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Do you think of yourself as Bowie or David Jones, the boy from South London? | 0:00:02 | 0:00:04 | |
Uh... Less and less as Bowie, Boughie, Booie. | 0:00:04 | 0:00:08 | |
HE LAUGHS | 0:00:08 | 0:00:09 | |
I don't even know how to pronounce it any more. | 0:00:09 | 0:00:11 | |
# Ch-ch-ch-changes | 0:00:11 | 0:00:13 | |
# Turn and face the strain | 0:00:13 | 0:00:15 | |
# Ch-ch-changes | 0:00:15 | 0:00:17 | |
# Don't want to be a richer man | 0:00:17 | 0:00:20 | |
# Ch-ch-ch-ch-changes | 0:00:20 | 0:00:22 | |
# Turn and face the strain | 0:00:22 | 0:00:24 | |
# Ch-ch-changes | 0:00:24 | 0:00:26 | |
# Just going to have to be a different man | 0:00:26 | 0:00:30 | |
# Time may change me | 0:00:30 | 0:00:33 | |
# But I can't trace time... # | 0:00:33 | 0:00:35 | |
# O, for the wings, for the wings of a dove... # | 0:00:39 | 0:00:44 | |
My mother didn't realise what she was starting, but she would | 0:00:44 | 0:00:48 | |
always say that breakfast, "Oh, I could have been a singer, you know." | 0:00:48 | 0:00:50 | |
And then she'd sing, and there was this thing on radio, | 0:00:50 | 0:00:52 | |
Two-Way Family Favourites when and I was about six. | 0:00:52 | 0:00:55 | |
And every Sunday without fail, this thing by Ernest Lough was sung. | 0:00:55 | 0:00:59 | |
And my mother would, sing, "Oh, for the wings, for the wings of a dove..." | 0:00:59 | 0:01:03 | |
So that was, like, | 0:01:03 | 0:01:04 | |
one of my first influences I think as Ernest Lough. | 0:01:04 | 0:01:08 | |
# Lucille, won't you do your sister's will? | 0:01:10 | 0:01:13 | |
# Lucille... # | 0:01:16 | 0:01:19 | |
I wanted to be a white Little Richard at eight. | 0:01:19 | 0:01:21 | |
I remember getting so excited when they showed Little Richard on television. | 0:01:21 | 0:01:25 | |
It was just amazing to actually see him moving. | 0:01:25 | 0:01:28 | |
He'd just been a record to me before, you know? | 0:01:28 | 0:01:31 | |
MUSIC: Lucille by Little Richard | 0:01:33 | 0:01:35 | |
I saw him first in 1963, I think it was. | 0:01:38 | 0:01:40 | |
And the Rolling Stones were opening up for him, | 0:01:40 | 0:01:43 | |
and I'd never seen anything so rebellious in my life. | 0:01:43 | 0:01:47 | |
Some guy yells out... | 0:01:47 | 0:01:49 | |
-COCKNEY ACCENT: -Get your hair cut! | 0:01:49 | 0:01:51 | |
-And Mick says, "What, and look like you?" -LAUGHTER | 0:01:51 | 0:01:54 | |
So with the nucleus of some of his friends, | 0:01:58 | 0:02:01 | |
a 17-year-old David Jones has just founded the Society for the | 0:02:01 | 0:02:05 | |
Prevention of Cruelty to Long-Haired Men. | 0:02:05 | 0:02:08 | |
Well, here we are. | 0:02:09 | 0:02:11 | |
Long-haired men, you've got to have your hair, what, | 0:02:11 | 0:02:13 | |
nine inches long before you can join? | 0:02:13 | 0:02:15 | |
-Well, I think we passed that over now. -Have you? -Yes. | 0:02:15 | 0:02:18 | |
Now, exactly who's been cruel to you? | 0:02:18 | 0:02:20 | |
Well, I think we're all fairly tolerant, | 0:02:20 | 0:02:23 | |
but for the last two years we've had comments like "darling" and "can I carry your handbag?" thrown at us, | 0:02:23 | 0:02:28 | |
and I think it's just had to stop now. | 0:02:28 | 0:02:30 | |
-I mean, did you get this off the Rolling Stones? -Oh, no. Definitely not. | 0:02:30 | 0:02:35 | |
But did any of you have your hair growing long more than two years ago, say? | 0:02:35 | 0:02:39 | |
-Oh, yes. -Did you? Before the Rolling Stones ever did? | 0:02:39 | 0:02:42 | |
It takes a long time to get this length, you know. | 0:02:42 | 0:02:44 | |
But do you really think that many people are on your side is what I'm saying? | 0:02:44 | 0:02:47 | |
Oh, yes, quite a few. 1,000 teenagers over Britain. | 0:02:47 | 0:02:51 | |
'Ever since I was a teenager, | 0:02:51 | 0:02:54 | |
'I felt so adrift and so not part of everyone else. | 0:02:54 | 0:02:58 | |
'There were so many dark secrets about my family in the cupboard that | 0:02:58 | 0:03:02 | |
'it kind of made me feel very much on the outside of everything. | 0:03:02 | 0:03:06 | |
'It was my initial fascination with mime and expressing. | 0:03:06 | 0:03:11 | |
'Things with facial movements and body talk. | 0:03:12 | 0:03:17 | |
'Rather than articulating things. | 0:03:17 | 0:03:19 | |
'I mean, I'd done as much articulating as I felt was | 0:03:19 | 0:03:21 | |
'necessary with the actual songs.' | 0:03:21 | 0:03:23 | |
# Ground Control to Major Tom | 0:03:25 | 0:03:27 | |
# Ground Control to Major Tom | 0:03:31 | 0:03:33 | |
# Take your protein pills and put your helmet on | 0:03:37 | 0:03:41 | |
# Ground Control to Major Tom | 0:03:43 | 0:03:46 | |
# Commencing countdown, engines on | 0:03:49 | 0:03:52 | |
# Check ignition, and may God's love be with you | 0:03:55 | 0:04:00 | |
# This is Ground Control to Major Tom | 0:04:15 | 0:04:19 | |
# You've really made the grade | 0:04:19 | 0:04:23 | |
# And the papers want to know whose shirts you wear | 0:04:23 | 0:04:29 | |
# Now it's time to leave the capsule if you dare | 0:04:29 | 0:04:34 | |
# This is Major Tom to Ground Control | 0:04:36 | 0:04:40 | |
# I'm stepping through the dark | 0:04:40 | 0:04:43 | |
# And I'm floating in the most peculiar way... # | 0:04:44 | 0:04:49 | |
'I wasn't that comfortable as a singer, | 0:04:49 | 0:04:51 | |
'but I knew that I could probably project a character or an emotion, | 0:04:51 | 0:04:55 | |
'or I could tell the story with my voice if I could find the right tenor for it. | 0:04:55 | 0:05:00 | |
'I was influenced on one part by Little Richard, on the other | 0:05:01 | 0:05:04 | |
'part by people like Tony Newley, Scott Walker, Elvis Presley. | 0:05:04 | 0:05:08 | |
'And I knew that I was none of those, | 0:05:08 | 0:05:11 | |
'so I thought the best thing for me to do was just, sort of, | 0:05:11 | 0:05:14 | |
'use different stylings for different songs. | 0:05:14 | 0:05:17 | |
'It seemed to make sense that that's also how I wrote, | 0:05:19 | 0:05:22 | |
'and it's how I did everything. | 0:05:22 | 0:05:24 | |
'It was a question of some rather mutant eclecticism going on. | 0:05:24 | 0:05:28 | |
'That's kind of what I did, and that's what I did well. | 0:05:28 | 0:05:31 | |
'And it's what I really enjoyed. | 0:05:31 | 0:05:33 | |
# Wake up you sleepyhead | 0:05:35 | 0:05:37 | |
# Put on some clothes, get out of bed | 0:05:38 | 0:05:40 | |
# Put another log on the fire for me | 0:05:41 | 0:05:44 | |
# I've made some breakfast and coffee | 0:05:45 | 0:05:47 | |
# Look out my window, what do I see? | 0:05:47 | 0:05:50 | |
# Crack in the sky and a hand reaching down to me | 0:05:50 | 0:05:55 | |
# All the nightmares came today | 0:05:55 | 0:05:58 | |
# And it looks as though they're here to stay | 0:05:58 | 0:06:01 | |
# What are we coming to? | 0:06:09 | 0:06:12 | |
# No room for me, no fun for you | 0:06:12 | 0:06:14 | |
# I think about a world to come | 0:06:15 | 0:06:18 | |
# Where the books were found by the golden ones | 0:06:18 | 0:06:21 | |
# Written in pain, written in awe | 0:06:21 | 0:06:24 | |
# By a puzzled man who questioned what we came here for | 0:06:24 | 0:06:29 | |
# All the strangers came today | 0:06:29 | 0:06:31 | |
# And it looks as though they're here to stay | 0:06:32 | 0:06:35 | |
# Oh, you pretty things | 0:06:37 | 0:06:41 | |
# Don't you know you're driving your mamas and papas insane? | 0:06:41 | 0:06:47 | |
# Oh, you pretty things | 0:06:49 | 0:06:53 | |
# Don't you know you're driving your mamas and papas insane? | 0:06:53 | 0:06:59 | |
# Let me say it again | 0:06:59 | 0:07:01 | |
# You've got to make way for the Homo Superior... # | 0:07:01 | 0:07:05 | |
'I'm not a guy that gets on stage and tells you how my day's just gone. | 0:07:07 | 0:07:11 | |
'Straight from the heart. | 0:07:11 | 0:07:13 | |
