David Bowie come non l'avete mai visto prima, raccontato da testimonianze e foto inedite di amici e collaboratori degli anni giovanili. Dal 1947, anno di nascita, al 1973, l'anno che segna la sua consacrazione al mondo intero attraverso la nascita e la morte di Ziggy Stardust. L'ardua ascesa al successo di un uomo divenuto una leggenda, in un travolgente viaggio musicale nel tempo.
Regia: Rita Rocca
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Regia: Rita Rocca
#Musica #DavidBowie #Bowie #Film #Docufilm #DocITA #Biografico #Crime #TrueCrime #Delitti #Misteri #Killer #SerialKiller #ColdCase #Cronaca #CronacaNera #Mistero #Delitto #Documentari #Documentario #Docu #Doc #DivinumCrime
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00:12Our free course www.mesmerism.info
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01:12Our free course www.mesmerism.info
01:21If Mr. Haywood Stanton Jones hadn't bought his son a saxophone that Christmas of '59, we might not have
01:29never heard of David Bowie.
01:50The new manager decided that the band's name, David Jones and the Lower Third, no longer worked because
02:00there was already a famous one called Dave Jones.
02:04Then David said, I'll call myself Bowie, and there was no discussion. Then I said, oh yes, I understand.
02:14Bowie, Jim Bowie, like the knife.
02:18Dennis, on the other hand, was less diplomatic and said, what a stupid name.
02:35It was October 1966 when David Bowie entered the studio to record his first 45 rpm with the
02:42D-Ram Records.
02:43At 19, he already has a strong theatricality, but artistically he doesn't yet know who he is.
02:49It was inspired by a very popular English actor and singer-songwriter in those years.
02:53What kind of clown am I?
02:57What do I know about love?
03:00Why can't I cast away this mask blind in my life?
03:06Tony Newley always sang in a very London Cockney accent.
03:11And Bowie, this was a big influence from Bowie a la Principi.
03:16Later he lost this strange accent.
03:23I'm not quite sure if I'm a lion or a songwriter or a singer, or do I want to go
03:27back to painting again?
03:31I'm sometimes asked about David's personality.
03:33I am sometimes asked to talk about David's personality.
03:38I found him to be a very warm, tender and thoughtful person.
03:43But underneath there was also a cold determination.
03:46A hardness that ran parallel.
03:50He was very, very thoughtful and tender.
03:53But extremely focused on his career.
03:56Nothing was to interfere.
03:58And nothing was really supposed to interfere with that.
04:14In the late 1940s, Brixton was not the alternative London neighbourhood we know today.
04:21The streets and houses devastated by bombings
04:24were beginning to be populated by Afro-Caribbean immigrants.
04:27And it's right here, just steps away from the Electric Avenue Market,
04:31in a street like many others, in a house like many others,
04:34that on January 8, 1947, David Robert Jones was born.
04:41But it wouldn't have been easy to become David Bowie.
04:48This is Stansfield Road, the street where David Jones was born.
04:53This is his real name.
04:54That's the house.
04:55Street on the right where he lived with his mother Peggy,
04:59with his father Haywood and stepbrother Terry.
05:02It's exciting to think that it all started from here,
05:06in such a popular street, in an ordinary old house.
05:10This is where it all started.
05:23In those years England was still in the midst of the post-war depression.
05:28David's father recently returned from the front
05:31and is employed by a children's charity.
05:36In 1953 the Jones family moved to the suburbs of Bromley.
05:41David's family moved here from Brixton,
05:45a safer environment, surrounded by greenery, with lots of trees.
05:49David lived at number 4 of this house for 5 years.
05:54It's a house with only two bedrooms
05:56and David invited his friends to play in his bedroom.
06:07This is Burnt Ash Elementary School.
06:10At 10 years old, David was already good at playing the flute.
06:13He was part of the school band.
06:16He was a bit of a lazy student,
06:18but he made himself loved by the teachers.
06:20He was able to get by with little study.
06:46Mother, Margaret Mary Barnes,
06:49he works as an usher in a cinema
06:51and already has two children from previous relationships,
06:54a little girl given up for adoption
06:56and a son, Terry,
06:58who will soon show signs of mental illness.
07:15We often talked about our families,
07:17but David was rather reserved in talking about his.
07:21I know he had a half-sister who lived in Egypt.
07:23It seemed like a strange thing,
07:25but he never told us he had a brother.
07:33He was afraid of going crazy
07:35because his brother Terry was crazy
07:38and there had been other family members too
07:41before him mentally ill people
07:43and he was scared.
07:45And his poor brother Terry
07:47he met a terrible end.
07:49He threw himself under a train.
07:51This suffering for the brother
07:54it was very deep in Bowie.
07:58And hence his desire to escape.
08:02and also to become a rock star.
08:15Bowie was a very sincere person.
