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[video static]
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[Bowie]
Once upon a time, your father--
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00:00:59,250 --> 00:01:01,709
my father, everybody's father,
I presume,
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00:01:01,709 --> 00:01:04,709
wanted a good job
with a good income
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00:01:04,709 --> 00:01:07,166
to secure their family life.
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00:01:07,166 --> 00:01:09,000
A role in society.
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And that's where it ended,
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00:01:10,583 --> 00:01:13,500
but now, people want
to be an individual.
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00:01:13,500 --> 00:01:15,667
And I think there's a lot
of searching to find
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the individual within oneself.
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00:01:18,125 --> 00:01:20,166
["Fashion" by
David Bowie playing]
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[music stops]
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[woman]
Once upon a time,
there was a little house.
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["The Man Who Sold the World"
by David Bowie playing]
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00:01:33,250 --> 00:01:35,458
[man]
Just say where you came from?
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[Bowie]
David Robert Jones
from Stansfield Road, Brixton.
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00:01:38,792 --> 00:01:41,542
That's the first thing I knew,
in case I got lost,
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00:01:41,542 --> 00:01:43,125
'cause I used to
wander off a lot.
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00:01:43,125 --> 00:01:46,208
["The Man Who Sold the World"
by David Bowie playing]
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[Bowie]
It wasn't a particularly
happy childhood.
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00:01:49,625 --> 00:01:52,792
My parents were
cold emotionally.
There weren't many hugs.
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00:01:52,792 --> 00:01:55,291
I always sort of craved
affection because of that.
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00:01:55,291 --> 00:02:00,208
[Bowie singing]
♪ I never thought I needed
so many people ♪
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00:02:03,125 --> 00:02:06,667
♪ A girl my age
went off her head ♪
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00:02:07,834 --> 00:02:10,709
♪ Hit some tiny children ♪
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00:02:10,709 --> 00:02:13,000
[Bowie]
I think there's a passion
for most people
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00:02:13,000 --> 00:02:15,917
who have an iota of,
sort of, curiosity
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00:02:15,917 --> 00:02:17,917
are bound to escape
and get out,
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00:02:17,917 --> 00:02:21,375
and try and find who one is.
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00:02:21,375 --> 00:02:23,458
["The Jean Genie"
by David Bowie playing]
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00:02:23,458 --> 00:02:26,500
♪ Small Jean Genie
snuck off to the city ♪
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00:02:26,500 --> 00:02:30,875
♪ Strung out on lasers
and slash-back blazers ♪
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00:02:30,875 --> 00:02:34,125
♪ Ate all your razors
while pulling the waiters ♪
34
00:02:34,125 --> 00:02:37,834
♪ Talking 'bout Monroe
and walking on Snow White ♪
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00:02:37,834 --> 00:02:39,417
[music stops]
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00:02:39,417 --> 00:02:43,458
[Bowie]
And I spent all those
formative teenage years
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00:02:43,458 --> 00:02:47,166
adopting guises
and changing roles,
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00:02:47,166 --> 00:02:49,375
-and, um,
-[phone rings]
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00:02:49,375 --> 00:02:51,875
just learning to be somebody.
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00:02:53,041 --> 00:02:56,709
♪ There's a starman ♪
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00:02:57,750 --> 00:03:00,542
♪ Waiting in the sky ♪
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00:03:05,041 --> 00:03:09,041
♪ There's a starman ♪
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♪ Waiting in the sky... ♪
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00:03:12,709 --> 00:03:18,375
♪♪♪
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00:03:23,917 --> 00:03:27,375
I want to do really quick
changes on the encores.
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00:03:27,375 --> 00:03:29,542
[woman]
Oh yeah, there will be,
there will be.
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00:03:29,542 --> 00:03:33,041
-Fastest ever.
-Providing Mick keeps out
the dressing room!
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00:03:33,041 --> 00:03:35,250
[indistinct chatter]
49
00:03:48,333 --> 00:03:51,250
No, I told Ron about some
things, has he told you?
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00:03:51,250 --> 00:03:53,083
-[man] Yeah. All right?
-Yeah.
51
00:03:53,083 --> 00:03:54,166
And the intro to the show?
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00:03:54,166 --> 00:03:56,583
[indistinct chatter]
53
00:04:01,709 --> 00:04:04,417
What were you doing before
you hit the bright headlights?
54
00:04:04,417 --> 00:04:06,083
Were you a nobody
and suddenly thought,
55
00:04:06,083 --> 00:04:08,417
"Jesus, I must get into
the scene by some other way?"
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00:04:08,417 --> 00:04:10,250
I never asked Jesus
for a thing, no.
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00:04:10,250 --> 00:04:11,792
It's always
on my own initiative.
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00:04:11,792 --> 00:04:13,208
[audience laughter]
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00:04:13,208 --> 00:04:16,291
When I was 14, I became a Mod,
60
00:04:16,291 --> 00:04:17,542
and it just carried on
from there.
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00:04:17,542 --> 00:04:19,375
I've always dressed
in what I consider
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00:04:19,375 --> 00:04:21,500
clothes that prevent
me becoming humdrum,
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00:04:21,500 --> 00:04:25,208
so that I would receive
reaction from people, which
would encourage me to write.
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00:04:33,625 --> 00:04:36,291
["I Can't Explain"
by David Bowie playing]
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[Bowie]
London represented a lifestyle,
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00:04:43,458 --> 00:04:46,291
a new kind of language,
culturally.
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00:04:46,291 --> 00:04:49,041
It was really fantastic
at that point.
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00:04:53,834 --> 00:04:55,166
[music stops]
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[man]
Where you writing songs
at this period?
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00:04:57,250 --> 00:04:58,709
[Bowie]
Not very good ones.
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00:04:58,709 --> 00:05:01,166
The majority of the things
were other people's numbers.
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00:05:01,166 --> 00:05:03,834
Little Richard stuff.
Things like that.
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00:05:03,834 --> 00:05:07,417
But I became disenchanted with
singing other people's songs.
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00:05:07,417 --> 00:05:09,375
I thought I'd write my own.
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00:05:09,375 --> 00:05:13,750
["You've Got a Habit of
Leaving" by Davy Jones playing]
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[Lancaster]
He was a nobody within
my scope of knowledge
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00:05:16,500 --> 00:05:19,083
of who was
in the music industry.
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00:05:19,083 --> 00:05:21,333
But we needed a singer.
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00:05:21,333 --> 00:05:22,875
And different people came.
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00:05:22,875 --> 00:05:26,166
Amongst them was David Jones,
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00:05:26,166 --> 00:05:30,542
or Davy Jones, as he was
promoting himself at that time.
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00:05:36,709 --> 00:05:38,333
[Taylor]
We were impressed
with his voice,
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00:05:38,333 --> 00:05:41,208
although I thought he was
going to play the saxophone.
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00:05:41,208 --> 00:05:43,667
He had the alto sax
around his neck,
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00:05:43,667 --> 00:05:46,542
and it wasn't until
he started singing we realized
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00:05:46,542 --> 00:05:48,917
he was the boy for us, really.
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00:05:48,917 --> 00:05:51,792
We employed him. He didn't
employ us, we employed him.
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[Lancaster]
And this was David's fourth go
in terms of bands,
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00:05:58,875 --> 00:06:00,625
hoping this would be it.
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00:06:08,625 --> 00:06:11,041
But David, of course,
had his own agenda,
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00:06:11,041 --> 00:06:14,750
where it was going to be
Davy Jones and
the Lower Third now,
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00:06:14,750 --> 00:06:18,834
but next it's going to be
David Bowie and whatever.
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00:06:20,166 --> 00:06:22,500
So there was a side
to David that you--
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00:06:22,500 --> 00:06:24,250
that wasn't revealed to you.
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00:06:24,250 --> 00:06:26,625
Hah! He was a rascal, mate.
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00:06:26,625 --> 00:06:28,625
That's it, that's all
I can really say about it.
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00:06:28,625 --> 00:06:31,917
["Baby Loves That Way" by
Davy Jones and the Lower Third
playing]
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♪ Baby loves that way ♪
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♪ Yes she does, yes she does ♪
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00:06:46,542 --> 00:06:48,208
♪ Baby loves that way ♪
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♪ Oh, I love my baby... ♪
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00:06:50,583 --> 00:06:53,000
[Bowie]
I mean I was always very vain.
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00:06:53,000 --> 00:06:54,542
Then I found out that,
up in London,
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00:06:54,542 --> 00:06:57,542
all the mods wore make-up,
eye shadow.
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00:06:57,542 --> 00:06:59,458
And I thought
that was really peculiar,
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00:06:59,458 --> 00:07:02,875
and I thought it looked
rather good.
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00:07:02,875 --> 00:07:07,125
[Lancaster]
The group van was
this London LCC ambulance.
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00:07:07,125 --> 00:07:11,083
We lived in this ambulance, as
well as traveling to the gigs.
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00:07:11,083 --> 00:07:15,000
So, we were talking about
how could we be different
from everybody else,
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and David said,
"What about wearing make-up?"
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00:07:18,375 --> 00:07:20,959
Right, I was... make-up, OK.
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00:07:20,959 --> 00:07:23,458
Now, I thought he meant
clown make-up.
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00:07:24,875 --> 00:07:27,166
Graham was driving,
as he always did.
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00:07:27,166 --> 00:07:31,500
"Here," I said, "Dave's
just come up with an idea.
What about we wear make-up?"
115
00:07:31,500 --> 00:07:34,291
So Graham turned around,
"Fuck that!"
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00:07:34,291 --> 00:07:37,208
["The Jean Genie"
by David Bowie playing]
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[Bowie]
Years later,
I had, uh, the same problems.