'I couldn't do that. | 0:07:13 | 0:07:15 | |
'I love artists who do do that and I admire them tremendously. | 0:07:15 | 0:07:18 | |
'I don't have that talent, and it's not a thing that interests me. | 0:07:18 | 0:07:22 | |
'I was one of that tiny bastion of Velvet Underground fans in London | 0:07:25 | 0:07:31 | |
'at the time, so I wrote Queen Bitch as an homage to Velvet Underground.' | 0:07:31 | 0:07:36 | |
MUSIC: Queen Bitch by David Bowie | 0:07:41 | 0:07:44 | |
# Well, I'm up on the 11th floor and I'm watching the cruisers below | 0:07:49 | 0:07:53 | |
# You know, my heart's in the basement | 0:07:56 | 0:07:58 | |
# My weekend's at an all-time low | 0:07:58 | 0:08:00 | |
# Well, he's down on the street and he's trying hard to pull sister Flo | 0:08:03 | 0:08:07 | |
# And she's hoping to score, well, I can't see her letting him go | 0:08:10 | 0:08:14 | |
# Walk out of her heart, walk out of her mind | 0:08:14 | 0:08:18 | |
# No, no, no, she's so swishy in her satin and tat | 0:08:19 | 0:08:24 | |
# And her frock coat and bibbity-bobbity hat | 0:08:24 | 0:08:27 | |
# Oh, God I could do better than that... # | 0:08:27 | 0:08:31 | |
'I think we were excited, when we went back into The Spiders, to | 0:08:33 | 0:08:36 | |
'do Starman, cos we kind of knew that what we were doing was, | 0:08:36 | 0:08:40 | |
'like, singularly different to anything else that was happening, | 0:08:40 | 0:08:43 | |
'so that was that kind of frisson, you know, that sense of anticipation | 0:08:43 | 0:08:46 | |
'that we were unleashing this thing on the world. | 0:08:46 | 0:08:49 | |
'All the bravado of being in your 20s.' | 0:08:49 | 0:08:53 | |
MUSIC: Starman by David Bowie | 0:08:54 | 0:08:56 | |
# Didn't know what time it was and the lights were low | 0:08:58 | 0:09:02 | |
# I leaned back on my radio | 0:09:02 | 0:09:07 | |
# Some cat was layin' down some get it on rock and roll, he said | 0:09:07 | 0:09:11 | |
# Then the loud sound did seem to fade | 0:09:14 | 0:09:18 | |
# Came back like a slow voice on a wave of phase | 0:09:18 | 0:09:23 | |
# That weren't no DJ, that was hazy cosmic jive | 0:09:23 | 0:09:26 | |
# There's a starman waiting in the sky | 0:09:31 | 0:09:36 | |
# He'd like to come and meet us but he thinks he'd blow our minds | 0:09:36 | 0:09:40 | |
# There's a starman waiting in the sky | 0:09:40 | 0:09:45 | |
# He told us not to blow it cos he knows it's all worthwhile | 0:09:45 | 0:09:50 | |
# He told me let the children lose it | 0:09:50 | 0:09:53 | |
# Let the children use it Let all the children boogie... # | 0:09:53 | 0:09:57 | |
A superstar of the beat age prepares to meet his public. | 0:10:03 | 0:10:07 | |
David Bowie spends two hours before a show caressing his body with paint. | 0:10:08 | 0:10:14 | |
Bowie is a skinny lad with a pasty complexion and ochre-dyed hair | 0:10:21 | 0:10:25 | |
in a Teddy Boys style of 20 years ago. | 0:10:25 | 0:10:27 | |
Yet with a dash of make-up, he's transforming himself into an | 0:10:27 | 0:10:31 | |
object that is worshipped by millions of girls. | 0:10:31 | 0:10:34 | |
Outside the Winter Gardens of Bournemouth, some of those fans | 0:10:36 | 0:10:40 | |
are arriving to pay homage to a man who's become the high priest of pop. | 0:10:40 | 0:10:44 | |
Every seat was sold months ago. | 0:10:45 | 0:10:48 | |
Some fans were even blessed with a glimpse of the master as | 0:10:48 | 0:10:51 | |
he scurried into the theatre. | 0:10:51 | 0:10:53 | |
Oh, no, I wanted to see him! | 0:10:54 | 0:10:57 | |
What are you so upset about? | 0:10:57 | 0:10:59 | |
I wanted to see him! They said he was coming round the back. | 0:10:59 | 0:11:03 | |
I've been waiting for ages to see him! | 0:11:03 | 0:11:05 | |
SHE CRIES | 0:11:06 | 0:11:08 | |
Why are you so upset? | 0:11:09 | 0:11:10 | |
-He's smashing! -I kissed him! -I kissed his hand! -I kissed his hand! | 0:11:10 | 0:11:15 | |
# Jean Genie lives on his back | 0:11:16 | 0:11:20 | |
# Jean Genie loves chimney stacks | 0:11:20 | 0:11:22 | |
# He's outrageous, screams and he bawls | 0:11:24 | 0:11:27 | |
# Jean Genie, let yourself go, whoa-oh... # | 0:11:27 | 0:11:30 | |
Meanwhile, the object of so much interest is trying on his kinky boots. | 0:11:43 | 0:11:48 | |
When I was a teenager, | 0:11:48 | 0:11:50 | |
I had it in my mind that I would be a creator of musicals. | 0:11:50 | 0:11:53 | |
I sincerely wanted to write musicals for the West End and Broadway, whatever. | 0:11:53 | 0:11:58 | |
I didn't see much further than that as a writer. | 0:11:58 | 0:12:01 | |
And I really had the idea in my head that people would do my songs. | 0:12:01 | 0:12:04 | |
And I was not a natural performer. I didn't feel at ease on stage ever. | 0:12:04 | 0:12:09 | |
CROWD SCREAMS | 0:12:09 | 0:12:11 | |
I had created this one character, Ziggy Stardust, that it seemed | 0:12:11 | 0:12:15 | |
that I would be the one that would play them, | 0:12:15 | 0:12:17 | |
because nobody else was doing my songs and the chances of | 0:12:17 | 0:12:20 | |
my actually getting a musical mounted were very slim. | 0:12:20 | 0:12:23 | |
And so I became Ziggy Stardust for that period. | 0:12:23 | 0:12:25 | |
And I felt really comfortable going on stage as somebody else. | 0:12:25 | 0:12:29 | |
And it seemed a rational decision to keep on doing that. | 0:12:29 | 0:12:34 | |
And so I got quite besotted with the idea of just creating character after character. | 0:12:34 | 0:12:38 | |
'He's also been smart enough to realise that in showbiz, | 0:12:38 | 0:12:41 | |
'the more outrageous you are, the more people will notice you.' | 0:12:41 | 0:12:45 | |
This is my life. | 0:12:45 | 0:12:46 | |
Really, you know, writing or performing, there's not much else I want. | 0:12:46 | 0:12:51 | |
It's the biggest kick I know. | 0:12:51 | 0:12:53 | |
I know of all the drugs, and you get a different kind of buzz off those, | 0:12:53 | 0:12:56 | |
but stages, there's something else. It's partaking of people. | 0:12:56 | 0:13:01 | |
I'm very much a character when I go on stage, I feel. I mean... | 0:13:01 | 0:13:05 | |
-Like an actor? -Yeah. | 0:13:05 | 0:13:07 | |
I believe in my part all the way down the line, | 0:13:07 | 0:13:09 | |
right the way down, but I do play it for all it's worth. | 0:13:09 | 0:13:12 | |
Because that's the way I do my stage thing. | 0:13:12 | 0:13:14 | |
That's part of what Bowie's supposedly all about. I'm an actor. | 0:13:14 | 0:13:19 | |
Oh, it's all right. | 0:13:20 | 0:13:22 | |
'Later he selects a satin psychedelic leotard.' | 0:13:22 | 0:13:26 | |
I tell you what was even funnier, though, was getting my band to put the clothes on. | 0:13:26 | 0:13:29 | |
DRUMS PLAY | 0:13:29 | 0:13:31 | |
These guys all came from Hull. | 0:13:31 | 0:13:32 | |
-NORTHERN ACCENT: -You know, we're going to play a rock and roll band. They like the songs and all that. | 0:13:32 | 0:13:36 | |
And I said, "Yeah, yeah, that's great. | 0:13:36 | 0:13:38 | |
-"Do you want to see what we're going to wear?" "Oh, yeah, right." -LAUGHTER | 0:13:38 | 0:13:41 | |
-NORTHERN ACCENT: -"No way. | 0:13:41 | 0:13:43 | |
"What bloody...? Right, I'm not putting that on." | 0:13:43 | 0:13:45 | |
I said, "No, believe me, it'll... You'll look great. It'll really suit you." | 0:13:45 | 0:13:49 | |
"Yeah, right." And so, I don't know how I did it, | 0:13:50 | 0:13:52 | |
but I managed to talk them into doing it. | 0:13:52 | 0:13:54 | |
A couple of nights later, | 0:13:54 | 0:13:55 | |
we'd done a couple of shows and all these girls were all over them. | 0:13:55 | 0:13:58 | |
SCREAMING | 0:13:58 | 0:13:59 | |
And suddenly the dressing room procedure was really different. | 0:13:59 | 0:14:02 | |
-"Right, who's got the blush?" -LAUGHTER | 0:14:02 | 0:14:05 | |
It was, "Hey, Trevor, have you finished with that mascara? | 0:14:06 | 0:14:08 | |