08:20He sang about himself,
08:21of his hopes and fears.
08:32Brother Terry has a great influence on David
08:35and he introduced him to the writers of the Beat Generation,
08:39but also to jazz and rock'n'roll.
08:47Little Richard was really the only one
08:49because he was the first one I saw perform
08:52about something.
08:53My mother took me to see
08:55at my insistence
08:56Jukebox Jamboree
08:58which was called here.
08:59He had a song in there
09:01and then he had another song
09:02in rock, rock, rock.
09:06And it was the sass that was behind him
09:09that impressed me
09:10more than anyone else.
09:15In this England,
09:16black and white,
09:17a dark, desolate place
09:19who still had to get back on his feet
09:21after the end of the war,
09:23comes from another country,
09:25but it could very well be
09:26another planet,
09:28Elvis Presley and rock'n'roll.
09:30Something so involving.
09:41I made them understand
09:42that perhaps another world
09:44it was possible.
09:52This is Ravenswood School.
09:54She was known as
09:55Bromley Technical College.
09:57It was a school
09:58which encouraged
09:59the performing arts.
10:00A rather unusual thing
10:02for schools
10:03in the early 60s.
10:04one of his teachers
10:06it was Mr. Frampton,
10:08father of Peter Frampton,
10:10another rocker from Bromley,
10:13future megastar.
10:18David played his first concert here
10:20during a school party.
10:23He put together a band
10:24called The Conrads,
10:25where only the saxophone was played.
10:33and here he had the eye accident.
10:37It ended up in a fight
10:39with his best friend,
10:40Joe Jundlewood,
10:41because of a girl.
10:43It was a punch
10:44causing his eye problem.
10:46He stayed for six months
10:48in the hospital
10:49and came out with this look
10:51definitely unique.
10:55The punch causes him
10:57left pupil paralysis.
10:59A few years later
11:00Bowie would have transformed
11:01eye damage
11:02in a peculiarity
11:03of his character.
11:07This is the accepted
11:09of the first recording
11:11by Bowie,
11:12Isa Jane,
11:13credited to David Johnson
11:14Kimbees
11:15of 64.
11:18It's the very first decision
11:21because the accepted
11:21it's the first test
11:23I listen
11:24that a record industry does.
11:26It was recently
11:27a copy was beaten
11:28at 5,000 euros
11:29and therefore presumably
11:31I would say that this
11:32it should be worth more.
11:41When I met
11:43for the first time
11:43David Johnson
11:44I was 14 years old
11:46he could have ended up in jail.
11:51He was 17 years old
11:53he was on stage
11:54with boots
11:56of chamois
11:56and a white shirt
11:58in a puff.
11:59He looked like Robin
12:00and he had yellow hair
12:02but really yellow
12:03and long.
12:04Nobody wore hair
12:06so in 64.
12:07Nobody.
12:20I had very long hair,
12:22blond,
12:23oxygenated.
12:24The show is over
12:25I was backstage
12:26and I brushed my hair.
12:28He has arrived,
12:29he took the brush,
12:30he started combing my hair
12:32and then he asked me
12:33can I come to your place tonight?
12:35And of course I said
12:36Yes.
12:55In the morning we met
12:57my parents
12:58that were coming out
12:58from the bedroom
12:59and I told him
13:00he is David Jones,
13:02he gave him his hand
13:04and he gave it to himself.
13:04and then my father said
13:06David,
13:07I thought you had a friend
13:08to sleep with you.
13:18It's the second half
13:20of the sixties,
13:21these are the years
13:22of Swing in London,
13:23of Carnaby Street
13:24and Mary Quant.
13:26Swing in London
13:27it was fabulous.
13:29We used to go to Carnaby Street
13:31and no one had ever thought
13:33to go there first.
13:34If you wanted to be alternative
13:36you had to go there.
13:38And Bowie himself
13:38he never wore clothes,
13:41he was wearing costumes.
13:51to the sound of the beat
13:52and rock
13:53The Beatles
13:53and the Rolling Stones
13:54they fill the rooms
13:55fashionable,
13:56while on the notes
13:57by My Generation
13:58of the Who
13:58young English people
13:59they break with the models
14:00of the past.
14:01The music was changing,
14:04LSD was coming,
14:06people were smoking joints.
14:08It was a new life.
14:10If you wanted, you could go out wearing makeup.
14:12Not many people
14:13they did it,
14:14I mean men.
14:38It was he who had the idea
14:39to put on makeup
14:40to go on stage
14:41because we were looking
14:42to find ideas
14:43to be different.
14:44I give him a great idea.
14:46I thought he meant
14:47clown makeup
14:48with a big mouth
14:49and the big ball nose,
14:51but of course
14:51he meant something completely different.
14:53And clowns,
14:54which instead he had understood immediately
14:55what he meant
14:56David,
14:56he's not even dead.