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00:07:44,333 --> 00:07:48,500
I didn't actually tell
The Spiders that
we'd have to wear make-up.
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00:07:48,500 --> 00:07:51,583
I said, "You looked very green
tonight on stage.
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00:07:51,583 --> 00:07:53,333
Do you think if--
I think if you wore make-up,
121
00:07:53,333 --> 00:07:57,166
you'd probably look
a little more natural-looking."
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00:07:57,166 --> 00:08:00,166
♪ Poor Jean Genie
snuck into the city ♪
123
00:08:00,166 --> 00:08:04,208
♪ Strung out on lasers
and slash-back blazers ♪
124
00:08:04,208 --> 00:08:07,875
♪ Ate all the razors
while pulling the waiters ♪
125
00:08:07,875 --> 00:08:11,917
♪ Talking 'bout Monroe,
walking on Snow White ♪
126
00:08:11,917 --> 00:08:16,125
♪ New York's a no-go,
and everything tastes nice ♪
127
00:08:16,125 --> 00:08:18,208
♪ Poor Jean Genie... ♪
128
00:08:18,208 --> 00:08:20,875
[Bowie]
Actually, when they realized
how many girls they could pull
129
00:08:20,875 --> 00:08:23,208
when they looked
so other-worldly,
130
00:08:23,208 --> 00:08:25,417
they took to it
like a fish to water.
131
00:08:25,417 --> 00:08:27,333
[laughs]
132
00:08:27,333 --> 00:08:29,667
♪ ...lives on his back ♪
133
00:08:29,667 --> 00:08:33,250
♪ Jean Genie
loves chimney stacks ♪
134
00:08:33,250 --> 00:08:37,125
♪ He's outrageous,
he screams and he bawls ♪
135
00:08:37,125 --> 00:08:42,000
♪ Jean Genie,
let yourself go, whoa... ♪
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00:08:42,000 --> 00:08:45,792
[Lancaster]
David had such a wide,
eclectic taste in things.
137
00:08:45,792 --> 00:08:49,875
He thought, "Well let's
have a go at this, because
it's completely different,
138
00:08:49,875 --> 00:08:53,417
it's gonna throw people
off balance, I'm sure,
139
00:08:53,417 --> 00:08:54,959
uh, and let's see how it goes."
140
00:08:57,667 --> 00:09:01,375
And we did that
with our set on stage.
141
00:09:01,375 --> 00:09:03,792
Mostly, it was
David's own compositions,
142
00:09:03,792 --> 00:09:07,208
but we'd do hits by
The Kinks or The Who,
143
00:09:07,208 --> 00:09:11,333
but we'd also do things
like "Chim-Chimeree"
from Mary Poppins.
144
00:09:11,333 --> 00:09:14,875
I thought,
"Why are we doing that stuff?"
145
00:09:14,875 --> 00:09:18,375
["You've Got a Habit of
Leaving" by Davy Jones playing]
146
00:09:18,375 --> 00:09:22,417
[Bowie] Looking back on it,
it just felt like a lot of fun
at the time
147
00:09:22,417 --> 00:09:24,750
and quite, kind of,
mischievous.
148
00:09:24,750 --> 00:09:27,375
You laugh a lot
when you're young, you know,
149
00:09:27,375 --> 00:09:30,750
it was-- it was just,
a lot of it was really funny.
150
00:09:32,917 --> 00:09:34,792
[radio tuning]
151
00:09:34,792 --> 00:09:38,250
Greetings Pop Pickers,
it's Pick of the Pops.
152
00:09:38,250 --> 00:09:42,083
[Lancaster]
David told us we'd got
an audition at the BBC.
153
00:09:42,083 --> 00:09:46,291
This was, wow, you know, I mean,
something special. The BBC.
154
00:09:51,041 --> 00:09:55,834
So, we walked into the BBC,
and did our three numbers.
155
00:09:55,834 --> 00:09:58,542
"Out Of Sight,"
"Chim-Chimeree,"
156
00:09:58,542 --> 00:10:00,291
and "Baby That's A Promise."
157
00:10:00,291 --> 00:10:02,542
That's one of David's songs.
158
00:10:02,542 --> 00:10:06,000
We did that, came away, and
then waited for the results.
159
00:10:08,417 --> 00:10:12,834
I've been having second thoughts
about this, and I'd like to hear
more from the music department.
160
00:10:12,834 --> 00:10:15,458
Well, frankly, to me, this
savors too much of a gimmick.
161
00:10:17,458 --> 00:10:19,583
[Lancaster]
They said that it was
quite a different sound,
162
00:10:19,583 --> 00:10:22,583
especially in
the Mary Poppins number.
163
00:10:22,583 --> 00:10:27,834
"And the treatment of
'Chim-Chimeree' kills
the song completely."
164
00:10:27,834 --> 00:10:30,333
[laughs] You cheeky sods!
165
00:10:31,834 --> 00:10:34,625
"Routine beat group,
strange choice of material.
166
00:10:34,625 --> 00:10:37,834
Amateur-sounding vocalist
[laughs]
167
00:10:37,834 --> 00:10:41,166
who sings wrong notes
and out of tune," yes.
168
00:10:41,166 --> 00:10:44,375
"Group has nothing
to recommend it."
169
00:10:44,375 --> 00:10:46,500
[laughs softly]
170
00:10:46,500 --> 00:10:50,083
"I don't think the group will
get better with more rehearsal.
171
00:10:52,041 --> 00:10:56,250
The singer is a cockney type,
[laughs]
172
00:10:56,250 --> 00:10:59,375
but not outstanding enough."
173
00:10:59,375 --> 00:11:02,333
Well, you need to be
an outstanding cockney,
obviously, for the BBC.
174
00:11:03,917 --> 00:11:07,000
"There is no entertainment
in anything they do.
175
00:11:07,000 --> 00:11:10,208
An inoffensive,
pleasant nothing.
176
00:11:10,208 --> 00:11:13,375
Backing singer
devoid of personality."
177
00:11:13,375 --> 00:11:14,792
[laughs]
178
00:11:14,792 --> 00:11:16,875
Where are these people now?
179
00:11:16,875 --> 00:11:19,458
[radio tuning]
180
00:11:19,458 --> 00:11:21,500
And each one says,
"No, no, no, no."
181
00:11:21,500 --> 00:11:25,291
So, that was our post-mortem,
I suppose.
182
00:11:25,291 --> 00:11:27,208
[radio tuning]
183
00:11:27,208 --> 00:11:29,125
We failed.
184
00:11:29,125 --> 00:11:32,625
But we got a recording contract
with Tony Hatch.
185
00:11:32,625 --> 00:11:34,834
This, to me, was awe inspiring.
186
00:11:34,834 --> 00:11:38,709
["Can't Help Thinking About Me"
by David Bowie playing]
187
00:11:38,709 --> 00:11:41,375
[Hatch]
I'd written and produced
the song "Downtown"
188
00:11:41,375 --> 00:11:43,208
with Petula Clarke.
189
00:11:43,208 --> 00:11:45,875
And I'd produced
Sandy Shaw's first hit.
190
00:11:45,875 --> 00:11:49,500
And when somebody
called me and said,
191
00:11:49,500 --> 00:11:53,583
"We have this artist, and he
really has got a great talent,
192
00:11:53,583 --> 00:11:57,250
and he writes all his own
things," I was more than happy.
193
00:11:59,125 --> 00:12:02,542
[Lancaster]
David came up with
"Can't Help Thinking About Me."
194
00:12:02,542 --> 00:12:05,583
We rehearsed it,
played it at the Marquee,
195
00:12:05,583 --> 00:12:10,250
and then, took it into
the studio and recorded it
with Tony Hatch.
196
00:12:10,250 --> 00:12:13,250
♪ I can't help
thinking about me ♪
197
00:12:13,250 --> 00:12:16,750
♪ I can't help
thinking about me... ♪
198
00:12:16,750 --> 00:12:20,166
[Hatch]
I thought, "This has got
the shape of a hit.
199
00:12:20,166 --> 00:12:24,291
It's structured well.
It has a very strong hook."
200
00:12:24,291 --> 00:12:27,625
[plays and sings
"Can't Help Thinking About Me"]
201
00:12:31,291 --> 00:12:36,375
I don't know where you found
this, but it is a piano,
202
00:12:36,375 --> 00:12:40,083
in case anybody
wondered what it was.
203
00:12:40,083 --> 00:12:44,458
♪ Question-time that says
I brought dishonor... ♪
204
00:12:44,458 --> 00:12:47,208
[Bowie]
"Can't Help Thinking About Me."
[laughs]
205
00:12:47,208 --> 00:12:51,125
Well, this came out of trials
in short story writing,
206
00:12:51,125 --> 00:12:54,125
little things about leaving
home and stuff like that.
207
00:12:54,125 --> 00:13:00,125
♪ Mother says that she can't
stand the neighbors talking ♪
208
00:13:00,125 --> 00:13:03,834
♪ I've gotta pack my bags,
leave this home ♪
209
00:13:03,834 --> 00:13:06,125
♪ Start walking, yeah... ♪
210
00:13:06,125 --> 00:13:09,000
[Bowie]
I couldn't really relate
to America too well,
211
00:13:09,000 --> 00:13:12,625
so I started writing more about
Bromley and Beckenham.
212
00:13:12,625 --> 00:13:16,208
And I tell a story
from beginning to end.