LAUGHTER | 0:14:08 | 0:14:10 | |
It was a phenomenal thing. | 0:14:10 | 0:14:12 | |
MUSIC: Ziggy Stardust by David Bowie | 0:14:19 | 0:14:21 | |
# Oooooh yeah | 0:14:29 | 0:14:32 | |
# Ah | 0:14:34 | 0:14:35 | |
# Ziggy played guitar, jamming good with Weird and Gilly | 0:14:39 | 0:14:45 | |
# And the Spiders from Mars | 0:14:45 | 0:14:48 | |
# Well, he played it left hand | 0:14:48 | 0:14:50 | |
# But he made it too far | 0:14:51 | 0:14:54 | |
# Became the special man, then we were Ziggy's band... # | 0:14:54 | 0:14:58 | |
Funnily enough, it was actually based on a real person. | 0:15:01 | 0:15:04 | |
There was an American... | 0:15:04 | 0:15:06 | |
rock singer in the late '50s, early '60s | 0:15:06 | 0:15:09 | |
called Vince Taylor. | 0:15:09 | 0:15:11 | |
He was out of his gourd. | 0:15:11 | 0:15:13 | |
Totally flipped. I mean, the guy was not playing with a full deck | 0:15:13 | 0:15:16 | |
at all. | 0:15:16 | 0:15:18 | |
And I remember very distinctly | 0:15:18 | 0:15:21 | |
him opening a map out on Charing Cross Road, | 0:15:21 | 0:15:24 | |
outside the Tube station, and putting it on the pavement, | 0:15:24 | 0:15:28 | |
and kneeling down with a magnifying glass. | 0:15:28 | 0:15:31 | |
And I got down there with him, and he was pointing out all the | 0:15:31 | 0:15:34 | |
sites where UFOs were going to be landing over the next few months. | 0:15:34 | 0:15:38 | |
And he had a firm conviction that there was | 0:15:38 | 0:15:41 | |
a very strong connection between himself, aliens and Jesus Christ. | 0:15:41 | 0:15:45 | |
Those were the three elements | 0:15:45 | 0:15:47 | |
that went into his make-up and drove him. | 0:15:47 | 0:15:50 | |
He eventually went to France and became a huge rock star over there. | 0:15:50 | 0:15:54 | |
And one night, he decided he'd had enough, | 0:15:54 | 0:15:57 | |
so he came out on stage in white robes and said that the whole thing | 0:15:57 | 0:16:01 | |
about rock had been a lie, that in fact he was Jesus Christ. | 0:16:01 | 0:16:05 | |
-LAUGHS: -And it was the end of Vince, | 0:16:05 | 0:16:08 | |
his career and everything else. | 0:16:08 | 0:16:10 | |
And it was that and his story which really became one of the | 0:16:10 | 0:16:15 | |
essential ingredients of Ziggy and his world view. | 0:16:15 | 0:16:19 | |
It was his complete otherness. | 0:16:19 | 0:16:22 | |
I'm terribly attracted to people like that, the OTHER people. | 0:16:22 | 0:16:26 | |
We were only together for 18 months. | 0:16:26 | 0:16:27 | |
The whole thing was over in 18 months. | 0:16:27 | 0:16:29 | |
The whole Ziggy Stardust thing. | 0:16:29 | 0:16:31 | |
And a good halfway through - nine, ten months into it - | 0:16:31 | 0:16:33 | |
I knew it was over already, and the last few months I was really, | 0:16:33 | 0:16:36 | |
like, treading water. I couldn't wait to finish. | 0:16:36 | 0:16:38 | |
I just knew that I was getting bored very quickly. | 0:16:38 | 0:16:41 | |
Bowie's announced he's retiring from live performances before, | 0:16:41 | 0:16:44 | |
so perhaps like Frank Sinatra, | 0:16:44 | 0:16:46 | |
he might make the occasional comeback. | 0:16:46 | 0:16:49 | |
And at the age of 26, | 0:16:49 | 0:16:51 | |
he's perhaps young enough to retire as often as he wants. | 0:16:51 | 0:16:54 | |
# Oh, yeah | 0:17:00 | 0:17:02 | |
# Whoohoo | 0:17:06 | 0:17:08 | |
# Hoo-hoo-hoo | 0:17:11 | 0:17:14 | |
# Now Ziggy played | 0:17:16 | 0:17:20 | |
# Guitar! # | 0:17:20 | 0:17:25 | |
I just wanted to move somewhere else. | 0:17:32 | 0:17:34 | |
There was a new kind of music I wanted to write, | 0:17:34 | 0:17:36 | |
a different kind of theatricality I wanted to bring into it. | 0:17:36 | 0:17:39 | |
It was great to let go of it, but I tend to grasshopper about. | 0:17:39 | 0:17:42 | |
-LAUGHS: -My attention span is very short. | 0:17:42 | 0:17:44 | |
CROWD CHEERS AND SCREAMS | 0:17:44 | 0:17:49 | |
# It's a god-awful small affair | 0:17:51 | 0:17:54 | |
# To the girl with the mousy hair | 0:17:56 | 0:17:58 | |
# But her mummy is yelling no | 0:18:00 | 0:18:04 | |
# And her daddy has told her to go | 0:18:04 | 0:18:07 | |
# But her friend is nowhere to be seen | 0:18:08 | 0:18:11 | |
# Now she walks through her sunken dream | 0:18:12 | 0:18:15 | |
# To the seat with the clearest view | 0:18:16 | 0:18:19 | |
# And she's hooked to the silver screen | 0:18:20 | 0:18:23 | |
# But the film is a saddening bore | 0:18:25 | 0:18:27 | |
# For she's lived it ten times or more | 0:18:29 | 0:18:31 | |
# She could spit in the eyes of fools | 0:18:32 | 0:18:36 | |
# As they ask her to focus on | 0:18:36 | 0:18:40 | |
# Sailors fighting in the dance hall | 0:18:40 | 0:18:44 | |
# Oh, man, look at those cavemen go | 0:18:44 | 0:18:50 | |
# It's the freakiest show | 0:18:50 | 0:18:54 | |
# Take a look at the lawman | 0:18:54 | 0:18:58 | |
# Beating up the wrong guy | 0:18:58 | 0:19:00 | |
# Oh, man, wonder if he'll ever know | 0:19:00 | 0:19:04 | |
# He's in the best selling show | 0:19:06 | 0:19:09 | |
# Is there life on Mars? # | 0:19:10 | 0:19:18 | |
Ziggy was just an experiment. | 0:19:20 | 0:19:22 | |
It was an exercise for me. | 0:19:22 | 0:19:24 | |
And he really grew sort of out of proportion, I suppose. | 0:19:26 | 0:19:30 | |
Got much bigger than I thought Ziggy was going to be. | 0:19:32 | 0:19:34 | |
I didn't ever see Ziggy as big. | 0:19:34 | 0:19:37 | |
Really, it was his own personality being unable to cope with the | 0:19:37 | 0:19:41 | |
circumstances he found himself in, which is being... | 0:19:41 | 0:19:44 | |
..an almighty, profit-like superstar rocker... | 0:19:45 | 0:19:50 | |
..who found he didn't know what to do with it once he got it. | 0:19:51 | 0:19:55 | |
Which is... It's an archetype, really. | 0:19:55 | 0:19:57 | |
It's the definitive rock and roll star. | 0:19:57 | 0:19:59 | |
It often happens. | 0:19:59 | 0:20:01 | |
And I was just trying to document it as such. | 0:20:01 | 0:20:04 | |
Yes, I had a kind of a... | 0:20:04 | 0:20:06 | |
a kind of a strange... | 0:20:06 | 0:20:09 | |
psychosomatic death wish thing. | 0:20:09 | 0:20:11 | |
I think. | 0:20:12 | 0:20:13 | |
But that's because I was so lost in Ziggy. I think. Again. | 0:20:14 | 0:20:18 | |
It was all that schizophrenia. | 0:20:18 | 0:20:20 | |
CHEERING | 0:20:20 | 0:20:23 | |
# In the year of the scavenger The season of the bitch | 0:20:36 | 0:20:39 | |
# Sashay on the boardwalk Scurry to the ditch | 0:20:39 | 0:20:43 | |
# Just another future song Lonely little kitsch | 0:20:43 | 0:20:46 | |
-# There's gonna be sorrow -Try and wake up tomorrow | 0:20:46 | 0:20:50 | |
-# Will they come? -I'll keep a friend serene | 0:20:50 | 0:20:53 | |
-# Will they come? -Oh, baby, come unto me | 0:20:53 | 0:20:57 | |
-# Will they come? -Well, she's come, been and gone | 0:20:57 | 0:21:01 | |
# Come out of the garden, baby | 0:21:01 | 0:21:04 | |
# You'll catch your death in the fog | 0:21:04 | 0:21:06 | |
# Young girl They call them the Diamond Dogs | 0:21:06 | 0:21:11 | |
# Yeah, young girl | 0:21:13 | 0:21:15 | |
# They call them the Diamond Dogs | 0:21:15 | 0:21:18 | |
# Hey, yeah | 0:21:21 | 0:21:22 | |
# They call them the Diamond Dogs. # | 0:21:22 | 0:21:24 | |
It did look as if it was the ghost | 0:21:24 | 0:21:27 | |
of Ziggy Stardust you were tying up. | 0:21:27 | 0:21:29 | |
Yes, exactly, that's what happened. It was... | 0:21:29 | 0:21:32 | |
..trying to get rid of the damn character. | 0:21:33 | 0:21:35 | |
-HE CHUCKLES -It was kind of following me around. | 0:21:35 | 0:21:38 | |
And hopefully... | 0:21:38 | 0:21:39 | |
You see, I'm very... I... | 0:21:43 | 0:21:45 | |
I'm very happy with Ziggy. | 0:21:45 | 0:21:46 | |
I think he was a very successful character, | 0:21:46 | 0:21:49 | |
and I think I played him very well. | 0:21:49 | 0:21:51 | |
