker 1>and seemingly endless repetition. You want off, but there's no exit.

0:51:19.160 --> 0:51:21.279
<v Speaker 1>Just when you think you've adjusted to this new and

0:51:21.400 --> 0:51:25.160
<v Speaker 1>terrible reality, a pair of jarring, rapid fire time changes

0:51:25.239 --> 0:51:30.600
<v Speaker 1>knock you off your feet. Sonically, it's all very interesting.

0:51:31.160 --> 0:51:34.480
<v Speaker 1>The lockstep rhythm is indicative of David's growing interest in

0:51:34.480 --> 0:51:38.839
<v Speaker 1>the motoric industrial sounds of German bands like Craftwork and Noi,

0:51:38.960 --> 0:51:42.160
<v Speaker 1>blended with tricks glean from Philly soul and Detroit funk.

0:51:43.520 --> 0:51:45.840
<v Speaker 1>So you aren't having these thoughts when you're listening to it.

0:51:46.719 --> 0:51:50.080
<v Speaker 1>All you know is this music is coming to get you.

0:51:52.600 --> 0:51:55.760
<v Speaker 1>It's more than three minutes, the length of most songs

0:51:55.960 --> 0:51:59.920
<v Speaker 1>before David's voice can be heard. He's no longer Ziggy Stardust,

0:52:00.320 --> 0:52:04.680
<v Speaker 1>or David the Soul Man, or even Thomas Jerome Newton. Instead,

0:52:04.760 --> 0:52:08.839
<v Speaker 1>he's unveiling his latest persona, The Thin White Duke, a

0:52:08.880 --> 0:52:13.440
<v Speaker 1>monstrous physical embodiment of paranoia and megalomania wrapped in the

0:52:13.640 --> 0:52:17.440
<v Speaker 1>icy exterior that falls somewhere between a nineteen thirties European

0:52:17.520 --> 0:52:22.520
<v Speaker 1>cabaret star and a nineteen fifties rat packer. Dapper yet deadly,

0:52:23.640 --> 0:52:26.919
<v Speaker 1>the character has been alternately described as a mad aristocrat

0:52:27.239 --> 0:52:32.080
<v Speaker 1>and amoral zombie, or an emotionless aryan superman. He was,

0:52:32.200 --> 0:52:37.000
<v Speaker 1>Embowie's own words, a nasty character. Indeed, fans would get

0:52:37.040 --> 0:52:41.560
<v Speaker 1>to know him better soon enough. The precise meaning of

0:52:41.640 --> 0:52:45.480
<v Speaker 1>Station the Station is puzzled listeners for decades. Many have

0:52:45.560 --> 0:52:49.480
<v Speaker 1>commented on the songs quasi religious overtones, picking apart the

0:52:49.520 --> 0:52:54.320
<v Speaker 1>mishmash of references to Kabbala, occultism, and other esoteric philosophies

0:52:54.360 --> 0:52:57.840
<v Speaker 1>and faiths. David himself would say that the title Station

0:52:57.880 --> 0:53:00.759
<v Speaker 1>the Station refers not to the train sound effects, but

0:53:00.880 --> 0:53:05.120
<v Speaker 1>the Christian stations of the Cross. However, the travel metaphor

0:53:05.160 --> 0:53:07.800
<v Speaker 1>does seem to be an apt one, as David continued

0:53:07.840 --> 0:53:12.640
<v Speaker 1>on his wayward spiritual search. Contrary to the lyrics, this

0:53:12.719 --> 0:53:14.960
<v Speaker 1>does appear to be a side effect of the cocaine.

0:53:15.719 --> 0:53:19.040
<v Speaker 1>Freud's magical substance had sent David on an express train

0:53:19.120 --> 0:53:22.440
<v Speaker 1>to Hell. On some level, perhaps that was the intent.

0:53:23.360 --> 0:53:26.760
<v Speaker 1>During the same period, Bowie outlined his interest in quote

0:53:26.960 --> 0:53:29.839
<v Speaker 1>watching artists crack open a bit and seeing what they're

0:53:29.880 --> 0:53:34.440
<v Speaker 1>really like inside. Presumably for this reason. He'd admired people

0:53:34.480 --> 0:53:38.560
<v Speaker 1>like Iggy Pop, Lou Reid, Brian Wilson and Pink Floyd's

0:53:38.600 --> 0:53:42.880
<v Speaker 1>Sid Barrett, and even the ziggy inspiration, Vince Taylor, men

0:53:42.880 --> 0:53:46.799
<v Speaker 1>touched with fire, who had suffered for their music. Most

0:53:46.840 --> 0:53:50.280
<v Speaker 1>of David's work had to this point come from imagination

0:53:50.560 --> 0:53:54.200
<v Speaker 1>rather than a private torment. But during those long nights

0:53:54.200 --> 0:53:58.719
<v Speaker 1>in l A and the Fall, David Bowie knowingly or

0:53:58.800 --> 0:54:02.759
<v Speaker 1>unknowingly gamld his soul the probe for new artistic territory.

0:54:03.560 --> 0:54:05.640
<v Speaker 1>Within just a few years, he looked back on much

0:54:05.640 --> 0:54:07.759
<v Speaker 1>of what he said during the Station the Station era

0:54:07.840 --> 0:54:11.560
<v Speaker 1>as quote, the incredibly insane mutterings of a very hurt,

0:54:11.840 --> 0:54:16.359
<v Speaker 1>broken mentality. He cast his mind back to his half

0:54:16.360 --> 0:54:20.920
<v Speaker 1>brother Terry, locked away in an institution for his schizophrenic visions.

0:54:21.680 --> 0:54:24.520
<v Speaker 1>Now David was tortured by a similar horde of faces.

0:54:25.239 --> 0:54:28.400
<v Speaker 1>They were with him on stage, in the studio, and

0:54:28.400 --> 0:54:32.320
<v Speaker 1>in his home. I was definitely a fractured person, David

0:54:32.320 --> 0:54:36.320
<v Speaker 1>would say, confounding myself with images and characters that I found.

0:54:36.320 --> 0:54:39.040
<v Speaker 1>I was living with a combination of that in a

0:54:39.120 --> 0:54:41.920
<v Speaker 1>year and a half of fairly hard drugs. I was

0:54:41.960 --> 0:54:45.200
<v Speaker 1>being threatened by my own characters, feeling them coming in

0:54:45.239 --> 0:54:47.560
<v Speaker 1>on me and grinning at me, saying we're going to

0:54:47.680 --> 0:54:52.200
<v Speaker 1>take you over completely. I thought, this is it. Terry

0:54:52.600 --> 0:54:59.400
<v Speaker 1>I'm just about to join you. Off the Record is

0:54:59.440 --> 0:55:02.279
<v Speaker 1>a production of I Heart Radio. The executive producers are

0:55:02.320 --> 0:55:05.400
<v Speaker 1>Noel Brown and shan Ty Tone. The supervising producers are

0:55:05.440 --> 0:55:08.319
<v Speaker 1>Taylor chicogn and Tristan McNeil. The show is written and

0:55:08.440 --> 0:55:11.480
<v Speaker 1>hosted by me Jordan run Tug and edited, scored, and

0:55:11.600 --> 0:55:14.919
<v Speaker 1>sound designed by Tristan McNeil. If you liked what you heard,

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