213
00:13:16,208 --> 00:13:21,417
♪ Remember when we used to
go to church on Sundays ♪
214
00:13:23,458 --> 00:13:28,000
♪ I lay awake at night,
terrified of school
on Mondays... ♪
215
00:13:28,000 --> 00:13:31,000
[MacCormack]
He was certainly
a different child,
216
00:13:31,000 --> 00:13:34,125
and I think you could tell
he was gifted,
217
00:13:34,125 --> 00:13:37,583
even at that age,
eight or nine years old.
218
00:13:37,583 --> 00:13:39,083
A thinker.
219
00:13:39,083 --> 00:13:41,917
♪ I can't help
thinking about me... ♪
220
00:13:41,917 --> 00:13:44,500
[Underwood]
The difference with him
and other kids was
221
00:13:44,500 --> 00:13:48,834
that David had interests
in things that other kids
didn't have.
222
00:13:48,834 --> 00:13:51,125
He was ahead of his time
regarding, you know,
223
00:13:51,125 --> 00:13:54,875
reading and music and all
the things which he was into.
224
00:13:54,875 --> 00:13:57,000
♪ As I pass
a recreation ground ♪
225
00:13:57,000 --> 00:14:01,500
♪ I remember my friends,
always been found
and I can't... ♪
226
00:14:01,500 --> 00:14:06,542
[Hatch]
There are some songwriters
that are just commentators,
227
00:14:06,542 --> 00:14:09,709
but Bowie was a storyteller.
228
00:14:09,709 --> 00:14:13,625
And so, he was going to
rummage into all his experiences
229
00:14:13,625 --> 00:14:16,041
to find things that
he could write about.
230
00:14:16,041 --> 00:14:18,166
It was something new.
231
00:14:18,166 --> 00:14:22,750
♪ The station seems so cold
the ticket's in my hand ♪
232
00:14:23,875 --> 00:14:30,208
♪ My girl calls my name
Hi, Dave ♪
233
00:14:30,208 --> 00:14:33,125
♪ Drop in, see around,
come back ♪
234
00:14:33,125 --> 00:14:36,000
-[music fades]
-[woman speaking German]
235
00:14:38,125 --> 00:14:41,542
...London's top teenage club,
Der Marquee.
236
00:14:41,542 --> 00:14:43,834
["Do Anything You Say"
by David Bowie playing]
237
00:14:46,250 --> 00:14:49,542
♪ Two by two,
they go walking by ♪
238
00:14:49,542 --> 00:14:52,583
♪ Hand in hand,
they watch me cry ♪
239
00:14:52,583 --> 00:14:55,583
♪ Two by two ♪
240
00:14:55,583 --> 00:14:58,000
♪ Hand in hand ♪
241
00:15:00,667 --> 00:15:04,208
♪ Lonely nights,
I dream you're there ♪
242
00:15:04,208 --> 00:15:06,750
♪ Morning sun and you're gone ♪
243
00:15:06,750 --> 00:15:09,834
♪ Lonely nights... ♪
244
00:15:09,834 --> 00:15:14,041
[Hutchinson]
David wanted The Buzz
to play sessions,
245
00:15:14,041 --> 00:15:16,792
and we would be
his band on stage.
246
00:15:16,792 --> 00:15:19,625
He wanted a band that was
very much a backing band
247
00:15:19,625 --> 00:15:22,959
so that he would be the front
man, as a separate entity.
248
00:15:22,959 --> 00:15:25,959
♪ Maybe I'll do
anything you say... ♪
249
00:15:25,959 --> 00:15:27,583
[interviewer]
And now, a young British boy
250
00:15:27,583 --> 00:15:29,917
whose career will surely
develop him into one of
251
00:15:29,917 --> 00:15:31,959
the bigger names in
the showbiz field.
252
00:15:31,959 --> 00:15:36,583
He's a great attraction
here at the Marquee,
and his name is David Bowie!
253
00:15:36,583 --> 00:15:38,291
[crowd applauding and cheering]
254
00:15:38,291 --> 00:15:41,125
David, you're working with
a backing group, The Buzz.
255
00:15:41,125 --> 00:15:42,709
Have you always been with them?
256
00:15:42,709 --> 00:15:44,125
[Bowie]
As David Bowie, yes.
257
00:15:44,125 --> 00:15:46,041
[interviewer] Why do you say,
"As David Bowie"--
258
00:15:46,041 --> 00:15:48,667
[Bowie] I was somebody else
before that. [laughs]
259
00:15:48,667 --> 00:15:50,291
[interviewer]
This is, what,
your second record,
260
00:15:50,291 --> 00:15:52,041
and it's a song you wrote?
261
00:15:52,041 --> 00:15:54,125
[Bowie]
Yes, I write most
of the stuff I record,
262
00:15:54,125 --> 00:15:55,959
the B-sides and A-sides.
263
00:15:58,792 --> 00:16:02,667
[Gillespie]
I don't think people realized
how important the Marquee was
264
00:16:02,667 --> 00:16:04,333
as a venue.
265
00:16:04,333 --> 00:16:07,333
It was the hottest place to go
as far as I was concerned.
266
00:16:07,333 --> 00:16:10,208
I wouldn't have said that
I would have gone specially
267
00:16:10,208 --> 00:16:12,959
to see his act
at the Marquee club,
268
00:16:12,959 --> 00:16:18,375
I went mainly to see some of
what I called the hotter bands.
269
00:16:18,375 --> 00:16:20,834
I would sit in the audience
and gape at...
270
00:16:20,834 --> 00:16:24,041
The Yardbirds or The Who.
271
00:16:25,166 --> 00:16:26,542
♪ Maybe ♪
272
00:16:26,542 --> 00:16:28,417
♪ I'll do anything you say ♪
273
00:16:28,417 --> 00:16:29,875
♪ Maybe ♪
274
00:16:29,875 --> 00:16:32,000
♪ I'll do anything you say ♪
275
00:16:32,000 --> 00:16:33,083
♪ Maybe ♪
276
00:16:33,083 --> 00:16:35,583
♪ I'll do anything you say ♪
277
00:16:35,583 --> 00:16:37,417
♪ Do anything... ♪
278
00:16:37,417 --> 00:16:42,291
The record company
decided it didn't matter what
I was going to make with David,
279
00:16:42,291 --> 00:16:44,917
they were losing faith.
280
00:16:44,917 --> 00:16:47,959
His songs,
they weren't good enough
281
00:16:47,959 --> 00:16:52,083
to actually capture
everybody's imagination.
282
00:16:52,083 --> 00:16:56,917
You know, it still isn't
that unique Bowie magic.
283
00:16:58,750 --> 00:17:00,667
[Gillespie]
David was never the success
284
00:17:00,667 --> 00:17:04,125
that all his other
contemporaries were,
285
00:17:04,125 --> 00:17:06,250
because of being
that much younger.
286
00:17:06,250 --> 00:17:08,917
You could say that he almost
had missed the boat.
287
00:17:12,000 --> 00:17:15,417
But he was a very driven man,
even from those early days.
288
00:17:15,417 --> 00:17:18,291
But he always was helpful to me.
289
00:17:18,291 --> 00:17:22,709
You know, I always felt
I was kind of a fellow musician
with him.
290
00:17:27,625 --> 00:17:30,875
Love never came into it,
which, thank God, you know,
291
00:17:30,875 --> 00:17:35,458
if you're going to fall in love
with Bowie, you might as well
kiss your sanity goodbye.
292
00:17:35,458 --> 00:17:38,959
Because he loved himself
extremely, always did.
293
00:17:38,959 --> 00:17:41,083
And I was quite happy with that.
294
00:17:41,083 --> 00:17:44,500
[birds chirping]
295
00:17:44,500 --> 00:17:48,834
At one point, David said,
"Do you want to come home
and meet my parents?"
296
00:17:48,834 --> 00:17:50,333
I said, "Yes, why not?"
297
00:17:50,333 --> 00:17:53,083
So, that meant taking
the train to Bromley.
298
00:17:55,083 --> 00:17:57,834
[Bowie]
You find yourself
in the middle of two worlds.
299
00:17:57,834 --> 00:18:02,208
There's the extreme values
of people who grow up
in the countryside,
300
00:18:02,208 --> 00:18:04,667
and the very urban feel
of the city.
301
00:18:04,667 --> 00:18:09,125
And in suburbia, you're given
the impression that nothing
culturally belongs to you.
302
00:18:09,125 --> 00:18:12,125
That you are sort of
in this wasteland.
303
00:18:12,125 --> 00:18:14,291
["Trendilly"
by Alan Blaikley playing]
304
00:18:16,375 --> 00:18:19,291
[Underwood]
David lived in Sundridge Park,
305
00:18:19,291 --> 00:18:21,834
a mile or so from
the center of Bromley.
306
00:18:21,834 --> 00:18:24,417
And, um, it was quite quiet,
307
00:18:24,417 --> 00:18:26,792
there wasn't-- there was not
a lot happening there, you know.
308
00:18:26,792 --> 00:18:28,542
There was a corner pub,
couple of shops.
309
00:18:35,458 --> 00:18:37,792
[Gillespie]
When I was in
his parents' house,
310
00:18:37,792 --> 00:18:40,583
they're facing a television,
311
00:18:40,583 --> 00:18:43,166
and the parents were
sitting there quite quiet.
312
00:18:43,166 --> 00:18:45,917
They offered me some
tuna fish sandwiches.
313
00:18:45,917 --> 00:18:48,375
But then, there was silence.
And I'm somebody that, I mean,
314
00:18:48,375 --> 00:18:52,333
I can talk to anybody,
and it was hard going.
315
00:18:52,333 --> 00:18:54,834
It was soulless.
316
00:18:56,917 --> 00:18:59,041
Once they'd gone out, he said,
317
00:18:59,041 --> 00:19:02,166
"Whatever it takes,
I want to get out of here.