14:58And that's it.
14:59And that was the purpose of this.
15:05In search of success,
15:06David keeps changing bands.
15:08In 65 he published
15:10two 45s
15:11with the mods group
15:12by The Lower Third.
15:14They play in clubs,
15:15but they don't have a penny.
15:20To go and play
15:21we were traveling in an old ambulance
15:23that he had bought
15:24Graham's dad
15:25for the group.
15:26Dennis and Graham
15:27they sat in front
15:28David and I behind.
15:30And for us it was like a hotel
15:31because we never had money
15:33to sleep somewhere.
15:34And so me and David
15:35we slept in the back of the ambulance
15:37above the amplifiers.
15:40All our equipment
15:41they were in the back of the ambulance.
15:43And Dennis and Graham
15:44they slept on the front seat
15:45as best they could.
15:57In the end
15:58we managed to get
15:59a BBC audition.
16:01We brought all our pieces,
16:02except one which was James Brown's
16:04and another one that really
16:05he released perplexed.
16:07It was a piece from a musical
16:09which was called Cam Camini,
16:11which I thought was a little strange.
16:13But we had done it
16:14on the Marquee Club stage.
16:20David was always jumping up
16:21with these strange things to do,
16:23but he liked to experiment.
16:25He was looking for his way,
16:26he expressed his creativity.
16:27Anyway,
16:28at the end this hearing
16:30at the BBC
16:30it was a total failure.
16:47Those early years
16:48they were fun.
16:50He listened to my songs
16:52who played the guitar
16:54and I listened to his songs.
17:14I used to go to the Green Room with him.
17:16of Ready, Steady, Go.
17:18It was the most important TV program
17:19in that period
17:20where many VIPs went.
17:22David was very good
17:24to make contact.
17:26I was having fun,
17:28but Bowie was there
17:29to try to understand
17:31how to take the next step.
17:37Hour Third and Bowie
17:39they will take soon
17:40separate roads
17:41after an argument
17:42with the manager.
17:43But David
17:44he already has it ready
17:45a new band.
17:53we thought we could do it
17:54to break through together.
17:56But the manager
17:56he was carrying
17:57David far from us.
18:00He told us that that evening
18:02he wouldn't have paid us
18:03because he needed it
18:05of money
18:05to advertise.
18:08So we said
18:09no concert
18:10without money.
18:11And the manager said
18:13it's over.
18:18Then we discovered
18:19what was happening.
18:20It was already planned
18:21that David
18:22would have founded
18:22a new band
18:23only that we
18:24we didn't know anything.
18:36Bowie was a kind of
18:38of creature
18:38of the 60s
18:39but he also knew
18:40that he wanted to look for
18:41to have the same
18:42Rolling Stones impact.
18:44he was obsessed
18:45from Rolling Stones
18:45and by Mick Jagger
18:46in particular.
18:47He knew that to have
18:48the same impact
18:49he had to do things
18:50in a different way.
18:51There is an idea
18:52of television.
18:53There is an idea
18:57of television.
18:58Bowie was addressing
19:01to the new generations
19:02that they wanted
19:02something new
19:03and he did it
19:04through
19:05a different type
19:06of sexuality
19:06compared to that
19:07by Mick Jagger.
19:09Androgynous.
19:10Is he gay?
19:11Isn't he gay?
19:12That kind of confusion.
19:23it was terrifying
19:25attractive to anyone
19:26women, men.
19:28She wasn't a beauty
19:29classic.
19:30Identical as a vampire
19:32very very thin
19:33people were fascinated
19:35from his body
19:36thin and pale.
19:39It was glamorous
19:40in an unhealthy way.
19:44He was also a very good
19:46conversationalist
19:46intelligent.
19:48At that time
19:48released
19:49some fantastic interviews.
19:50He was a good actor.
19:54He was reciting on stage
19:55and often also
19:56out of the scene.
19:57But I knew him
19:59when he wasn't acting
20:00and that's how it is
20:01that I remember.
20:02When he was hanging around
20:03for home
20:04doing nothing
20:05or wrote songs.
20:08David was coming
20:08often singing
20:09at my house.
20:11David and Bolan
20:11they came together.
20:12Bolan
20:13he was coming
20:13and hang out
20:14together.
20:24Mark and David
20:26they were very good friends.
20:28Bolan
20:28he was no longer successful
20:29of David at the beginning.
20:31He had it all
20:32the oaks
20:33and the makeup
20:34with a little glitter
20:35but David
20:36took inspiration
20:37to move forward.
20:39Mark
20:39it has arrived
20:40only at a certain point
20:41while David
20:42he went further.
20:46Glitter rock
20:47it's something
20:48which has begun
20:49by Mark Bolan.
20:50It seems to me
20:51that its inventor
20:51if it were Mark Bolan
20:52which among other things
20:53he did it very well
20:54and it was one
20:55of my favorites.