But I... | 0:21:51 | 0:21:52 | |
-I... I'm glad I'm me now. -HE LAUGHS | 0:21:52 | 0:21:56 | |
I'm glad I'm me. My God, I can trot 'em out. | 0:21:56 | 0:21:59 | |
-# Givin' it -Givin' it | 0:21:59 | 0:22:02 | |
-# Givin' it -Keepin' it right. # | 0:22:02 | 0:22:04 | |
That's...that's cool. That's cool. | 0:22:04 | 0:22:06 | |
Next one. Got to do it this way to get it... | 0:22:06 | 0:22:08 | |
One, two, three, four. | 0:22:08 | 0:22:10 | |
-# Get you when you're down -Nobody, nobody | 0:22:10 | 0:22:13 | |
# Do it again, get off | 0:22:13 | 0:22:14 | |
# Sometimes... # | 0:22:14 | 0:22:15 | |
OK, that's good. | 0:22:15 | 0:22:17 | |
Right, OK, and the last section. | 0:22:17 | 0:22:19 | |
# Gimme, gimme Yeah | 0:22:21 | 0:22:24 | |
-# Gimme -Doin' it | 0:22:24 | 0:22:26 | |
-# Taken with me -Sometimes | 0:22:27 | 0:22:29 | |
-# Right -Lovin' it, doin' it. # | 0:22:29 | 0:22:31 | |
# All night | 0:22:31 | 0:22:34 | |
# She wants the young American | 0:22:34 | 0:22:36 | |
# Young American Young American | 0:22:36 | 0:22:40 | |
# He was the young American | 0:22:40 | 0:22:42 | |
-# All right -All right | 0:22:42 | 0:22:45 | |
# But she wants the young American. # | 0:22:45 | 0:22:49 | |
THUD! | 0:22:49 | 0:22:51 | |
So what's happening...? | 0:22:51 | 0:22:52 | |
BOWIE SPEAKS IN GERMAN | 0:22:52 | 0:22:54 | |
So...? | 0:22:56 | 0:22:58 | |
What's happened since? | 0:22:58 | 0:22:59 | |
Um, since Ziggy? Good Lord! Um... | 0:23:00 | 0:23:03 | |
Well, the last time you saw me, or were with me, | 0:23:05 | 0:23:08 | |
it was in Los Angeles, wasn't it? | 0:23:08 | 0:23:11 | |
One of the my... | 0:23:11 | 0:23:12 | |
One of the worst periods, I think, in my life, I think. | 0:23:14 | 0:23:18 | |
I got into a lot of emotional and spiritual trouble there. | 0:23:20 | 0:23:25 | |
And so I decided to split and discover new ways of... | 0:23:26 | 0:23:30 | |
..relating to the music business, per se. | 0:23:32 | 0:23:36 | |
I wasn't sure exactly what I was in it for any more. | 0:23:36 | 0:23:39 | |
Was there a clash between that sort of materialism, | 0:23:39 | 0:23:43 | |
the need to be a rock star, successful, if you like? | 0:23:43 | 0:23:45 | |
Yes, I think, very much so. | 0:23:45 | 0:23:47 | |
And as I really didn't want to be one myself, | 0:23:47 | 0:23:50 | |
I was living more and more in the style of one of my characters, | 0:23:50 | 0:23:54 | |
who wanted terrific success, because they're all Messiah figures, | 0:23:54 | 0:23:58 | |
most of them, | 0:23:58 | 0:23:59 | |
either light or dark shadowings. | 0:23:59 | 0:24:05 | |
Um... | 0:24:05 | 0:24:07 | |
And so because I knew... | 0:24:07 | 0:24:09 | |
I really felt that the material aspect was something | 0:24:09 | 0:24:12 | |
that had to be done in Los Angeles, because it's driven into you. | 0:24:12 | 0:24:15 | |
It's the food of Los Angeles. | 0:24:15 | 0:24:17 | |
Hollywood, rather, not Los Angeles. | 0:24:17 | 0:24:20 | |
Unfair on Los Angeles. | 0:24:20 | 0:24:21 | |
And so I just packed up everything one day | 0:24:24 | 0:24:26 | |
and I moved back to Europe again. | 0:24:26 | 0:24:28 | |
# I | 0:24:36 | 0:24:38 | |
# I wish I could swim | 0:24:39 | 0:24:41 | |
# Like dolphins | 0:24:45 | 0:24:46 | |
# Like dolphins can swim | 0:24:47 | 0:24:49 | |
# Though, nothing | 0:24:52 | 0:24:55 | |
# Will keep us together | 0:24:56 | 0:24:58 | |
# We can beat them | 0:25:01 | 0:25:02 | |
# Forever and ever | 0:25:04 | 0:25:06 | |
# We can be heroes | 0:25:09 | 0:25:10 | |
# Just for one day | 0:25:12 | 0:25:14 | |
# I | 0:25:34 | 0:25:36 | |
# I will be king | 0:25:38 | 0:25:39 | |
# And you will be queen | 0:25:43 | 0:25:49 | |
# Though nothing | 0:25:51 | 0:25:52 | |
# Will keep us together | 0:25:55 | 0:25:57 | |
# We can be us | 0:25:59 | 0:26:00 | |
# Forever and ever | 0:26:02 | 0:26:05 | |
# Or we can be heroes | 0:26:07 | 0:26:09 | |
# Just for one day... # | 0:26:11 | 0:26:13 | |
Is there a danger that by following your instinct, | 0:26:15 | 0:26:18 | |
your aesthetic instincts if you like, your artistic instinct... | 0:26:18 | 0:26:20 | |
-Yeah. -..that you will jeopardise that, you know, | 0:26:20 | 0:26:23 | |
the money and the good life and all that? | 0:26:23 | 0:26:25 | |
-No shit, Sherlock. -HE LAUGHS | 0:26:25 | 0:26:28 | |
Yes, I think... | 0:26:28 | 0:26:29 | |
Yes, I think I've rather sort of hit that one on the head at the moment. | 0:26:29 | 0:26:33 | |
Um... | 0:26:33 | 0:26:35 | |
And it's quite a relief, really. | 0:26:35 | 0:26:37 | |
I feel a lot more... | 0:26:37 | 0:26:39 | |
free in what I do. | 0:26:39 | 0:26:42 | |
I just needed... | 0:26:42 | 0:26:44 | |
I just needed a positive decision to only do what I want to do and | 0:26:44 | 0:26:47 | |
not do things for the sake of what either David Bowie or | 0:26:47 | 0:26:53 | |
whoever I was playing last, The Thin White Duke or something, | 0:26:53 | 0:26:56 | |
was expected to do. | 0:26:56 | 0:26:58 | |
-# Peace on earth -Come they told me | 0:26:58 | 0:26:59 | |
-# Pa-rum-pum-pum-pum -Can it be? | 0:26:59 | 0:27:04 | |
-# Years from now -A new born king to see | 0:27:04 | 0:27:06 | |
-# Perhaps we'll see -Pa-rum-pum-pum-pum | 0:27:06 | 0:27:09 | |
-# Our finest gifts we bring -See the day | 0:27:11 | 0:27:13 | |
-# Pa-rum-pum-pum-pum -Of glory | 0:27:13 | 0:27:17 | |
-# See the day -To lay before the king | 0:27:17 | 0:27:20 | |
-# When men of good will -Ra-pum-pum-pum, ra-pum-pum-pum | 0:27:20 | 0:27:23 | |
# Live in peace Live in peace again | 0:27:23 | 0:27:27 | |
-# So to honour Him -Peace on earth | 0:27:27 | 0:27:30 | |
# Pa-rum-pum-pum-pum | 0:27:30 | 0:27:32 | |
-# Can it be? -When we come | 0:27:32 | 0:27:37 | |
# Every child must be made aware | 0:27:37 | 0:27:43 | |
# Every child must be made to care | 0:27:44 | 0:27:49 | |
# Care enough for his fellow man | 0:27:50 | 0:27:56 | |
# To give all the love that he can. # | 0:27:56 | 0:28:02 | |
Now, into this ever-changing world of current affairs, | 0:28:02 | 0:28:05 | |
we welcome a chameleon of show business. | 0:28:05 | 0:28:07 | |
Yet another David Bowie. | 0:28:07 | 0:28:09 | |
Is this the real one this time? | 0:28:09 | 0:28:11 | |
Well, um, I think so, yes. | 0:28:11 | 0:28:14 | |
A lot of people looking at some of those roles that you've played, | 0:28:14 | 0:28:17 | |
-I think would have been very shocked and found it very outrageous. -Yeah. | 0:28:17 | 0:28:21 | |
And also there's this tremendous tendency to think | 0:28:21 | 0:28:24 | |
of rock stars as, or pop stars generally, | 0:28:24 | 0:28:25 | |
-as being a bit thick. -Yeah. | 0:28:25 | 0:28:27 | |
Obviously, there's, I presume, a lot more to you than that. | 0:28:27 | 0:28:29 | |
Did it worry you that people have that kind of image? | 0:28:29 | 0:28:31 | |
-No, I'm very thick. -HE LAUGHS | 0:28:31 | 0:28:33 | |
-Are you? -Yes, I became a rock star. | 0:28:33 | 0:28:36 | |
What is your rank? | 0:28:36 | 0:28:37 | |
Lieutenant. | 0:28:37 | 0:28:38 | |
Well, Lieutenant... | 0:28:40 | 0:28:41 | |
..I'm the head of a regiment, of sorts - | 0:28:42 | 0:28:46 | |
the gigolos. | 0:28:46 | 0:28:48 | |
Yes, your lieutenant told me. | 0:28:48 | 0:28:51 | |
Lieutenant, there's one thing I don't like. | 0:28:51 | 0:28:54 | |
Poor fantasy in speech. | 0:28:55 | 0:28:57 | |
It lacks charm. | 0:28:58 | 0:28:59 | |
And you don't seem to lack anything. | 0:29:01 | 0:29:04 | |
-Do you lack anything, David Bowie? -Isn't she lovely? -She's marvellous. | 0:29:06 | 0:29:09 | |
-I wish I'd met her... -It's fantastic. -..a long time ago. | 0:29:09 | 0:29:13 | |
I'm picking up the line she addressed to you in the film, | 0:29:13 | 0:29:15 | |
do you feel you lack anything, | 0:29:15 | 0:29:16 | |
or have you got everything you want now? | 0:29:16 | 0:29:18 | |
Yes, a train ticket to Penge. | 0:29:18 | 0:29:19 | |