318
00:19:02,166 --> 00:19:03,667
I do not want
to live like this."
319
00:19:03,667 --> 00:19:07,458
["I Dig Everything"
by David Bowie playing]
320
00:19:07,458 --> 00:19:09,667
[Bowie]
I think there's a passion
for most people
321
00:19:09,667 --> 00:19:13,000
to have an iota of, sort of,
curiosity about them,
322
00:19:13,000 --> 00:19:17,333
to escape and get out
and try and find who one is,
323
00:19:17,333 --> 00:19:19,709
and find some kinds of roots,
you know,
324
00:19:19,709 --> 00:19:21,333
and a desperation,
325
00:19:21,333 --> 00:19:24,834
an exhaustion with the
blandness of where we grew up.
326
00:19:29,250 --> 00:19:32,417
[MacCormack]
So, London was magnetic for us.
327
00:19:32,417 --> 00:19:35,583
It was somewhere
we wanted to belong in.
328
00:19:35,583 --> 00:19:38,000
And I think that's why
David writes about it
329
00:19:38,000 --> 00:19:41,375
so often in his early career.
330
00:19:43,166 --> 00:19:44,875
["The London Boys"
by David Bowie playing]
331
00:19:44,875 --> 00:19:48,041
He would want to write songs
from the perspective,
332
00:19:48,041 --> 00:19:52,250
like Ray Davies did, really,
of a London boy.
333
00:19:52,250 --> 00:19:56,625
He always wanted it
to be home-grown.
334
00:19:56,625 --> 00:20:01,208
♪ Cow bell strikes
another night ♪
335
00:20:01,208 --> 00:20:06,709
♪ Your eyes are heavy
and your limbs all ache ♪
336
00:20:06,709 --> 00:20:11,291
♪ You've bought some coffee,
butter and bread ♪
337
00:20:11,291 --> 00:20:15,667
♪ You can't make a thing,
'cause the meter's dead ♪
338
00:20:15,667 --> 00:20:18,625
[demo version]
♪ You've moved away ♪
339
00:20:20,500 --> 00:20:25,417
♪ Told your folks
you're gonna stay away ♪
340
00:20:27,291 --> 00:20:30,083
What struck me was just
a lot of them were really--
341
00:20:30,083 --> 00:20:32,333
they were great songs,
they just--
342
00:20:32,333 --> 00:20:34,083
people didn't know
about them yet.
343
00:20:34,083 --> 00:20:37,041
He just wasn't
David Bowie, per se.
344
00:20:37,041 --> 00:20:38,959
As we know him today.
345
00:20:38,959 --> 00:20:42,583
♪ Cow bell strikes
another night... ♪
346
00:20:42,583 --> 00:20:46,375
[Plati]
For him to revisit
these early songs of his,
347
00:20:46,375 --> 00:20:49,750
it's just a very typical thing
for him to do.
348
00:20:49,750 --> 00:20:53,959
You hear the Bowie
in the early songs.
349
00:20:53,959 --> 00:20:55,542
Like he's already there.
350
00:20:55,542 --> 00:20:58,208
He's, you know,
he's bubbling to the surface,
351
00:20:58,208 --> 00:20:59,959
but he's already there.
352
00:20:59,959 --> 00:21:02,709
♪ ...You moved away ♪
353
00:21:05,125 --> 00:21:09,959
♪ Told your folks
you're gonna stay away ♪
354
00:21:11,750 --> 00:21:16,750
♪ Bright lights, Soho,
Wardour street ♪
355
00:21:16,750 --> 00:21:22,291
♪ You hope you make friends
with the guys that you meet ♪
356
00:21:22,291 --> 00:21:25,625
♪ Somebody shows you 'round ♪
357
00:21:28,250 --> 00:21:33,291
♪ Now you've met
the London boys ♪
358
00:21:33,291 --> 00:21:35,917
♪ Things seem good again ♪
359
00:21:35,917 --> 00:21:41,083
♪ Someone cares ♪
360
00:21:41,083 --> 00:21:43,667
♪ About you ♪
361
00:21:46,667 --> 00:21:49,542
[Plati]
Well that's not your typical
60's pop song, is it?
362
00:21:49,542 --> 00:21:51,041
[Slick]
None of it was.
363
00:21:51,041 --> 00:21:54,250
"London Boys" is a really
good example of David using
364
00:21:54,250 --> 00:21:58,291
-his natural accent to sing,
to make the point.
-Right.
365
00:21:58,291 --> 00:22:02,000
If you're gonna write a song
called "London Boys,"
and you are from London,
366
00:22:02,000 --> 00:22:05,208
and it's about you being
a young man in London,
367
00:22:05,208 --> 00:22:08,333
then the accent really
drives the point home.
368
00:22:08,333 --> 00:22:10,959
[Dorsey]
I think he even
exaggerates it a little bit.
369
00:22:10,959 --> 00:22:12,583
It's almost like theater.
370
00:22:12,583 --> 00:22:15,458
-Oh, yeah.
-It's like he's--
it is in a sense,
371
00:22:15,458 --> 00:22:19,458
he's doing a song, and whatever
the theme of that song is,
372
00:22:19,458 --> 00:22:24,417
he's putting on the character
vocally that-- that tells
the story the right way.
373
00:22:24,417 --> 00:22:27,834
-That's exactly--
-And he's brilliant with that.
374
00:22:27,834 --> 00:22:33,792
♪ It's too late now,
'cause you're out there boy ♪
375
00:22:33,792 --> 00:22:38,667
♪ You've got it made
with the rest of the toys ♪
376
00:22:38,667 --> 00:22:43,875
♪ Now you wish
you'd never left your home ♪
377
00:22:43,875 --> 00:22:49,041
♪ You've got what you wanted,
but you're on your own ♪
378
00:22:49,041 --> 00:22:53,834
♪ With the London boys ♪
379
00:22:53,834 --> 00:22:59,583
♪ Now you've met
the London boys ♪
380
00:22:59,583 --> 00:23:04,917
♪ Now you've met
the London boys ♪
381
00:23:04,917 --> 00:23:10,667
♪ Now you've met
the London boys ♪
382
00:23:24,500 --> 00:23:27,250
[Bowie singing]
♪ Two and two are four ♪
383
00:23:27,250 --> 00:23:29,333
♪ Four and four are... ♪
384
00:23:29,333 --> 00:23:32,458
[Bowie]
So much of what any teenager
or young person writes
385
00:23:32,458 --> 00:23:36,083
comes from
a sense of uniqueness.
386
00:23:39,000 --> 00:23:41,458
Other than just rock music,
387
00:23:41,458 --> 00:23:43,750
there has always been
a history of the rebel.
388
00:23:43,750 --> 00:23:47,625
Of not being drawn to
the tyranny of the mainstream.
389
00:23:52,709 --> 00:23:57,291
I really am open
to influence and new ideas
390
00:23:57,291 --> 00:23:59,500
and old ideas, as well.
391
00:23:59,500 --> 00:24:02,458
I don't put up
a block on things.
392
00:24:05,375 --> 00:24:09,542
I was one of the first kids
in Britain to have
the Velvet Underground album.
393
00:24:09,542 --> 00:24:13,041
I know that for a fact, because
somebody had brought me back
394
00:24:13,041 --> 00:24:16,625
a demo copy of it before it was
even released in America.
395
00:24:19,250 --> 00:24:21,333
The Underground were,
I thought,
396
00:24:21,333 --> 00:24:23,250
the most incredible sound.
397
00:24:23,250 --> 00:24:26,208
There was the sort of mixture
of rock and avant-garde.
398
00:24:26,208 --> 00:24:28,917
And the combination
was so brutal.
399
00:24:33,333 --> 00:24:36,667
[Hutchinson]
I don't think David
lacked confidence in himself.
400
00:24:36,667 --> 00:24:39,667
He probably always knew
that he was very adaptable.
401
00:24:39,667 --> 00:24:42,792
And it was more a question of
him getting on the right track
402
00:24:42,792 --> 00:24:45,542
to do the thing
that would take him furthest.
403
00:24:47,750 --> 00:24:51,834
And it obviously took
him a long time to do that,
404
00:24:51,834 --> 00:24:54,709
with the Lower Third and then,
The Buzz,
405
00:24:54,709 --> 00:24:56,875
and the other things
that he did.
406
00:24:56,875 --> 00:25:00,834
["I Take It That We're Through"
by The Riot Squad playing]
407
00:25:04,250 --> 00:25:08,375
♪ Well, I know
you've had it bad, girl ♪
408
00:25:08,375 --> 00:25:11,250
♪ And you're not to blame... ♪
409
00:25:11,250 --> 00:25:13,917
[Roll]
I think the attraction
for David
410
00:25:13,917 --> 00:25:16,166
was he was looking
to move forward
411
00:25:16,166 --> 00:25:20,542
and be a lot more adventurous
with his musical styles.
412
00:25:20,542 --> 00:25:23,792
And we were looking for a singer
that was totally flexible.
413
00:25:25,917 --> 00:25:29,333
But then David made it plain,
really, right from the get-go,
414
00:25:29,333 --> 00:25:34,917
that he wanted to go
more left-field, if that's
the right term, musically.
415
00:25:34,917 --> 00:25:38,250
And already, he was talking
about Velvet Underground.
416
00:25:40,083 --> 00:25:43,125
[Davies]
He knew what he wanted,
and, uh, he was there to do it.
417
00:25:43,125 --> 00:25:46,750
He just wanted a backing band,
with extra goodies put in.