20:57With him
20:57especially towards the end
20:59of his life
20:59I struck up a deep friendship
21:01and today
21:02I regret it.
21:04Very often
21:04the thought of him
21:05it comes to mind.
21:07It was a thing
21:08in which Mark
21:08he was very involved.
21:10In that same period
21:12I was involved
21:13instead in the parody
21:14in melting
21:15inside the rock
21:16my attitudes
21:17staff
21:17with a kabuki
21:18Japanese
21:19very marked
21:19and with mime.
21:23Bolan
21:23has never reached
21:24the level
21:25where people
21:26he thought it was equal
21:27with Bob Dylan
21:29or Mick Jagger
21:31while on Bowie
21:32they wrote
21:32treatises and books.
21:34He had a pin
21:35towards
21:36of the young people
21:36intellectuals
21:37that Bolan
21:38he never succeeded
21:39to have.
21:39that Mark Bolan
21:41never reached.
21:50In June 67
21:51Bowie finally releases
21:53his first album
21:54that will sell
21:55very few copies.
21:56That record though
21:57he leads it
21:58on the steps
21:58of the mime dancer
21:59Lindsay Camp.
22:01Attending one of his shows
22:03he discovers that
22:04the musical accompaniment
22:05of the show
22:05it's one of his songs.
22:07so he goes knocking
22:08to the dressing room
22:09of Camp.
22:12Before the show
22:13I was playing
22:14my piece
22:15favorite
22:15from the album
22:16When I Live My Dream
22:18and after the show
22:19I arrive
22:20he knocked on my dressing room
22:21and when you open
22:22the door
22:23to the nine
22:23I thought
22:24oh my god
22:25this is
22:26the archangel
22:26Gabriel.
22:34When I met Bowie
22:36it was very
22:37eluded
22:37from his career
22:38as a singer
22:40that didn't take off.
22:42His manager
22:42Ken Pitt
22:43it had been tried
22:44in all ways
22:45but
22:45it didn't work.
22:47David
22:48he didn't see
22:48at all.
22:50As
22:50he was thinking
22:51seriously
22:52to study
22:53for a couple
22:54of years
22:54to become
22:55Buddhist monk.
22:59At some point
23:00he wanted to become
23:01Buddhist
23:02but the monk
23:02he told him
23:03you have to go
23:04to play
23:04rock and roll
23:05it would have been
23:06happy
23:06to meditate
23:07for the rest
23:08of life.
23:14Bowie has a
23:15great ambition
23:16but his research
23:17it is not motivated
23:17only from desire
23:18of fame.
23:19What moves him
23:20it's a deep
23:21thirst for knowledge
23:22both cultural
23:23how spiritual.
23:25He is interested
23:25to art
23:26at the forefront
23:27literary
23:27of the Beat Generation
23:28but also
23:29to esotericism
23:30and religions.
23:32The music
23:33will become
23:34his house
23:34and the notes
23:35they will be
23:36the colors
23:36of his frescoes.
23:50He didn't care
23:52lead a normal life
23:53he wanted something more
23:54he wanted to become
23:55a superman
23:55that is, he didn't want to be
23:56an average man.
24:04It is always present
24:05in the texts
24:05of his songs
24:06this will
24:09to rise.
24:18which was titled
24:20and let's start working
24:23to a little show
24:24Together
24:24which was titled
24:25Pierrot in turquoise.
24:27Pierrot in turquoise.
24:32when you see
24:34the show
24:35at the Mercury Theater
24:36he had tears
24:38dark
24:38it was the classic
24:40trick
24:40style
24:40Marcel Marceau
24:41then he was also interested
24:44at the Kabuki theater
24:45with the face
24:46black and white
24:47and I think it was
24:49very influenced
24:50from INSEE.