I've got some friends out there and I promised I'd go and see them | 0:29:19 | 0:29:22 | |
this week, but I haven't had the time to get down there yet. | 0:29:22 | 0:29:25 | |
Are you going to give up music now and concentrate on acting? | 0:29:25 | 0:29:29 | |
Is this a new whole direction? | 0:29:29 | 0:29:30 | |
I'd like to expand my activities, as they say. | 0:29:30 | 0:29:33 | |
No, I enjoy writing very much. | 0:29:33 | 0:29:36 | |
Writing. Just music or all sorts of writing? | 0:29:37 | 0:29:40 | |
Um... | 0:29:40 | 0:29:41 | |
Funnily enough, I am sort of studiously trying to write | 0:29:41 | 0:29:44 | |
a book of short stories | 0:29:44 | 0:29:46 | |
based on things that I've done. | 0:29:46 | 0:29:49 | |
But writing music, generally. | 0:29:49 | 0:29:52 | |
Performance on stage, I think I've decided really cut it down to | 0:29:52 | 0:29:55 | |
once every two years because I find it boring after the first ten shows. | 0:29:55 | 0:29:59 | |
It starts to become repetitious - every night the same thing. | 0:29:59 | 0:30:02 | |
-So will there be more acting, more films? -Yes, there will. | 0:30:02 | 0:30:04 | |
-I'm heading towards directing as well. -Are you? | 0:30:04 | 0:30:07 | |
-Yeah, very much. -That's a final hope, is it? | 0:30:07 | 0:30:10 | |
No, I want to be a good painter again, is my really big dream. | 0:30:10 | 0:30:14 | |
And now Bowie in New York. | 0:30:14 | 0:30:16 | |
The play in which rock star David Bowie has scored | 0:30:16 | 0:30:18 | |
a remarkable triumph on Broadway | 0:30:18 | 0:30:19 | |
is called The Elephant Man. | 0:30:19 | 0:30:21 | |
It's the story set in late 19th century England of John Merrick, | 0:30:21 | 0:30:24 | |
played by Bowie, a grotesquely deformed man who suffered | 0:30:24 | 0:30:27 | |
a miserable existence as a pathetic circus attraction until | 0:30:27 | 0:30:31 | |
he was befriended by a brilliant young surgeon. | 0:30:31 | 0:30:33 | |
Bowie's first appearance as a straight actor met with | 0:30:33 | 0:30:35 | |
almost universal praise from the New York critics, | 0:30:35 | 0:30:37 | |
and I know, to my cost, that they can be slightly unpleasant at times, | 0:30:37 | 0:30:41 | |
and there were long lines at the box office. | 0:30:41 | 0:30:42 | |
-WITH SPEECH IMPEDIMENT: -I have a home. | 0:30:42 | 0:30:45 | |
This is m-m-my... | 0:30:45 | 0:30:49 | |
home. | 0:30:49 | 0:30:51 | |
This... | 0:30:51 | 0:30:53 | |
is my home. | 0:30:53 | 0:30:55 | |
I have a home. | 0:30:56 | 0:30:58 | |
I have. | 0:30:58 | 0:31:00 | |
For as long as I like. | 0:31:01 | 0:31:03 | |
I have a sort of eclectic thing about freaks and isolationists | 0:31:05 | 0:31:10 | |
and alienated people, sort of. | 0:31:10 | 0:31:12 | |
And I kind of gather information on people like that, mentally anyway. | 0:31:12 | 0:31:17 | |
# Do you remember a guy that's been | 0:31:17 | 0:31:19 | |
# In such an early song | 0:31:21 | 0:31:23 | |
# I've heard a rumour from Ground Control | 0:31:25 | 0:31:28 | |
# Oh, no | 0:31:28 | 0:31:29 | |
# Don't say it's true | 0:31:29 | 0:31:31 | |
# They got a message from the Action Man | 0:31:31 | 0:31:35 | |
# I'm happy | 0:31:35 | 0:31:38 | |
# Hope you're happy, too | 0:31:38 | 0:31:41 | |
# I've loved All I've needed, love | 0:31:41 | 0:31:44 | |
# Sordid details following | 0:31:44 | 0:31:48 | |
# The shrieking of nothing is killing me | 0:31:48 | 0:31:51 | |
# Just pictures of Jap girls in synthesis | 0:31:51 | 0:31:55 | |
# And I ain't got no money and I ain't got no hair | 0:31:55 | 0:32:00 | |
# But I'm hoping to kick | 0:32:03 | 0:32:06 | |
# But the planet is glowing. # | 0:32:06 | 0:32:09 | |
Were you surprised at the huge success of the single in England? | 0:32:09 | 0:32:13 | |
Uh... Frankly, yes, I was. | 0:32:13 | 0:32:16 | |
Do you think your video had a lot to do with it? | 0:32:16 | 0:32:19 | |
I don't know. I really don't know. | 0:32:19 | 0:32:20 | |
I would tend to believe... | 0:32:20 | 0:32:22 | |
To be honest about it, I suppose that Major Tom was a sort of... | 0:32:24 | 0:32:28 | |
There's a comfortable feeling with him, being such | 0:32:28 | 0:32:32 | |
a sort of an old figure of mine. | 0:32:32 | 0:32:34 | |
I mean, he goes back to '68, '69, whatever it was. | 0:32:34 | 0:32:36 | |
Um... | 0:32:36 | 0:32:38 | |
I guess that sort of a lot of people still have some kind of | 0:32:38 | 0:32:41 | |
empathy with him, because he became a little sort of bouncy hero. | 0:32:41 | 0:32:45 | |
I just wanted to sort of bring him up to date a little bit | 0:32:45 | 0:32:49 | |
and put him in a Victorian nursery rhyme kind of atmosphere. | 0:32:49 | 0:32:52 | |
Even though it's not Victorian, | 0:32:52 | 0:32:54 | |
it has that queasiness as some of those... | 0:32:54 | 0:32:56 | |
# Ring a ring o' roses... # | 0:32:56 | 0:32:58 | |
"This is about the plague and we're all going to drop down dead, boom." | 0:32:58 | 0:33:00 | |
..kind of thing about it, | 0:33:00 | 0:33:02 | |
which is what I did with the piece. | 0:33:02 | 0:33:05 | |
# Ashes to ashes Funk to funky | 0:33:05 | 0:33:09 | |
# We know Major Tom's a junkie | 0:33:09 | 0:33:13 | |
# Strung out in heaven's high | 0:33:13 | 0:33:16 | |
# Hitting an all-time low. # | 0:33:16 | 0:33:20 | |
I guess there's a kind of a voice in there somewhere. | 0:33:23 | 0:33:26 | |
I think songs like Wild Is The Wind | 0:33:26 | 0:33:29 | |
is probably as near to a real voice. | 0:33:29 | 0:33:33 | |
# Love me, love me, love me, | 0:33:34 | 0:33:37 | |
# Love me, say you do | 0:33:37 | 0:33:40 | |
# Let me fly away with you | 0:33:45 | 0:33:50 | |
# For our love is like the wind | 0:33:53 | 0:33:59 | |
# And wild is the wind | 0:34:02 | 0:34:05 | |
# Wild is the wind | 0:34:07 | 0:34:13 | |
# You | 0:34:13 | 0:34:15 | |
# Touch me | 0:34:15 | 0:34:19 | |
# I hear the sound of mandolins | 0:34:22 | 0:34:29 | |
# You | 0:34:32 | 0:34:38 | |
# Kiss me | 0:34:38 | 0:34:40 | |
# Oh, with your kiss, my life begins. # | 0:34:41 | 0:34:49 | |
Claridge's, that most exclusive of hotels in London's West End, | 0:34:52 | 0:34:56 | |
at lunchtime today. | 0:34:56 | 0:34:57 | |
Times are hard in the record industry, | 0:34:57 | 0:35:00 | |
but EMI are celebrating. | 0:35:00 | 0:35:02 | |
Against serious opposition and for very serious money, | 0:35:02 | 0:35:05 | |
they've just signed a real superstar. | 0:35:05 | 0:35:08 | |
Ladies and gentlemen, Mr David Bowie. | 0:35:08 | 0:35:11 | |
-Can I sit down here? -Yeah, sure. | 0:35:21 | 0:35:24 | |
No, I can't. | 0:35:24 | 0:35:25 | |
-I'll sit here, then. -LAUGHTER | 0:35:26 | 0:35:28 | |
Um... About two days ago, | 0:35:28 | 0:35:30 | |
EMI Records phoned me up in Australia and said, | 0:35:30 | 0:35:34 | |
would I like to take a 25-hour flight back, | 0:35:34 | 0:35:37 | |
come and sit in a room with 75 journalists? | 0:35:37 | 0:35:41 | |
Over the last year, I've made a couple of movies | 0:35:41 | 0:35:44 | |
and I've completed an album and a single called Let's Dance, | 0:35:44 | 0:35:47 | |
and tomorrow tickets go on sale in the UK - | 0:35:47 | 0:35:52 | |
and in the next few days in the rest of Europe - | 0:35:52 | 0:35:56 | |
for concert performances in London... | 0:35:56 | 0:35:58 | |
No other pop performer except perhaps Jagger | 0:35:58 | 0:36:00 | |
could create quite this interest | 0:36:00 | 0:36:02 | |
for the media of Europe or pull off the event with quite such style. | 0:36:02 | 0:36:06 | |
Particularly if they'd just flown in from Australia. | 0:36:06 | 0:36:09 | |
# Put on your red shoes and dance the blues | 0:36:09 | 0:36:12 | |
# Let's dance | 0:36:14 | 0:36:16 | |
# To the song they're playing on the radio | 0:36:16 | 0:36:20 | |
# Let's sway | 0:36:22 | 0:36:24 | |
# While colour lights up your face. # | 0:36:24 | 0:36:28 | |
The new single, Let's Dance, | 0:36:29 | 0:36:31 | |