418
00:25:46,750 --> 00:25:48,750
Which we did,
we started having face painted,
419
00:25:48,750 --> 00:25:51,750
we started to go
more outrageous.
420
00:25:51,750 --> 00:25:53,542
I remember him
coming over to me,
421
00:25:53,542 --> 00:25:57,417
"Can I draw a petal
on your face, or a flower
on your cheek?"
422
00:25:57,417 --> 00:25:59,458
I said, "Yeah, do what
you want with my face.
423
00:25:59,458 --> 00:26:03,250
♪ Once upon a time,
there was a toy soldier ♪
424
00:26:03,250 --> 00:26:07,583
♪ And he lived
in the play room ♪
425
00:26:07,583 --> 00:26:11,583
♪ Once upon a time,
there was a toy soldier ♪
426
00:26:11,583 --> 00:26:14,583
♪ With a whip lash
in his hand... ♪
427
00:26:16,000 --> 00:26:18,250
[Bowie]
To me,
428
00:26:18,250 --> 00:26:22,709
the Velvet Underground
represented the wild side
of existentialist America,
429
00:26:22,709 --> 00:26:25,125
the underbelly
of American culture.
430
00:26:25,125 --> 00:26:28,792
That was everything
that I thought we should
have in England.
431
00:26:28,792 --> 00:26:32,834
But, of course, being filtered
through this British system,
432
00:26:32,834 --> 00:26:36,417
it came out more vaudeville.
[laughs]
433
00:26:36,417 --> 00:26:37,959
["Little Toy Soldier"
by The Riot Squad playing]
434
00:26:37,959 --> 00:26:40,750
[Davies]
"Toy Soldier"
was a bit of an odd one,
435
00:26:40,750 --> 00:26:44,041
because it was about a young
girl coming home from school,
436
00:26:44,041 --> 00:26:48,667
going to her bedroom, and
winding up a little toy soldier,
437
00:26:48,667 --> 00:26:52,375
and then, being whipped
by the toy soldier.
438
00:26:52,375 --> 00:26:56,291
♪ And every night, little girl
Sadie would take all
her clothes off ♪
439
00:26:56,291 --> 00:27:00,625
♪ And wind up the toy soldier,
and he'd raise his whip
and say to her ♪
440
00:27:00,625 --> 00:27:04,375
♪ On your knees
little Sadie... ♪
441
00:27:04,375 --> 00:27:06,500
[Roll]
I don't think he was ever
embarrassed about
442
00:27:06,500 --> 00:27:08,875
nicking some ideas.
443
00:27:08,875 --> 00:27:12,083
He wasn't against
taking a basic number,
444
00:27:12,083 --> 00:27:16,458
and then, rearranging it by
any means, including the lyrics.
445
00:27:16,458 --> 00:27:20,709
♪ Taste the whip
in love not given lightly ♪
446
00:27:20,709 --> 00:27:24,500
♪ Taste the whip
and bleed for me... ♪
447
00:27:24,500 --> 00:27:27,959
[Roll]
That, we brought into
the stage act.
448
00:27:27,959 --> 00:27:29,792
-It was just so visual.
-Yeah.
449
00:27:29,792 --> 00:27:32,792
A tailors' dummy, I think, used
to get flagellated or something,
450
00:27:32,792 --> 00:27:35,917
it was ridiculous, you know,
it was bizarre.
451
00:27:35,917 --> 00:27:39,166
-I certainly-- I enjoyed
playing, that's for sure.
-Yeah.
452
00:27:39,166 --> 00:27:40,959
Great visual act.
453
00:27:40,959 --> 00:27:43,125
I don't think people listen
to the words at times,
454
00:27:43,125 --> 00:27:48,333
-they could just see
people whipping, and, uh...
-Yeah.
455
00:27:48,333 --> 00:27:51,291
Not many people used to get
whipped on stage in them days.
456
00:27:51,291 --> 00:27:53,625
No.
457
00:27:53,625 --> 00:27:57,417
♪ One day Sadie
wound and wound ♪
458
00:27:57,417 --> 00:28:00,583
♪ And wound and wound ♪
459
00:28:00,583 --> 00:28:05,375
♪ 'Till suddenly, the little
toy soldier's spring ♪
460
00:28:05,375 --> 00:28:08,625
♪ Went ♪ [screaming]
461
00:28:08,625 --> 00:28:12,208
♪ And he beat her to death ♪
462
00:28:13,834 --> 00:28:16,792
[Davies]
He had some great ideas
for that time.
463
00:28:16,792 --> 00:28:20,709
But David's time with us
was eight weeks.
464
00:28:20,709 --> 00:28:22,959
25 gigs, that's all.
465
00:28:22,959 --> 00:28:27,041
Maybe he just felt...
overnight, you know,
466
00:28:27,041 --> 00:28:30,083
he's done his bit with us,
and now, want to move on to
467
00:28:30,083 --> 00:28:32,959
something a bit more theatrical.
468
00:28:32,959 --> 00:28:36,083
["Rubber Band"
by David Bowie playing]
469
00:28:36,083 --> 00:28:38,667
[Pitt]
I was looking for someone who
470
00:28:38,667 --> 00:28:41,291
could be
an all-around entertainer.
471
00:28:41,291 --> 00:28:45,792
And I thought in David, we had
found someone who could be.
472
00:28:48,250 --> 00:28:51,667
When we first went
to the Deram label,
473
00:28:51,667 --> 00:28:56,166
the man who was in charge
of the album department
474
00:28:56,166 --> 00:28:59,083
said to me,
475
00:28:59,083 --> 00:29:01,875
"This is the greatest thing
that's come here
476
00:29:01,875 --> 00:29:03,458
since Tony Newley."
477
00:29:03,458 --> 00:29:07,000
♪ With no star to guide me ♪
478
00:29:07,000 --> 00:29:10,458
♪ And no one beside me... ♪
479
00:29:10,458 --> 00:29:13,750
And he was a funny sort of guy,
very much a...
480
00:29:13,750 --> 00:29:16,417
cockney, lovable cockney
kind of character.
481
00:29:16,417 --> 00:29:19,125
And David will only be
Anthony Newley
482
00:29:19,125 --> 00:29:21,208
all the way through doing
all the other stuff.
483
00:29:21,208 --> 00:29:24,667
♪ Maybe tomorrow ♪
484
00:29:24,667 --> 00:29:28,125
♪ I'll find what I'm after ♪
485
00:29:28,125 --> 00:29:31,000
♪ I'll throw off my sorrow ♪
486
00:29:31,000 --> 00:29:36,000
♪ Beg, steal or borrow
my share of laughter ♪
487
00:29:36,000 --> 00:29:38,959
[Bowie]
The thing is, I never thought
that I could sing very well,
488
00:29:38,959 --> 00:29:41,125
and I used to kind of
try on people's voices
489
00:29:41,125 --> 00:29:44,417
if they appealed to me
when I was a kid, about 15, 16.
490
00:29:44,417 --> 00:29:48,709
So, I started singing
like Anthony Newley.
491
00:29:52,166 --> 00:29:56,417
And so I was writing
these really weird
Tony Newley-type songs.
492
00:29:56,417 --> 00:29:58,166
I thought,
"Yeah, this is my bag."
493
00:29:58,166 --> 00:30:00,542
["Rubber Band"
by David Bowie playing]
494
00:30:00,542 --> 00:30:04,500
♪ Won't you play
a haunting theme again to me ♪
495
00:30:04,500 --> 00:30:08,375
♪ While I eat my scones
and drink my cup of tea ♪
496
00:30:08,375 --> 00:30:12,041
♪ The sun is warm, but it's
a lonely afternoon... ♪
497
00:30:12,041 --> 00:30:14,083
[Dudgeon]
He just had such wacky songs.
498
00:30:14,083 --> 00:30:15,500
About the only thing
that used to bother us
499
00:30:15,500 --> 00:30:18,000
was he sounded like
Anthony Newley all the time.
500
00:30:18,000 --> 00:30:20,458
I mean, to the point that, you
know, we used to comment on it,
501
00:30:20,458 --> 00:30:22,834
and David would just say, "Well,
I can't sing any other way."
502
00:30:22,834 --> 00:30:24,750
We knew bloody well he could,
but he just had--
503
00:30:24,750 --> 00:30:27,750
I think he just had a fixation
to the point that as soon
as he opened his mouth,
504
00:30:27,750 --> 00:30:29,208
Anthony Newley shot out.
505
00:30:29,208 --> 00:30:31,834
You know, and it was like
he just had no control over it.
506
00:30:31,834 --> 00:30:33,792
♪ I hope you break your baton ♪
507
00:30:33,792 --> 00:30:36,208
[laughter]
508
00:30:43,500 --> 00:30:45,041
[Bowie]
Go on!
509
00:30:45,041 --> 00:30:47,917
[plays "The Laughing Gnome"
by David Bowie]
510
00:30:52,375 --> 00:30:56,417
[vocalizing
"The Laughing Gnome]
511
00:31:00,542 --> 00:31:02,208
That's very, very simple.
512
00:31:02,208 --> 00:31:05,875
["The Laughing Gnome"
by David Bowie playing]
513
00:31:05,875 --> 00:31:09,500
♪ When I heard
footsteps behind me ♪
514
00:31:09,500 --> 00:31:11,375
♪ And there was
a little old man
515
00:31:11,375 --> 00:31:12,917
♪ Hello! ♪
516
00:31:12,917 --> 00:31:15,667
♪ In scarlet and gray,
chuckling away ♪
517
00:31:15,667 --> 00:31:19,500
[high-pitched chuckling]
518
00:31:19,500 --> 00:31:21,709
[Alomar]
One of the great influences
that, you know, he had
519
00:31:21,709 --> 00:31:23,250
was Anthony Newley.