24:51I was sitting
24:53in this little theater
24:54two
24:55three meters
24:56where he was coming from
24:58the mime
25:06see David
25:08in a different way
25:09from when he sang the blues
25:10become
25:11suddenly
25:12almost effeminate
25:13this was
25:15a surprise
25:15for me
25:16David was having fun
25:18to act
25:19in the role
25:19of the fairy
25:20it was a role
25:21which he had to recite
25:22few people
25:24see the show
25:33ours was
25:35a romantic story
25:36but like every relationship
25:38at the start
25:39there is passion
25:40but then
25:40it ended badly
25:42in fli
25:47we were listening
25:48Together
25:49Judy Garland
25:50Edith Piaf
25:51and other musicians
25:52nicknamed
25:53Caffè Music
25:54we felt so much
25:56Jacques Brel
25:57the same
25:58Pink Floyd
25:58Donovan
25:59Dylan
26:11we were going to see
26:12many performances
26:13of the underground
26:14Londoner
26:15at the time
26:15there was on stage
26:17a show
26:18titled
26:18Jacques Brel
26:19is alive
26:20and well
26:21and living in Paris
26:22it was a musical
26:23built
26:24with the songs
26:25by Brel
26:26and had
26:26a huge one
26:27influence
26:28on Bowie
26:36I think that work
26:38that Lindsay
26:38he did with David Bowie
26:40he really prepared
26:41the stage
26:42for David
26:42for a whole series
26:44of alter ego
26:44who created
26:45after Ziggy Stardust
26:48with Lindsay
27:01I think that
27:01Camp
27:02it was a case
27:02special
27:04why Bowie
27:04he learned a lot
27:05with other men
27:08it was just sex
27:09but Lindsay
27:10he had something
27:11that David wanted
27:12and it was
27:13the talent
27:14and David
27:16he was very good
27:17to take
27:17all that
27:18which he needed
27:20to move forward
27:28the Insee Camp
27:29becomes a mentor
27:30and a source of new inspiration
27:32for Bowie
27:32their collaboration
27:34but
27:34it stops
27:35when David
27:36he is fascinated
27:37from a new muse
27:38red-haired
27:41we were still in love
27:43we made plans
27:45we arrive at the television studio
27:47and the stage partner
27:49by David
27:50she was a beautiful woman
27:52whose stage name
27:53era
27:54Hermione Fatinger
27:56fascinating
27:57she
27:58it was a typical
28:00English girl
28:01terribly English
28:03classical dancer
28:05and the two of them
28:06they went immediately
28:08agree
28:09I told myself
28:09oh oh
28:10here we go again
28:11after the tests
28:13let's leave the studio
28:14and they left
28:16hand in hand
28:17towards the subway
28:18and I
28:19I was dragging myself along
28:20behind them
28:29miserable on
28:29a small group
28:30called
28:31Feathers
28:33horrible
28:39she had a voice
28:42sugary
28:42he was warbling
28:43with this expression
28:46absolutely
28:47enchanting
28:47they played the guitar
28:49and they danced together
28:56the story with the dancer
28:58and the group
28:58they are short-lived
28:59meanwhile DRAM Records
29:01terminate the contract
29:02by Bowie
29:02why doesn't it sell records
29:04and David finds himself
29:05without a label
29:06and without work
29:09becomes a meteor
29:12in the summer of 69
29:14meet a journalist
29:15from the Sunday Times
29:16and moves
29:17to live in his house
29:18in Beckenham
29:19together they found
29:20a community
29:21for young artists
29:22underground
29:25it happened
29:27because a lot of people
29:28in Beckenham
29:28he wanted it to happen
29:30it wasn't a thing
29:31that David and I
29:32we have imposed
29:33to the rest
29:34of our community
29:35that had grown
29:36around the folk club
29:37that we had organized
29:39at the Tritans pub
29:40Sunday evening
29:52this was the Tritans pub
29:54a very famous pub
29:56among Bowie fans
29:58and he worked here
29:59to the album Monkey Dory
30:01and the man who sold the world
30:02Here you are
30:03this is the commemorative plaque
30:06this is the commemorative plaque
30:11this is the commemorative plaque
30:35at the end of the 1960s
30:36and you had a perspective
30:38very avant-garde radical
30:40what he had to do with
30:41with people
30:42that really
30:42they came in practice
30:44the hippie mantra
30:45the hippie mantra
30:50love, peace and freedom
30:52and I think I can say with certainty
30:55that we have touched
30:56the lives of many people
30:58it's in that period
30:59who knows Angela Barnett
31:01an American girl
31:03which joins immediately
31:04to the group
31:04of the artistic laboratory
31:06David and Angela
31:08they will get married
31:09in March 1970
31:10and a year later
31:12she will give him a son
31:19Zoe
31:20Angie helped a lot
31:22I bought the clothes
31:23he found the woman Susie
31:26what he did
31:27red hair
31:29every time that
31:31David wrote
31:32a part of a song
31:34Angie always said
31:35yes, fantastic, fantastic
31:37gave energy
31:41optimism
31:41if you can say
31:42which was always
31:44for him
31:45the other thing
31:56which had an impact
31:57strong on the community
31:59local
31:59it was street theater
32:00the tests were done
32:02in the park
32:03and it had been
32:04above all
32:04an idea by David and Angie
32:06the two of them
32:07they were walking down the street
32:08Beckenham Main
32:09entertaining people
32:11who went shopping