shows Bowie changing again | 0:36:31 | 0:36:33 | |
to New York black funk styles. | 0:36:33 | 0:36:35 | |
It's his first release for EMI after 12 years with another | 0:36:35 | 0:36:39 | |
record company, RCA, | 0:36:39 | 0:36:41 | |
against whom Bowie now makes the remarkable accusation | 0:36:41 | 0:36:44 | |
that they tried to dictate his style. | 0:36:44 | 0:36:47 | |
EMI don't give lavish receptions like this very often. | 0:36:47 | 0:36:51 | |
They won't say how much they paid for Bowie, | 0:36:51 | 0:36:53 | |
but rumours range from £10 million to £17 million | 0:36:53 | 0:36:57 | |
for a five-year contract. | 0:36:57 | 0:36:59 | |
Reportedly so, yes. I'm overwhelmed that I've... | 0:36:59 | 0:37:02 | |
-Is that anywhere near accurate? -It's absolutely nowhere near accurate. | 0:37:03 | 0:37:07 | |
-Can you give us a more accurate figure? -Of course not! | 0:37:07 | 0:37:11 | |
He treated his press conference more like a cool actor than | 0:37:11 | 0:37:14 | |
a cool pop star, | 0:37:14 | 0:37:16 | |
almost like some future Dirk Bogarde in the making. | 0:37:16 | 0:37:19 | |
Thank you very much and good afternoon, ladies and gentlemen. | 0:37:19 | 0:37:22 | |
But then he has got two feature films opening | 0:37:22 | 0:37:23 | |
in the next few months, including | 0:37:23 | 0:37:25 | |
Merry Christmas, Mr Lawrence, the first film in seven years | 0:37:25 | 0:37:28 | |
from Japan's controversial director Nagisa Oshima. | 0:37:28 | 0:37:31 | |
I always look for characters who have | 0:37:31 | 0:37:34 | |
either an emotional or a physical limp. | 0:37:34 | 0:37:37 | |
I find that they are, for me, not being a... | 0:37:37 | 0:37:40 | |
I don't really see my future in acting to | 0:37:42 | 0:37:45 | |
a greater extent than my involvement now, | 0:37:45 | 0:37:47 | |
so I really like to have characters | 0:37:47 | 0:37:49 | |
that I can at least play around with. | 0:37:49 | 0:37:51 | |
He asked me my name and my rank, and I told him. | 0:37:52 | 0:37:55 | |
Then Lieutenant Ito asked me, "Is that true?" | 0:37:56 | 0:37:59 | |
I replied, "Of course it is, I'm with the British Army." | 0:38:03 | 0:38:06 | |
Is it worth coming to cope with the pressures of Cannes to sell | 0:38:06 | 0:38:09 | |
a movie like Merry Christmas? | 0:38:09 | 0:38:11 | |
I think that a cultural co-production like Merry Christmas | 0:38:13 | 0:38:16 | |
deserves every pound of help that it can get | 0:38:16 | 0:38:20 | |
because otherwise it could be relegated to | 0:38:20 | 0:38:22 | |
a position of an art movie. | 0:38:22 | 0:38:24 | |
Uh... | 0:38:24 | 0:38:25 | |
HE SPEAKS FRENCH | 0:38:25 | 0:38:27 | |
'It's awful, really unbelievably diabolical.' | 0:38:27 | 0:38:31 | |
I do it very rarely. | 0:38:31 | 0:38:32 | |
This is like the second time I've done it in God knows how many years, | 0:38:32 | 0:38:37 | |
but I appreciate the value of doing it. | 0:38:37 | 0:38:39 | |
There's a time to be public with things. | 0:38:39 | 0:38:42 | |
I mean, I don't know. | 0:38:42 | 0:38:44 | |
I've always been a pretty private person, | 0:38:44 | 0:38:47 | |
but I think that I'm changing somewhat. | 0:38:47 | 0:38:50 | |
I think it is now important for me as an artist to... | 0:38:50 | 0:38:52 | |
It's slowly dawned on me that part of an artist's | 0:38:52 | 0:38:55 | |
responsibility is to make himself open to the people that are | 0:38:55 | 0:38:59 | |
trying to understand his work. | 0:38:59 | 0:39:01 | |
I'm still not at ease with the situation, | 0:39:01 | 0:39:03 | |
but it's...it's making sense now. | 0:39:03 | 0:39:06 | |
Live Aid, the biggest musical event ever, | 0:39:06 | 0:39:09 | |
is still going on at Wembley Stadium in London. | 0:39:09 | 0:39:11 | |
It is being beamed to more than 100 countries around the world | 0:39:11 | 0:39:15 | |
with about 1.5 billion people watching. | 0:39:15 | 0:39:18 | |
The aim is to raise £10 million for the starving in Africa. | 0:39:18 | 0:39:21 | |
# Calling out around the world | 0:39:21 | 0:39:25 | |
# Are you ready for a brand-new beat? | 0:39:25 | 0:39:27 | |
# Summer's here and the time is right | 0:39:28 | 0:39:32 | |
BOTH: # For dancing in the street | 0:39:32 | 0:39:35 | |
-# Dancing in Chicago -Dancing in the street | 0:39:35 | 0:39:38 | |
-# Down in New Orleans -Dancing in the street | 0:39:38 | 0:39:42 | |
-# In New York City -Dancing in the street | 0:39:42 | 0:39:45 | |
# All we need is music | 0:39:45 | 0:39:48 | |
-# Sweet music -Sweet music | 0:39:48 | 0:39:50 | |
-# There'll be music everywhere -Everywhere | 0:39:50 | 0:39:54 | |
# They'll be swinging, swaying records playing | 0:39:54 | 0:39:58 | |
# Dancing in the street | 0:39:58 | 0:40:00 | |
# Whoa | 0:40:00 | 0:40:02 | |
# It doesn't matter what you wear | 0:40:02 | 0:40:04 | |
# Just as long as you are there | 0:40:04 | 0:40:08 | |
# So come on | 0:40:08 | 0:40:09 | |
# Every guy, grab a girl | 0:40:09 | 0:40:12 | |
# Everywhere around the world | 0:40:12 | 0:40:16 | |
# There'll be dancing | 0:40:16 | 0:40:18 | |
-# Dancing in the street -Dancing in the street. # | 0:40:18 | 0:40:22 | |
One down and two to go. | 0:40:22 | 0:40:24 | |
The next film out of the Goldcrest trap is Absolute Beginners, | 0:40:24 | 0:40:26 | |
which isn't due to be released until Easter. | 0:40:26 | 0:40:28 | |
# I absolutely love you | 0:40:31 | 0:40:34 | |
# But we're absolute beginners | 0:40:39 | 0:40:42 | |
# With eyes completely open | 0:40:47 | 0:40:51 | |
# But nervous all the same. # | 0:40:55 | 0:40:59 | |
Your him, aren't you? You're the goblin king! | 0:41:15 | 0:41:18 | |
What's the word on David? | 0:41:21 | 0:41:22 | |
'Every age group really has a whole thing about David. | 0:41:26 | 0:41:30 | |
'And he himself is a very normal, well grounded, | 0:41:30 | 0:41:34 | |
'straightforward person that is absolutely professional.' | 0:41:34 | 0:41:38 | |
And if he says, "You do." | 0:41:38 | 0:41:40 | |
-You do. -Do what? | 0:41:41 | 0:41:43 | |
INDISTINCT SPEECH | 0:41:43 | 0:41:46 | |
# I never sailed on a sea | 0:41:46 | 0:41:48 | |
# I would not challenge a giant | 0:41:50 | 0:41:52 | |
# I could not take on the Church | 0:41:54 | 0:41:56 | |
-# Time will crawl -Till the 21st century lose | 0:41:56 | 0:42:01 | |
# I know a government man | 0:42:01 | 0:42:03 | |
# He was as blind as the moon | 0:42:05 | 0:42:07 | |
# He saw the sun in the night | 0:42:09 | 0:42:11 | |
# He took a top-gun pilot and he... # | 0:42:12 | 0:42:16 | |
David Bowie was back on stage last night with a new band, Tin Machine. | 0:42:16 | 0:42:20 | |
Unlike previous performances, this saw Bowie as himself, | 0:42:20 | 0:42:24 | |
just another member of the band. | 0:42:24 | 0:42:25 | |
CROWD SCREAMS | 0:42:25 | 0:42:27 | |
Do you look back on the old sort of Bowie stuff and compare this? | 0:42:27 | 0:42:31 | |
He just looks at the old Bowie! | 0:42:31 | 0:42:33 | |
HE LAUGHS | 0:42:33 | 0:42:35 | |
And now music from a band formed only three years ago. | 0:42:35 | 0:42:38 | |
The second album and a new single - You Belong In Rock N' Roll. | 0:42:38 | 0:42:41 | |
Keep an eye on their promising young vocalist. | 0:42:41 | 0:42:44 | |
LAUGHTER Tin Machine. | 0:42:44 | 0:42:46 | |
CHEERING AND APPLAUSE | 0:42:46 | 0:42:47 | |
# You belong in rock n' roll | 0:42:47 | 0:42:51 | |
# You belong in rock n' roll | 0:42:51 | 0:42:55 | |
# You belong in rock n' roll | 0:42:55 | 0:42:59 | |
# So do I | 0:42:59 | 0:43:01 | |
# I love how she moves me | 0:43:03 | 0:43:06 | |
# It makes me feel all right, all right, all right, all right. # | 0:43:07 | 0:43:13 | |
'I screw up in major ways. | 0:43:13 | 0:43:15 | |
'I'd much prefer a magnificent disaster than a mediocre success.' | 0:43:15 | 0:43:20 | |
# I'm a-hurt, I'm a-hurt, I'm a hurting. # | 0:43:20 | 0:43:23 | |
'I'd be a fool not to be aware of what my contribution | 0:43:23 | 0:43:25 | |