520
00:31:23,250 --> 00:31:25,709
Which to me, I didn't get that.
521
00:31:25,709 --> 00:31:27,875
Who got it was my wife Robyn.
522
00:31:27,875 --> 00:31:31,083
He was singing once,
and Robyn looked at me and went,
523
00:31:32,667 --> 00:31:35,166
"Did he just Anthony-Newley us?"
524
00:31:35,166 --> 00:31:37,417
I said,
"Yes, I think he did, honey."
525
00:31:37,417 --> 00:31:41,208
♪ Ha, ha, ha, hee, hee, hee ♪
526
00:31:41,208 --> 00:31:45,041
♪ I'm a laughing gnome,
and you can't catch me ♪
527
00:31:45,041 --> 00:31:48,625
♪ Ha, ha, ha,
hee, hee, hee... ♪
528
00:31:48,625 --> 00:31:52,417
[Bowie]
I'll always associate "Laughing
Gnome" with Gus Dudgeon,
529
00:31:52,417 --> 00:31:54,750
because he used to sit there
doing tricks with his glasses
530
00:31:54,750 --> 00:31:56,667
whilst I was making it.
531
00:31:56,667 --> 00:32:00,959
[laughs]
Because we had the technology.
532
00:32:00,959 --> 00:32:03,375
[Bowie on recording]
Ha, ha, ha!
533
00:32:03,375 --> 00:32:06,458
Get down with it! Whoo!
534
00:32:06,458 --> 00:32:07,625
Fuck off.
535
00:32:07,625 --> 00:32:09,917
Hee, hee, hee!
536
00:32:09,917 --> 00:32:13,792
He said, "Right, we need some
gnome voices on this thing,"
537
00:32:13,792 --> 00:32:15,542
and I showed him it could
be done, and he was--
538
00:32:15,542 --> 00:32:17,125
he went, "Oh, well,
that's it, we've got to do it."
539
00:32:17,125 --> 00:32:19,834
[Bowie on recording]
♪ I'm a laughing gnome ♪
540
00:32:19,834 --> 00:32:23,125
♪ And you can't catch me ♪
541
00:32:23,125 --> 00:32:24,417
[radio distortion]
542
00:32:24,417 --> 00:32:26,458
["The Laughing Gnome" playing]
543
00:32:26,458 --> 00:32:29,667
[Vernon]
You have to slow the tape down
to pretty much the half-speed
544
00:32:29,667 --> 00:32:31,583
and sing normally.
545
00:32:31,583 --> 00:32:33,333
We did quite a lot of takes
546
00:32:33,333 --> 00:32:35,709
and got very silly and
got very rude at times.
547
00:32:35,709 --> 00:32:39,208
And there were some
obscenities that we can't
possibly talk about.
548
00:32:39,208 --> 00:32:41,917
But everyone had
a good time doing it.
549
00:32:41,917 --> 00:32:45,667
[Bowie on recording]
Come on, friend! Ha, ha, ha!
550
00:32:45,667 --> 00:32:47,250
["The Laughing Gnome" playing]
551
00:32:47,250 --> 00:32:51,458
♪ I'm a laughing gnome,
and you can't catch me ♪
552
00:32:51,458 --> 00:32:54,291
♪ Said the laughing gnome... ♪
553
00:32:54,291 --> 00:32:57,375
[Alomar]
In a way,
David is also very clever.
554
00:32:57,375 --> 00:33:00,875
A simplicity aspect, I think,
is very, very important.
555
00:33:00,875 --> 00:33:05,041
I mean, his love for
the Velvet Underground
and the whole Lou Reed thing,
556
00:33:05,041 --> 00:33:07,125
and the simplicity of
"Waiting For the Man."
557
00:33:07,125 --> 00:33:09,500
[plays Bowie's
"Waiting for the Man"]
558
00:33:09,500 --> 00:33:11,667
♪ Waiting for the man ♪
559
00:33:11,667 --> 00:33:13,709
That same pulsation--
560
00:33:13,709 --> 00:33:15,542
♪ I was walking ♪
561
00:33:15,542 --> 00:33:20,834
[vocalizing to the tune of
"The Laughing Gnome"]
562
00:33:20,834 --> 00:33:22,083
It's exactly the same.
563
00:33:24,709 --> 00:33:26,709
♪ Waiting for the man ♪
564
00:33:26,709 --> 00:33:31,333
Two chords.
I mean, "Fame" is three chords.
565
00:33:31,333 --> 00:33:34,583
And so,
this simplicity is amazing.
566
00:33:34,583 --> 00:33:36,500
And it's totally relevant.
567
00:33:36,500 --> 00:33:38,291
But...
568
00:33:38,291 --> 00:33:40,667
the Velvet Underground was cool.
569
00:33:40,667 --> 00:33:44,333
There's nothing cool about
"The Laughing Gnome."
570
00:33:44,333 --> 00:33:47,250
["The Laughing Gnome" playing]
571
00:33:47,250 --> 00:33:51,083
[Bowie laughing]
♪ I'm a laughing gnome,
and you can't catch me ♪
572
00:33:54,709 --> 00:33:58,041
♪ I'm a laughing gnome,
and you can't catch me ♪
573
00:33:58,041 --> 00:34:00,542
[Gillespie]
Everything he did
kind of failed.
574
00:34:00,542 --> 00:34:04,291
"The Laughing Gnome,"
that single that he loathed,
575
00:34:04,291 --> 00:34:06,083
didn't give him satisfaction.
576
00:34:06,083 --> 00:34:08,583
I don't know how
he coped with this,
577
00:34:08,583 --> 00:34:13,625
except that I do know that
if you want something hard
enough and it's not happened,
578
00:34:13,625 --> 00:34:16,959
it only makes you want to
go on and want it even more.
579
00:34:16,959 --> 00:34:20,166
["Sell Me a Coat"
by David Bowie playing]
580
00:34:20,166 --> 00:34:22,333
[Bowie vocalizing]
581
00:34:31,333 --> 00:34:33,083
Oh, my word.
582
00:34:33,083 --> 00:34:36,959
54 years or so of history
coming back at me.
583
00:34:39,583 --> 00:34:43,083
Bowie was young. He was trying
to make a mark for himself.
584
00:34:43,083 --> 00:34:47,709
And he was
very much a Jack the Lad,
there's no two ways about it.
585
00:34:47,709 --> 00:34:50,542
But, I mean,
he was very funny to work with.
586
00:34:50,542 --> 00:34:55,333
We did have a lot of moments
where we collapsed in laughter.
587
00:34:55,333 --> 00:34:57,625
[recording]
Where there's muck,
there's brass.
588
00:34:57,625 --> 00:35:01,875
Crisp green shirt
and a lemonade sandwich
out on a horse-shoe.
589
00:35:01,875 --> 00:35:04,750
That's where the men are.
590
00:35:04,750 --> 00:35:07,667
David was an easy guy
to get along with, you know,
591
00:35:07,667 --> 00:35:09,542
it's just that
his songs were wild.
592
00:35:09,542 --> 00:35:15,083
[man in recording]
One, two, one,
two, three, four.
593
00:35:15,083 --> 00:35:17,875
[Vernon]
They were totally quirky
and off-the-wall, you know.
594
00:35:17,875 --> 00:35:21,792
And there are some really good
songs, and there are emotions,
595
00:35:21,792 --> 00:35:23,458
and there are stories.
596
00:35:23,458 --> 00:35:26,542
And this was the one thing
that Bowie was very good at.
597
00:35:26,542 --> 00:35:27,875
There's no discussion about it.
598
00:35:27,875 --> 00:35:29,208
["Love You 'Till Tuesday"
by David Bowie playing]
599
00:35:29,208 --> 00:35:32,208
♪ Just look through
your window ♪
600
00:35:32,208 --> 00:35:35,667
♪ Look who sits outside ♪
601
00:35:35,667 --> 00:35:39,000
♪ Little me is waiting ♪
602
00:35:39,000 --> 00:35:42,709
♪ Standing through the night ♪
603
00:35:42,709 --> 00:35:46,166
♪ When you walk out
through your door ♪
604
00:35:46,166 --> 00:35:49,875
♪ I'll wave my flag and shout ♪
605
00:35:49,875 --> 00:35:53,166
♪ Oh, beautiful baby ♪
606
00:35:53,166 --> 00:35:57,000
♪ My burning desire
started on Sunday ♪
607
00:35:57,000 --> 00:36:01,375
♪ Give me your heart, and
I'll love you 'till Tuesday ♪
608
00:36:01,375 --> 00:36:06,291
Well, I might be able to
stretch it 'till Wednesday.
609
00:36:06,291 --> 00:36:09,667
The songs had
a different viewpoint,
610
00:36:09,667 --> 00:36:16,542
singing songs that were--
appeared to be written
by children.
611
00:36:16,542 --> 00:36:19,792
I don't remember ever hearing,
really, any other song
612
00:36:19,792 --> 00:36:25,875
at that time that was a story
that was apparently being
told by children.
613
00:36:25,875 --> 00:36:28,792
It seemed to me
completely unique.
614
00:36:28,792 --> 00:36:31,291
["There is a Happy Land"
by David Bowie playing]
615
00:36:40,583 --> 00:36:44,959
♪ There is a happy land ♪
616
00:36:44,959 --> 00:36:49,709
♪ Where only children live ♪
617
00:36:49,709 --> 00:36:55,083
♪ They don't have the time
to learn the ways ♪
618
00:36:55,083 --> 00:36:59,583
♪ Of you sir, Mr. Grown-up... ♪
619
00:36:59,583 --> 00:37:04,458
Good heavens, it's been 60
years since I've been here.