32:12on Saturday morning
32:13in a way
32:14very unconventional
32:15and bizarre
32:16the thing was appreciated
32:18from everyone
32:23we are in Beckenham
32:26we are looking for
32:27the park
32:28where David
32:28organized
32:29the famous
32:30Free Festival
32:30in 1969
32:32playing on a stage
32:35of orchestra
32:35which is still there
32:41we are in the park
32:42of Beckenham
32:54over there
32:54is where he performed
32:55for the first time
32:56Bowie
32:57in a concert
32:58of charity
32:59in favor
33:00of the Arts Lab
33:01organized
33:02with his partner
33:03of the time
33:04Mary
33:13the atmosphere
33:17that was breathed
33:18at the Free Festival
33:19at the end of August
33:20of 1969
33:21he wasn't alone
33:23that of a music festival
33:25it was not a question
33:26just the performance
33:27by David Bowie
33:28with some musician friends
33:29but it also reflected
33:31the ideals of peace
33:32and love
33:33of those years
33:34it was the genuine expression
33:36of all the talent
33:37present in the Arts Lab
33:47they invited a lot
33:48of big names
33:49but at the time
33:50they were not interested
33:51to David
33:52Like this
33:52he performed alone
33:54there are a couple of pieces
33:55which then ended
33:56in the album
33:57Space Oddity
33:58which he was working on
34:00in the house
34:00by Haddon Hall
34:03the festival
34:04had an atmosphere
34:05wonderful
34:06and unique
34:07that David
34:08immortalized
34:09in the song
34:09Memory of the Free Festival
34:32in 69 Bowie is disappointed
34:35from his career
34:35of musician
34:36which hasn't taken off yet
34:37lives a sense
34:38of isolation
34:39psychological and artistic
34:41a condition
34:42who feels
34:43to bring it together
34:43to history
34:44of the protagonist
34:45of 2001
34:46A Space Odyssey
34:47by Stanley Kubrick
34:48the film
34:49suggests to him
34:50the character
34:51of the astronaut
34:51Major Tom
34:52hero
34:53of a song
34:54destined to become
34:55a hit
34:56timeless
35:13I met
35:15David Bowie
35:15for the first time
35:16in 68
35:18David was there
35:19with Tony Bisconti
35:20and with Gus Dungeon
35:21and they introduced us
35:23and that was
35:24our first meeting
35:26very fast
35:27in the theater
35:27where I did the rehearsals
35:30Tony told me
35:31work tonight
35:32I answered
35:33No
35:34and he
35:34you can come all the way to London
35:36at Trident Studios
35:37I asked
35:38Why
35:38because we have
35:39a desperate need
35:40of a mellotron
35:41on the new single
35:42by David
35:42but we can't
35:44to grant it
35:46I said
35:47OK
35:47I went all the way to London
35:49and in the study
35:49there was a mellotron
35:51they had already tried
35:52the basics
35:53they made them feel
35:54and I played there
35:55above the mellotron
35:57we would have worked on it
35:58half an hour
36:14July 20, 1969
36:16the whole world
36:17follows with bated breath
36:19the mission
36:19of Apollo 11
36:20and the landing
36:21of the first man
36:22on the moon
36:23Space Oddity
36:24becomes the soundtrack
36:25of television broadcasts
36:27British
36:27dedicated to that event
36:30the train
36:31enters the rankings
36:32but the album
36:33he won't give it to him yet
36:34the success
36:38David tells me
36:39I have some songs
36:40on which I would like
36:41add the plan
36:42are you up for it?
36:43certainly
36:44and so I came back
36:45a few days later
36:46and I played
36:47Wild Eye Boy
36:48from Free Cloud
36:49memory of a free festival
36:51we understood each other immediately
36:52and I loved his songs
37:07I think it's a song
37:09really fantastic
37:10for some reason
37:11both as dispersed
37:12among all the other classics
37:14by Bowie
37:14for me
37:15that's a real song
37:16classical
37:17after Life on Mars
37:18it's probably
37:19my favorite song
37:24in the spring of 70
37:26Bowie tries again
37:27start a new band
37:29The Hype
37:29I am with him
37:30Tony Visconti
37:31and Nick Ransom
37:32David wants a new look
37:34and chooses the designer
37:35Freddy Buretti
37:37I wasn't a natural performer
37:39I didn't feel like it
37:39to make it to the summer
37:40but I felt
37:41very forced
37:42go to the summer
37:43with someone
37:43and it seems to me
37:44a decision
37:46to continue doing
37:47This
37:49David is in person
37:50Rainbow Man
37:51the group goes on stage
37:52with funny costumes
37:53from superheroes
37:54in total indifference
37:56of the public
37:56despite the sound
37:58avant-garde
37:59David was an experimenter
38:03he wanted to experiment
38:04with music
38:05and with the songs
38:06to bring them
38:07at a higher level
38:24I think it was
38:25absolutely crucial
38:26when he found
38:27Tony Visconti
38:28because he needed it
38:29of someone
38:30that he understood
38:30what he wanted
38:31and Tony
38:32he was the right person
38:33I was the person
38:34the hype will be short-lived
38:40Visconti will take
38:41other roads
38:42for a while
38:42but Ronson
38:43will stay with Bowie
38:44and it will be a
38:45of the keys to success
38:49Meanwhile, Bowie, Angela and the band move to live in an old Victorian villa in
38:54Kent. The third album is released, but it's panned by critics because it's too dark. David understands.