'has been to music over the years, you know, | 0:43:25 | 0:43:27 | |
'I kind of hear traces of it here, there and everywhere.' | 0:43:27 | 0:43:30 | |
I only write for myself. | 0:43:32 | 0:43:34 | |
I don't take much regard for my audience, whoever they might be. | 0:43:34 | 0:43:38 | |
# Spaceboy | 0:43:38 | 0:43:42 | |
# You're sleepy now | 0:43:42 | 0:43:45 | |
# Your silhouette | 0:43:45 | 0:43:48 | |
# Is so stationary | 0:43:48 | 0:43:51 | |
# You're released but your custody calls | 0:43:51 | 0:43:54 | |
# And I want to be free | 0:43:57 | 0:43:59 | |
# Don't you want to be free? | 0:44:00 | 0:44:03 | |
# Do you like girls or boys? | 0:44:04 | 0:44:06 | |
# It's confusing these days | 0:44:07 | 0:44:10 | |
# But moon dust will cover you, cover you | 0:44:11 | 0:44:16 | |
# This chaos is killing me. # | 0:44:16 | 0:44:20 | |
Neil asked me if he could mix it, | 0:44:28 | 0:44:30 | |
because he thought it was a big single, | 0:44:30 | 0:44:32 | |
so I said, "Yeah, I'd love one that the radio played." | 0:44:32 | 0:44:36 | |
So he went away and mixed it, and now the radio are playing it. | 0:44:36 | 0:44:40 | |
He knows these things. | 0:44:40 | 0:44:42 | |
He has these secret ears. | 0:44:42 | 0:44:44 | |
# Ground to Major Bye-bye, Tom. # | 0:44:45 | 0:44:48 | |
We cut up the words of Space Odyssey. | 0:44:48 | 0:44:50 | |
And he phoned up when we were in the studio and he said, | 0:44:50 | 0:44:52 | |
"Oh, how's it going?" I said, "Well, there's not a second verse, | 0:44:52 | 0:44:55 | |
"so we cut up the words of Space Odyssey." | 0:44:55 | 0:44:57 | |
And there was a long pause on the phone and he said, | 0:44:57 | 0:45:00 | |
"Sounds like I'd better come into the studio, I think." | 0:45:00 | 0:45:02 | |
And I thought, "Oh, my God, we're in trouble." | 0:45:02 | 0:45:04 | |
And then he came in, and he laughed, and he really liked it. | 0:45:04 | 0:45:07 | |
# This chaos is killing me. # | 0:45:11 | 0:45:14 | |
Me, I'm a very...pretty fulfilled artist. | 0:45:14 | 0:45:16 | |
I like what I've done on the majority of occasions | 0:45:16 | 0:45:21 | |
and I'm in exactly the place where I want to be at the moment, so that... | 0:45:21 | 0:45:26 | |
that for me is a good thing. | 0:45:26 | 0:45:27 | |
# Little wonder, then Little wonder | 0:45:27 | 0:45:31 | |
# You little wonder Little wonder, you. # | 0:45:31 | 0:45:34 | |
If I just do things that I really get off on, | 0:45:34 | 0:45:37 | |
that I think are exciting, | 0:45:37 | 0:45:39 | |
I can't guarantee that everybody | 0:45:39 | 0:45:41 | |
will like it. That's just ridiculous. That's a fantasy. | 0:45:41 | 0:45:45 | |
But you can guarantee that somebody is going to like it. | 0:45:45 | 0:45:48 | |
# So far away. # | 0:45:48 | 0:45:50 | |
Would you be happy with just being remembered as a rock star or a god? | 0:45:57 | 0:46:02 | |
Um... | 0:46:02 | 0:46:04 | |
Two things strike me about that. | 0:46:04 | 0:46:06 | |
One, I'd be happy to be remembered. | 0:46:06 | 0:46:08 | |
And secondly, by anybody. | 0:46:08 | 0:46:09 | |
HE LAUGHS | 0:46:09 | 0:46:12 | |
That's a bonus. | 0:46:12 | 0:46:13 | |
I must say, I'm very complacent, but frankly, it doesn't bother me. | 0:46:17 | 0:46:21 | |
I'm very glad that I got this life, and it's a gift, | 0:46:21 | 0:46:25 | |
and for that I am thankful enough, frankly. | 0:46:25 | 0:46:28 | |
# Oh, my | 0:46:33 | 0:46:35 | |
# Naked eyes | 0:46:35 | 0:46:38 | |
# I should've kept you | 0:46:38 | 0:46:41 | |
# Should've tried | 0:46:41 | 0:46:43 | |
# Should've been a wiser | 0:46:44 | 0:46:47 | |
# Kind of guy | 0:46:47 | 0:46:49 | |
# I loved you. # | 0:46:49 | 0:46:53 | |
On a personal level, you don't do drugs any more. | 0:46:53 | 0:46:55 | |
-No, absolutely not. -And you don't drink. -I don't drink either, no. | 0:46:55 | 0:46:58 | |
-Not even a glass of wine? -No. | 0:46:58 | 0:46:59 | |
-It would kill me if I started again. -What do you mean it would kill you? | 0:46:59 | 0:47:02 | |
I'm an alcoholic, | 0:47:02 | 0:47:03 | |
so it would be the kiss of death for me to start drinking again. | 0:47:03 | 0:47:07 | |
And... | 0:47:07 | 0:47:09 | |
My relationships with my friends, my family, | 0:47:09 | 0:47:13 | |
everybody around me are so good, and have been for so many years now, | 0:47:13 | 0:47:17 | |
I wouldn't do anything to destroy that again. You know? | 0:47:17 | 0:47:22 | |
It's very hard to have relationships | 0:47:22 | 0:47:24 | |
when you're doing drugs and drinking. | 0:47:24 | 0:47:27 | |
For me personally, anyway. | 0:47:27 | 0:47:29 | |
And you become closed off, unreceptive, insensitive, | 0:47:29 | 0:47:34 | |
all the dreadful things | 0:47:34 | 0:47:35 | |
that you've heard every other pop singer ever say. | 0:47:35 | 0:47:37 | |
And I was very lucky that I found my way out of that. | 0:47:37 | 0:47:41 | |
It's been good for me. | 0:47:41 | 0:47:43 | |
I've reassessed my life any number of times. | 0:47:43 | 0:47:47 | |
It is so exciting. | 0:47:47 | 0:47:48 | |
The crowd are rising up. | 0:47:48 | 0:47:49 | |
It is the moment we have all been waiting for, | 0:47:49 | 0:47:52 | |
The Thin White Duke returns to Glastonbury. | 0:47:52 | 0:47:54 | |
The last time he played here was 1971. | 0:47:54 | 0:47:58 | |
He is on stage now, let's go and see him. It's David Bowie. | 0:47:58 | 0:48:01 | |
I'd just written this one the first time I played Glastonbury, 1971. | 0:48:05 | 0:48:10 | |
Oh, Glastonbury! | 0:48:11 | 0:48:13 | |
# Ch-ch-ch-ch-changes | 0:48:14 | 0:48:17 | |
# Turn and face the strange | 0:48:17 | 0:48:19 | |
# Woohoo, changes | 0:48:19 | 0:48:20 | |
# Do you want to have to be a better man? | 0:48:20 | 0:48:24 | |
# Ch-ch-ch-ch-changes | 0:48:24 | 0:48:26 | |
# Turn and face the strange | 0:48:26 | 0:48:28 | |
# Woohoo, changes | 0:48:28 | 0:48:31 | |
# I just wanted to be a better man | 0:48:31 | 0:48:33 | |
# Time may change me | 0:48:33 | 0:48:36 | |
# I can't trace time. # | 0:48:36 | 0:48:40 | |
I never became who I should've been | 0:48:40 | 0:48:42 | |
until maybe 12, 15 years ago. | 0:48:42 | 0:48:44 | |
I spent an awful lot of my life, | 0:48:44 | 0:48:46 | |
as I think most people in the so-called entertainment industry, | 0:48:46 | 0:48:49 | |
actually looking for myself, you know, | 0:48:49 | 0:48:51 | |
and understanding what it was that I... | 0:48:51 | 0:48:53 | |
..what I existed for, what was it that really made me happy in life, | 0:48:55 | 0:48:59 | |
and who exactly I was, | 0:48:59 | 0:49:00 | |
and who were the parts of myself I was trying to hide from a lot. | 0:49:00 | 0:49:03 | |
You know, it's like exposing yourself. | 0:49:03 | 0:49:06 | |
And I think a lot of us are, one, dysfunctional in show business... | 0:49:06 | 0:49:10 | |
Show business! | 0:49:10 | 0:49:11 | |
..pretty dysfunctional and, two, | 0:49:12 | 0:49:14 | |
in huge senses of denial about who we are | 0:49:14 | 0:49:17 | |
and where we exist in the world. | 0:49:17 | 0:49:19 | |
Because some kind of traumatism often goes on in our childhood, | 0:49:19 | 0:49:22 | |
so I think that it makes us crave some kind of strange affection, | 0:49:22 | 0:49:26 | |
you know? It's sort of... | 0:49:26 | 0:49:28 | |
Often, you'll find that the person who craves | 0:49:28 | 0:49:31 | |
a lot of affection actually isn't terribly good at giving it. | 0:49:31 | 0:49:33 | |
# They said you took a big trip | 0:49:38 | 0:49:41 | |
# Said you moved away | 0:49:43 | 0:49:46 | |
# It happened all so quietly | 0:49:48 | 0:49:51 | |
# So they say | 0:49:51 | 0:49:53 | |
# I should've took a picture | 0:49:58 | 0:50:00 | |
# Something I could keep | 0:50:02 | 0:50:05 | |
# I'd buy a little frame | 0:50:07 | 0:50:11 | |
# Something cheap | 0:50:11 | 0:50:12 | |
# For you | 0:50:16 | 0:50:18 | |
# Everyone says hi. # | 0:50:20 | 0:50:22 | |
Are you a New Age father now? Are you... | 0:50:26 | 0:50:28 | |