620
00:37:04,458 --> 00:37:07,083
And I never ever used
the front door.
621
00:37:07,083 --> 00:37:09,959
We always came in
through the back alley.
622
00:37:09,959 --> 00:37:12,583
♪ It's a secret place ♪
623
00:37:12,583 --> 00:37:17,417
♪ And adults
aren't allowed there ♪
624
00:37:17,417 --> 00:37:19,792
♪ Mr. Grown-up ♪
625
00:37:19,792 --> 00:37:21,583
♪ Go away, sir ♪
626
00:37:21,583 --> 00:37:23,333
[music stops]
627
00:37:26,917 --> 00:37:29,834
[Amadeus]
David used to do
his performances
628
00:37:29,834 --> 00:37:32,333
on the window sill over there.
629
00:37:32,333 --> 00:37:35,125
And David would go, "Ta-da!"
630
00:37:35,125 --> 00:37:37,333
And he'd do his Flowerpot Men.
631
00:37:37,333 --> 00:37:42,291
He would jump around with
a terracotta pot on his head.
632
00:37:42,291 --> 00:37:45,792
[characters chattering]
633
00:37:48,125 --> 00:37:51,792
[Amadeus]
His father, John,
absolutely doted on him.
634
00:37:51,792 --> 00:37:55,792
But David's mum, Peggy, never
became involved in games.
635
00:37:55,792 --> 00:38:00,959
She would sit and watch,
but she would never enthuse,
you know,
636
00:38:00,959 --> 00:38:04,458
she wouldn't be,
"Oh, how wonderful"
or anything like that.
637
00:38:04,458 --> 00:38:07,333
And she would often tell us
we were being soppy.
638
00:38:07,333 --> 00:38:10,333
["Inchworm"
by Danny Kaye playing]
639
00:38:16,291 --> 00:38:17,834
[Bowie]
"Inchworm," Danny Kaye,
640
00:38:17,834 --> 00:38:21,125
it conjures up
my childhood for me.
[laughs]
641
00:38:21,125 --> 00:38:22,500
It's very sweet.
642
00:38:22,500 --> 00:38:25,917
And it was from the film
Hans Christian Andersen.
643
00:38:29,375 --> 00:38:32,291
♪ Inchworm ♪
644
00:38:32,291 --> 00:38:35,125
♪ Inchworm ♪
645
00:38:35,125 --> 00:38:40,000
♪ Measuring the marigolds... ♪
646
00:38:40,000 --> 00:38:41,959
[Bowie]
It sounded so personal.
647
00:38:41,959 --> 00:38:45,583
And the person who was
singing it sounded like
he'd been hurt, too.
648
00:38:45,583 --> 00:38:50,041
And I think that really got
to me, and it might have gone
into the way I wrote a bit.
649
00:38:50,041 --> 00:38:52,417
You know,
I've been hurt too. [chuckles]
650
00:38:53,291 --> 00:38:56,125
♪ Inchworm ♪
651
00:38:56,125 --> 00:38:58,500
♪ Inchworm... ♪
652
00:38:58,500 --> 00:39:00,542
[Bowie]
Often talking out your hurt,
653
00:39:00,542 --> 00:39:03,792
you know, is something I find
that, you know, writers can do.
654
00:39:03,792 --> 00:39:06,667
And I may have done that
a few times.
655
00:39:06,667 --> 00:39:10,417
["Come and Buy My Toys"
by David Bowie playing]
656
00:39:10,417 --> 00:39:16,041
[Underwood]
David's mum was quite quiet,
really, she didn't say a lot.
657
00:39:16,041 --> 00:39:18,417
I wasn't sure if she liked me,
even, you know.
658
00:39:18,417 --> 00:39:20,458
Because sometimes you--
you'd think,
659
00:39:20,458 --> 00:39:24,792
"Well, maybe she doesn't
like me, she's a bit quiet
and doesn't say anything."
660
00:39:24,792 --> 00:39:29,041
[MacCormack]
I never saw her laugh or smile.
Certainly not to me.
661
00:39:29,041 --> 00:39:32,083
And, bless her heart,
when she died,
662
00:39:32,083 --> 00:39:34,709
I wrote to David and said,
663
00:39:34,709 --> 00:39:36,667
"I'm sorry about your mother,"
etcetera.
664
00:39:36,667 --> 00:39:40,917
I said, "Actually, she never
quite took to me, your mother,"
665
00:39:40,917 --> 00:39:44,542
and he wrote to me and said,
"Trouble is, Geoff,
666
00:39:44,542 --> 00:39:48,083
she never quite
took to me either."
667
00:39:48,083 --> 00:39:50,583
♪ Smiling girls and rosy boys ♪
668
00:39:50,583 --> 00:39:53,000
♪ Come and buy my little toys ♪
669
00:39:53,000 --> 00:39:55,250
♪ Monkeys made of gingerbread ♪
670
00:39:55,250 --> 00:39:57,917
♪ And sugar horses
painted red... ♪
671
00:39:57,917 --> 00:40:01,834
[Amadeus]
David spent his entire life
trying to win her approval.
672
00:40:01,834 --> 00:40:04,625
I think when David was young,
673
00:40:04,625 --> 00:40:06,667
he suffered a lot
674
00:40:06,667 --> 00:40:10,208
from the problems
in his parents' marriage.
675
00:40:10,208 --> 00:40:12,959
They didn't engage in...
676
00:40:12,959 --> 00:40:15,917
affectionate conversation
with each other.
677
00:40:15,917 --> 00:40:18,959
John was very much
in love with Peggy.
678
00:40:18,959 --> 00:40:24,959
Peggy would say to John's face
it was a marriage of
convenience.
679
00:40:24,959 --> 00:40:27,458
And so there was this rift.
680
00:40:27,458 --> 00:40:31,125
And David had
to be very careful,
681
00:40:31,125 --> 00:40:36,625
if he allowed his father
to make too much of him,
it would annoy Peggy.
682
00:40:36,625 --> 00:40:40,166
I think the most significant
thing in David's life
683
00:40:40,166 --> 00:40:44,834
was that he was always
striving for Peggy's love.
684
00:40:44,834 --> 00:40:48,291
I think he spent his life
trying to win her approval.
685
00:40:50,333 --> 00:40:52,542
♪ Rich men's children
running past ♪
686
00:40:52,542 --> 00:40:55,041
♪ Their fathers
dressed in hose ♪
687
00:40:55,041 --> 00:40:59,458
♪ Golden hair and mud
of many acres on their shoes ♪
688
00:40:59,458 --> 00:41:01,667
♪ Gazing eyes
and running wild ♪
689
00:41:01,667 --> 00:41:04,500
♪ Past the stocks
and over stiles ♪
690
00:41:04,500 --> 00:41:06,583
♪ Kiss the window merry child ♪
691
00:41:06,583 --> 00:41:09,709
♪ But come and buy my toys... ♪
692
00:41:09,709 --> 00:41:11,834
[Bowie]
The idea of writing,
sort of, short stories,
693
00:41:11,834 --> 00:41:14,417
I think that was quite novel
at the time. Excuse the pun.
694
00:41:14,417 --> 00:41:16,667
I was quite satisfied with
the way things were going.
695
00:41:16,667 --> 00:41:21,375
I mean, I hadn't found any
voice style, and I hadn't found
any way to perform.
696
00:41:31,125 --> 00:41:33,917
[Vernon]
The Beatles' Sergeant Pepper
unfortunately
697
00:41:33,917 --> 00:41:35,375
came out at the same time.
698
00:41:35,375 --> 00:41:38,709
I mean, it was pretty
strong competition.
699
00:41:38,709 --> 00:41:40,750
Frankly, Bowie didn't
stand a chance, really,
700
00:41:40,750 --> 00:41:43,750
and that's why the record,
I guess, at the time,
701
00:41:43,750 --> 00:41:45,375
completely flopped.
702
00:41:45,375 --> 00:41:47,458
I mean, it didn't really
do any business at all.
703
00:41:47,458 --> 00:41:49,917
["When I Live My Dream"
by David Bowie playing]
704
00:41:53,208 --> 00:41:54,959
[Kemp]
It was absolutely beautiful.
705
00:41:54,959 --> 00:41:56,959
It was the first time
that I heard David.
706
00:41:56,959 --> 00:42:01,583
I loved all the songs, some
more than others, I suppose.
707
00:42:01,583 --> 00:42:05,458
And it was that song
"When I Live My Dream."
708
00:42:05,458 --> 00:42:08,333
♪ When I live my dream,
I'll be there ♪
709
00:42:08,333 --> 00:42:10,208
That started
the whole thing off.
710
00:42:10,208 --> 00:42:13,041
That's when I fell in love
with him, for one thing.
711
00:42:13,041 --> 00:42:15,333
♪ When I live my dream ♪
712
00:42:15,333 --> 00:42:18,542
♪ I'll take you with me ♪
713
00:42:18,542 --> 00:42:23,166
♪ Riding on a golden horse... ♪
714
00:42:23,166 --> 00:42:28,417
[Pitt]
Lindsay was using
the Deram album in his show.
715
00:42:28,417 --> 00:42:32,000
He was miming to certain
aspects of this album.
716
00:42:32,000 --> 00:42:35,333
And news of that got to David,
717
00:42:35,333 --> 00:42:40,959
and therefore, he went to see
one of Lindsay's performances.
718
00:42:42,375 --> 00:42:44,250
[Kemp]
And the curtains opened,
719
00:42:44,250 --> 00:42:48,291
and there was a very beautiful
man sitting in the front row
720
00:42:48,291 --> 00:42:51,792
who turned out
to be David Bowie.