39:01that to achieve success he needs a group and a guitarist who gives a
39:06turning point in his music, Mick Ronson, and a new manager.
39:17One time he called me and said, I found the man who I think is perfect for
39:26us.
39:27This was Tony De Vries, the manager, and the moment that De Vries and Bowie together changed their lives.
39:35by Bowie.
39:41When in Spiders from Mars he arrived at Haddon Hall, the house which is a bit strange, but without
39:47a lot of money, our manager De Vries gave David Ange some money to live on.
39:57David is at a point in his life where he is fascinated by the United States, by the musical underground
40:02New Yorker and then he heard about Andy Warhol from his manager Ken Pitt.
40:12So in 71 he left to conquer America, but the trip was a flop and the icon of
40:18pop art will prove to be a disappointment.
40:21David and I had the same manager who one day told us, no one can become someone
40:27without going to America, and once in America David was very influenced by Pork, the show
40:33by Warhol.
40:34Pork.
40:34Andy Warhol wrote this song for me, I don't know why, it's completely non-emotional,
40:57it's completely abstract, like an Andy Warhol painting.
41:07New York was a hive of creativity in those years, Bowie was struck by the readings of Iggy Pop
41:13which will be the yeast for the creation of the Ziggy Stardust character.
41:27Especially in America there were those who were suspicious of him, they thought he was just
41:32pretending to be a rocker, they wondered where is the authenticity, the sincerity, he has not
41:39copied by the Velvet Underground, it's funny that today in Britain it is considered a treasure
41:44national, worldwide, the Dylan of the seventies, but then there were those who hated him.
42:00When David contacted me again about Hunky Dory, he called me at my house and asked me to come over.
42:10to visit him. His son was just born and I went to Kent, to this house that for me
42:18It was like a palace. In fact, I called it Beckenham Palace and he had a beautiful plan.
42:26in the Minstrel's Gallery. He started playing and said to me, I want to make an album for
42:33guitars, but then I thought about putting in some piano songs and then he played me
42:42some songs and I immediately thought, these are beautiful songs, if everything goes well it will be an album
42:51who will live forever.
43:12In December 1971, the fourth album, Hunky Dory, was released and finally received acclaim.
43:18from the public and critics, and the contract with a major label like RCA arrives.
43:27New manager Tony DeFries pushes for a metamorphosis of the Bowie character.
43:38Together they launched the glam, androgynous, bisexual and alien image of Ziggy Stardust.
43:53Everything is now ready for international success, but a castle is still missing.
44:06His wife Angela, who had become my friend, came to me in Edinburgh, where I was putting
44:12Flowers on stage. He gave me the Ziggy Stardust record and said, if you like music, David
44:26I'd love for you to put on a show with these songs. It's very different from music.
44:32that he used to do. It's very rock 'n' roll. He'd like you to use these songs and put them on
44:39on stage with your company. He'd like you to direct the show.
44:49Angela was mostly interested in bringing the Flowers dancers down to London and so
44:55we did. A few days later we were already on the train. We staged The Rise and Fall
45:02of Ziggy Stardust at the enormous Rainbow Theater. It was a success and David became a star.
45:22I saw them rehearsing. I know how much Lindsay taught them those moves. No one.
45:29he did those things. Before Bowie there was Mark Bolan who dressed in satin and sequins.
45:44But no one until then had achieved the extreme theatricality of Ziggy Stardust.
46:01It was total theater. We used projections, costumes, dance, makeup, and dry ice.
46:21That makeup was meant to project a certain type of beauty to the audience. To convey
46:29the expressions even to those who were far away. It was part of an aesthetic choice. The setting,
46:38the lights, the costumes and the choreography, as in Kabuki, were all part of the same aesthetic.
46:57Lindsay really opened Bowie's eyes to how he could be on stage, not just as a
47:03the rock singer and rock singer, but also who could have an image.
47:11This is Birmingham. This is my first encounter with David Bowie. I was full of praise.
47:19I forgot I was the record company executive and talked to him like a fan. Wow, what a monosy you are, fantastic.
47:27I've never heard of anything like it. It's a unique spectacle. Anyway, for me
47:33Ziggy Stardust is the Pin-ups period, the tribute he paid to the artists he liked.
47:41That was Aladdin Sale. That was a magical time. For me, the best and most creative.
47:51It's a song called "Suffragette City." Beautiful, beautiful, wonderful.
47:58The big success came in June 1972. David Bowie established himself as an international rock star.
48:05The strategy of provocation and an extravagant look worked.
48:09But it's not just image, because Bowie actually writes complex and visionary lyrics
48:14which reflect the anxieties of the new generation.