doing nappy changing? Come on. | 0:50:28 | 0:50:30 | |
Uh, no, I'm ridiculously Victorian. | 0:50:30 | 0:50:33 | |
I'm absolutely hopeless at that kind of thing. | 0:50:33 | 0:50:36 | |
I've got a huge admiration for guys who can get in there, like that. | 0:50:36 | 0:50:40 | |
I just can't. Well, I mean, I didn't... | 0:50:40 | 0:50:42 | |
My wife didn't let me, which was great. | 0:50:42 | 0:50:44 | |
LAUGHTER | 0:50:44 | 0:50:46 | |
She said, "Oh, get out of here!" | 0:50:46 | 0:50:47 | |
And she was like pinning and wrapping things up and, | 0:50:47 | 0:50:50 | |
you know, I knew there was some kind of... | 0:50:50 | 0:50:52 | |
something in there was being prepared, | 0:50:52 | 0:50:53 | |
and at the end of it all, my little daughter came out, "Da-da-da!" | 0:50:53 | 0:50:56 | |
It was great. | 0:50:56 | 0:50:58 | |
But I'm good at saying, | 0:50:58 | 0:50:59 | |
"This is a book, and we're going to look at this," you know? | 0:50:59 | 0:51:02 | |
-"Come to this museum." -Yeah. | 0:51:02 | 0:51:04 | |
I'm kind of fairly good like that, I think. | 0:51:04 | 0:51:06 | |
# Waiting for something | 0:51:09 | 0:51:11 | |
# Looking for someone | 0:51:17 | 0:51:19 | |
# Is there no reason? | 0:51:24 | 0:51:27 | |
# Have I stared too long | 0:51:32 | 0:51:36 | |
# Whoa-ho-ho | 0:51:40 | 0:51:43 | |
# Whoa-ho-ho | 0:51:49 | 0:51:51 | |
# You say you'll leave me. # | 0:51:53 | 0:52:02 | |
-You've got your old Tony Visconti on it. -Yeah. -Producing it. | 0:52:02 | 0:52:05 | |
-And he is old as well. -Is he? -Yeah. | 0:52:05 | 0:52:07 | |
Why did you decide to go back with him? | 0:52:07 | 0:52:09 | |
He did lots of your early things, didn't he? | 0:52:09 | 0:52:11 | |
Yeah. We stopped arguing, you know, and it was like... | 0:52:11 | 0:52:14 | |
It worked out that we started getting on as friends and all that, | 0:52:14 | 0:52:16 | |
and we'd already done a lot of really good stuff together, | 0:52:16 | 0:52:19 | |
so it was worth a chance, you know, | 0:52:19 | 0:52:22 | |
of going back in and seeing what else we could do between us. | 0:52:22 | 0:52:25 | |
It was... | 0:52:25 | 0:52:26 | |
I'm really pleased we did. It was a good move. It's a good album. | 0:52:26 | 0:52:29 | |
# Streets, damp and warm | 0:52:37 | 0:52:41 | |
# Empty, smell metal | 0:52:43 | 0:52:46 | |
# Weeds between buildings | 0:52:49 | 0:52:52 | |
# Pictures on my hard drive | 0:52:55 | 0:52:58 | |
# But I'm the luckiest guy | 0:53:01 | 0:53:04 | |
# Not the loneliest guy. # | 0:53:07 | 0:53:10 | |
I had this poetic, romantic, kind of juvenile idea that I would be dead | 0:53:13 | 0:53:17 | |
by 30, you know, cos that's what all artists think. | 0:53:17 | 0:53:20 | |
"I'll be dead by 30," you know, "I'm going to get TB and die." | 0:53:20 | 0:53:22 | |
Aubrey Beardsley, and all that. But you don't, you know. | 0:53:22 | 0:53:26 | |
You get past it, and then suddenly you're 30, and you're 40... | 0:53:26 | 0:53:29 | |
And then you're 50, and 57, and all that, | 0:53:29 | 0:53:32 | |
and it's a new land, you know? | 0:53:32 | 0:53:35 | |
-Sure. -I'm a pioneer. Me and my kind. | 0:53:35 | 0:53:38 | |
-That's right. -"Me and my kind." | 0:53:38 | 0:53:40 | |
Just sort of scraping the edge of what this thing is about being | 0:53:40 | 0:53:44 | |
a rock and roller at 57. | 0:53:44 | 0:53:45 | |
But my revenge is all these bands that are below us, | 0:53:45 | 0:53:48 | |
they've got to do this. | 0:53:48 | 0:53:49 | |
So they kind of say, | 0:53:49 | 0:53:51 | |
"Yeah, they're really old," but secretly they're thinking, | 0:53:51 | 0:53:54 | |
"I'd better watch how he does it cos I'm going to get there." | 0:53:54 | 0:53:56 | |
# All the errors | 0:53:58 | 0:54:01 | |
# Left unlearned | 0:54:02 | 0:54:06 | |
# Oh | 0:54:06 | 0:54:07 | |
# But I'm the luckiest guy | 0:54:11 | 0:54:13 | |
# Not the loneliest guy | 0:54:18 | 0:54:20 | |
# In the world | 0:54:21 | 0:54:23 | |
# Not me. # | 0:54:33 | 0:54:34 | |
He's back. | 0:54:44 | 0:54:45 | |
40 years after Ziggy Stardust and The Spiders from Mars | 0:54:45 | 0:54:49 | |
and ten years since his last single, | 0:54:49 | 0:54:51 | |
David Bowie has released a new song. | 0:54:51 | 0:54:53 | |
It marks the singer's 66th birthday and an album is to follow. | 0:54:53 | 0:54:57 | |
Our arts editor, Will Gompertz, has been listening. | 0:54:57 | 0:55:00 | |
Without fanfare or flamboyance... | 0:55:00 | 0:55:03 | |
..David Bowie simply posted his first new track for a decade | 0:55:07 | 0:55:11 | |
on the internet. | 0:55:11 | 0:55:12 | |
It is a sorrowful, nostalgic ballad | 0:55:23 | 0:55:26 | |
that sees a 66-year-old rock star | 0:55:26 | 0:55:27 | |
reminiscing about his time spent in Berlin in the 1970s. | 0:55:27 | 0:55:31 | |
Fans were both surprised and relieved by the track's appearance. | 0:55:39 | 0:55:42 | |
Some had thought that Bowie had quietly retired, | 0:55:42 | 0:55:45 | |
others speculated that poor health had incapacitated him. | 0:55:45 | 0:55:48 | |
I think it's a wonderful song. I think it's heartfelt. | 0:55:54 | 0:55:56 | |
I think it's poignant. | 0:55:56 | 0:55:57 | |
But the other thing I love is that we know | 0:55:57 | 0:55:59 | |
that he's had times of ill health recently, | 0:55:59 | 0:56:01 | |
and I detect a little bit of kind of fragility in the voice, | 0:56:01 | 0:56:05 | |
even though it's croony, which is a really endearing thing. | 0:56:05 | 0:56:09 | |
# Look up here | 0:56:19 | 0:56:21 | |
# I'm in heaven | 0:56:21 | 0:56:23 | |
# I've got scars that can't be seen. # | 0:56:27 | 0:56:31 | |
Tonight at ten, the life and music of David Bowie, | 0:56:35 | 0:56:38 | |
the rock legend, who's died at the age of 69. | 0:56:38 | 0:56:41 | |
His career spanned half a century, | 0:56:41 | 0:56:43 | |
leaving an indelible mark on popular culture around the world. | 0:56:43 | 0:56:48 | |
# Something happened on the day he died | 0:56:48 | 0:56:53 | |
# The spirit rose a metre and stepped aside | 0:56:53 | 0:56:57 | |
# Somebody else took his place and bravely cried | 0:56:57 | 0:57:02 | |
# I'm a blackstar | 0:57:02 | 0:57:04 | |
# I'm a blackstar | 0:57:04 | 0:57:07 | |
# I can't answer why | 0:57:07 | 0:57:10 | |
# I'm a blackstar | 0:57:10 | 0:57:12 | |
# Just go with me I'm not a film star | 0:57:12 | 0:57:17 | |
# I'm-a-take you home | 0:57:17 | 0:57:19 | |
# I'm a blackstar | 0:57:19 | 0:57:21 | |
# Take your passport and shoes | 0:57:21 | 0:57:24 | |
# I'm not a pop star | 0:57:24 | 0:57:26 | |
# And your sedatives, boo I'm a blackstar | 0:57:26 | 0:57:31 | |
# Your flash in the pan | 0:57:31 | 0:57:34 | |
# I'm not a Marvel star | 0:57:34 | 0:57:36 | |
# I'm the Great I Am | 0:57:36 | 0:57:38 | |
# I'm a blackstar. # | 0:57:38 | 0:57:40 | |
He released his final album, Blackstar, | 0:57:42 | 0:57:44 | |
last week, on his 69th birthday. | 0:57:44 | 0:57:47 | |
True to form, it was innovative, surprising and, | 0:57:47 | 0:57:50 | |
in anticipating his own death, visionary. | 0:57:50 | 0:57:54 | |
David Bowie was a truly great artist | 0:57:54 | 0:57:57 | |
to the very end. | 0:57:57 | 0:57:59 | |
# Rebel rebel You've torn your dress | 0:58:11 | 0:58:15 | |
# Rebel rebel Your face is a mess | 0:58:15 | 0:58:18 | |
# Rebel rebel How could they know? | 0:58:18 | 0:58:22 | |
# Hot tramp, I love you so | 0:58:22 | 0:58:25 | |
# You've got your mother in a whirl | 0:58:33 | 0:58:36 | |
# She's not sure if you're a boy or a girl | 0:58:37 | 0:58:41 | |
# Hey, baby Your hair's all right | 0:58:41 | 0:58:45 | |
# Hey, baby Let's go out tonight | 0:58:45 | 0:58:48 | |
# Rebel rebel How could they know? | 0:58:49 | 0:58:52 | |
# Hot tramp, I love you so! # | 0:58:53 | 0:58:56 |