48:19Ziggy Stard, from a musical point of view, is the fruit of all of Bowie's previous experiences.
48:24That is, he puts everything on Ziggy Stardust. He puts Jacques Brel on it, he puts Lou Reed on it, he puts hip hop on it, he puts
48:30puts on Rolling Stones.
48:32So create something personal at the end of his own.
48:36It creates the sound of Glam, the Glam sound, together with the Spades from Mars, which are an original sound.
48:43Because it's a sound that 4-5 years later would still be taken up by the punk generation.
48:58I found his music incredibly inspiring. It took me to another world.
49:05It took me out of my romantic Pierrot world into a much more rock and dramatic world.
49:24It was a Wednesday evening in the early seventies.
49:29He was a teenager, see Starman and...
49:33Wow! That was an amazing moment.
49:37Because in that song not only did he have an androgynous, sexually ambiguous look,
49:42but when he put his arm around the guitarist's neck,
49:47At the time, nobody did things like that.
49:52Wow! That was a rebellious gesture.
49:56Something from another planet.
50:05That gesture marked a turning point for my generation.
50:09And from that moment he started following Bowie.
50:13We became part of his gang.
50:20Ziki is a super alien superstar, then bisexual, this also depends on the climate of the time.
50:27Why did you decide to reveal your homosexuality in 1972?
50:32Was it a need for artistic and personal freedom?
50:35And how do you reconcile this fact with your wife and son?
50:45Reveal, admit, these don't seem like the right words to me.
50:50The thing is, I was bisexual then.
50:52Someone asked me and since I'm not a liar I said yes, I was.
50:57That was the only time I talked about this matter.
51:00Others have embroidered on it.
51:02Evidently this is a big problem for them.
51:18The 70s were more desperate.
51:20We wondered, will the world end?
51:23There was concern about pollution, about environmental collapse.
51:26Bowie had absorbed what was happening culturally
51:30and it had to offer a new vibe in line with the 70s.
51:37It spoke to teenagers who wanted to have something that was all their own.
51:41They didn't want the Stones, they didn't want the Beatles, they didn't want the U.
51:53The film Velvet Goldmine is set during the birth of Glam Rock in London.
52:01and with people like David Bowie.
52:03Glam was much more than image, revealing clothes, a new musical style,
52:10but it represented an opportunity for many young people.
52:13For the first time, men could wear makeup and extravagant clothes.
52:18and be accepted more than they were before.
52:22These were years of exciting cultural change.
52:26I was a teenager at the time and this is what I experienced.
52:44I believe that Glam never died and many artists still revive it today.
52:50It has evolved through the new generations and I see more and more young people looking back at those years
52:56and reinvent themselves in that style.
53:03Not only is it the last show of the tour, but it's the last show we'll ever have to do.
53:10Thank you.
53:12On July 3, 1973, in front of a tearful audience of fans at the Hum Smith Odeon in London,
53:18suffocated by the fame of his own characters, Bowie announces his surprise and retirement from the scene,
53:24kills the alien Ziggy Stardust and disbands the band.
53:33I was with him and The Freeze the day before he closed the show,
53:38but when he said it on stage the band was shocked because nobody knew.
53:55A year later Bowie would say goodbye to Glam Rock forever.
53:59In fact, he was preparing for a new beginning and for new experiments that would never stop until
54:06January 2016.
54:14Dressing up, being someone else, seems to have been your main motivation. Why?
54:23Again a word, disguise, which doesn't seem exact to me.
54:28I have created a certain number of characters, which is very different from dressing up.
54:36I worked with characters in rock until 1977.
54:40Then I decided to stop and started performing different music.
54:45The new music I had started composing in 1976 and which didn't need characters.
54:57I performed my pieces and was myself as much as one can be in front of a big
55:02public.
55:03Before then I had developed my own rock and roll mythology through my characters.
55:30David influenced and left a mark on everyone he met.
55:36He was a great inspiration for all the musicians who worked with him and who played with him.
55:41they felt great.
55:43He knew how to get the best out of people.
55:50I admired him so much. His genius, his courage, and the way he changed the world.
55:59and opened people's minds.
56:01It paved the way for the liberation of millions of people.
56:16The artist may die but his songs make him live forever.
56:22People will remember Bowie's songs for years to come.
56:27Nothing will remain of his extravagant looks.
56:31In twenty years someone even more extravagant will come along but the songs will remain.
56:36De Fris said, the songs you write are your future.
56:46De Fris said, the songs they write.
56:54I wish I could believe that the success I've had is mainly thanks to the songs I've written.
57:00If the songs hadn't been good, you wouldn't have heard of David Bowie since 1973.
57:07You wouldn't have heard of David Bowie since 1973.
57:10You wouldn't have heard of David Bowie since 1973.
57:40Thank you all.
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