721
00:42:53,166 --> 00:42:55,208
Well, he came around
after the show,
722
00:42:55,208 --> 00:42:59,917
and there was a kind of
a tatty curtain, which
he pulled to one side,
723
00:42:59,917 --> 00:43:03,375
and it was like
the Archangel Gabriel
724
00:43:03,375 --> 00:43:05,208
standing there.
This kind of light.
725
00:43:05,208 --> 00:43:08,542
♪ 'Till that day ♪
726
00:43:08,542 --> 00:43:11,542
♪ You'll run to
many other men ♪
727
00:43:11,542 --> 00:43:14,834
♪ But let them know
it's just for now ♪
728
00:43:14,834 --> 00:43:17,917
♪ Tell them that
I've got a dream ♪
729
00:43:17,917 --> 00:43:21,250
♪ And tell them
you're the starring role... ♪
730
00:43:21,250 --> 00:43:27,291
He had a grace and a brain,
as well as beauty.
731
00:43:27,291 --> 00:43:29,000
But he was funny.
732
00:43:30,500 --> 00:43:34,750
And, you know,
I mean, beauty and humor
733
00:43:34,750 --> 00:43:36,917
are the two things
that attract me the most.
734
00:43:36,917 --> 00:43:39,959
They gotta have both of those
735
00:43:39,959 --> 00:43:42,917
if they're going to last
more than a weekend.
736
00:43:42,917 --> 00:43:45,458
["Threepenny Pierrot"
by David Bowie playing]
737
00:43:45,458 --> 00:43:47,458
[Bowie]
We said, "Well, let's
get together," you know.
738
00:43:47,458 --> 00:43:49,458
"I'd love to write
some music for your show."
739
00:43:49,458 --> 00:43:50,834
And he said,
"Well, I can't pay you,"
740
00:43:50,834 --> 00:43:52,917
because he wasn't
earning anything.
741
00:43:52,917 --> 00:43:55,417
"Yeah," I said, "Well, look,
that's all right, because
I want to learn mime.
742
00:43:55,417 --> 00:43:58,417
So, in exchange, you teach me
mime, and I'll work with you,
743
00:43:58,417 --> 00:44:00,333
you know, write some music."
744
00:44:02,500 --> 00:44:05,917
♪ Bang the drum
and blow the bugle call ♪
745
00:44:05,917 --> 00:44:09,000
♪ Pierrot takes the stage
to play for all ♪
746
00:44:09,000 --> 00:44:11,208
♪ For here's a life
his fortune rules ♪
747
00:44:11,208 --> 00:44:13,458
♪ Forsaken by
his Columbine... ♪
748
00:44:13,458 --> 00:44:17,208
The premiere was
at the Oxford Playhouse,
749
00:44:17,208 --> 00:44:20,875
so we got paid a nominal
kind of fee from there.
750
00:44:20,875 --> 00:44:25,917
And, uh, we transferred
to the West End.
751
00:44:27,500 --> 00:44:30,875
Albeit, West 11, Notting Hill,
752
00:44:30,875 --> 00:44:34,625
which was not quite so
fashionable then as it is now.
753
00:44:34,625 --> 00:44:37,667
And the tiny Mercury Theater,
754
00:44:37,667 --> 00:44:40,083
the home of, uh, British ballet.
755
00:44:42,083 --> 00:44:47,500
And I think it sat 120 seats,
so we didn't make much money.
756
00:44:47,500 --> 00:44:52,166
Need I say more? Nobody came
at all. Nobody came at all.
757
00:44:52,166 --> 00:44:56,250
♪ 'Till the day my dream
cascades around me ♪
758
00:44:57,709 --> 00:45:01,166
♪ I'm content to
let you pass me by... ♪
759
00:45:01,166 --> 00:45:02,792
[Bowie]
I thought, "Well, here I am,
760
00:45:02,792 --> 00:45:04,959
I'm a bit, sort of,
mixed up, creatively.
761
00:45:04,959 --> 00:45:08,375
I've got all these things
going on I like doing at once
on stage or whatever.
762
00:45:08,375 --> 00:45:13,083
I'm not quite sure if
I'm a mime or a songwriter
or a singer.
763
00:45:13,083 --> 00:45:15,083
Why am I doing
any of these things, anyway?"
764
00:45:15,083 --> 00:45:18,917
And I realized it was because
I wanted to be well-known.
765
00:45:18,917 --> 00:45:24,500
♪ Tell them I'm a dreaming
kind of guy... ♪
766
00:45:34,166 --> 00:45:37,625
[Bowie]
I've always been a very curious
and enthusiastic person.
767
00:45:37,625 --> 00:45:39,583
I just had to accept that
768
00:45:39,583 --> 00:45:42,125
I was a person that had
a very short attention span,
769
00:45:42,125 --> 00:45:44,750
would move from one thing
to another quite rapidly,
770
00:45:44,750 --> 00:45:46,875
then I got bored
with the other.
771
00:45:46,875 --> 00:45:50,083
♪ Ground Control to Major Tom ♪
772
00:45:50,083 --> 00:45:53,834
♪ Your circuit's dead,
there's something wrong ♪
773
00:45:53,834 --> 00:45:57,333
♪ Can you hear me,
Major Tom?... ♪
774
00:45:57,333 --> 00:46:02,542
[Bowie]
Somehow, I knew that
what I was doing was important.
775
00:46:02,542 --> 00:46:05,333
Taking elements from areas
776
00:46:05,333 --> 00:46:08,625
that really shouldn't sit
comfortably with each other.
777
00:46:17,166 --> 00:46:19,583
Her name
was Hermione Farthingale,
778
00:46:19,583 --> 00:46:21,417
and I absolutely adored her.
779
00:46:21,417 --> 00:46:24,291
I mean, she was the real
first love in my life.
780
00:46:24,291 --> 00:46:26,792
And she was a ballet dancer.
781
00:46:28,750 --> 00:46:32,792
We did fall in love.
It took maybe five minutes.
782
00:46:32,792 --> 00:46:35,417
[laughs] Maximum.
783
00:46:37,750 --> 00:46:39,667
He was a lad, a youthlet,
784
00:46:39,667 --> 00:46:43,500
he was very, very young,
looked ridiculously young.
He looked about eight.
785
00:46:43,500 --> 00:46:47,208
And in fact,
when I first went out with him,
786
00:46:47,208 --> 00:46:49,166
it did sort of bother me
a little bit, you know,
787
00:46:49,166 --> 00:46:53,208
I had to sort keep reminding
myself he was actually 21.
788
00:46:53,208 --> 00:46:56,667
[Bowie singing acapella]
♪ And we talked with our eyes ♪
789
00:46:56,667 --> 00:47:00,417
♪ Of the sweetness
in our lives ♪
790
00:47:00,417 --> 00:47:05,458
♪ And tomorrow's
a rich surprise ♪
791
00:47:05,458 --> 00:47:09,458
Hermione was a couple
of notches up, you know.
792
00:47:09,458 --> 00:47:10,792
She was posh.
793
00:47:10,792 --> 00:47:13,667
["Let Me Sleep Beside You"
by David Bowie playing]
794
00:47:13,667 --> 00:47:15,375
[Hutchinson]
But really nice.
795
00:47:15,375 --> 00:47:20,041
And they looked like mirror
images, so they fit together.
796
00:47:22,250 --> 00:47:24,542
[Farthingale]
Our life was not regular.
797
00:47:24,542 --> 00:47:26,792
Neither of us were
working nine to five.
798
00:47:26,792 --> 00:47:29,709
And it wasn't a very
rock 'n' roll life either.
799
00:47:29,709 --> 00:47:32,750
Occasionally, we had
a glass of white wine.
[inhales]
800
00:47:32,750 --> 00:47:36,208
And David wasn't even
very good at having a spliff.
801
00:47:36,208 --> 00:47:38,208
♪ Baby, baby ♪
802
00:47:38,208 --> 00:47:44,208
♪ Brush the dust of youth
from off your shoulder ♪
803
00:47:44,208 --> 00:47:47,667
♪ Because the years
of threading daisies ♪
804
00:47:47,667 --> 00:47:51,375
♪ Lie behind you now... ♪
805
00:47:51,375 --> 00:47:56,625
[Harris]
David was, I have to say,
the perfect English gentleman.
806
00:47:56,625 --> 00:47:58,083
I mean, I remember,
for example,
807
00:47:58,083 --> 00:48:00,875
when he and 'Mione
sat down for dinner,
808
00:48:00,875 --> 00:48:03,750
David held the chair
for her and, uh,
809
00:48:03,750 --> 00:48:05,542
pushed the chair in for her,
810
00:48:05,542 --> 00:48:09,583
and being very polite,
easy-going,
811
00:48:09,583 --> 00:48:12,000
and very lovely people.
812
00:48:13,750 --> 00:48:17,375
♪ Let your hair hang down ♪
813
00:48:17,375 --> 00:48:21,417
♪ Wear the dress
your mother wore ♪
814
00:48:21,417 --> 00:48:25,333
♪ Let me sleep beside you... ♪
815
00:48:25,333 --> 00:48:28,375
In the early days, he wasn't
happy, professionally, at all,
816
00:48:28,375 --> 00:48:31,208
because it was a sort of
massive struggle,
817
00:48:31,208 --> 00:48:32,834
that whole year.
818
00:48:34,333 --> 00:48:36,917
[Bowie]
I remember
there was this endless period
819
00:48:36,917 --> 00:48:39,417
where I was, like, scrubbing
out people's kitchens.
820
00:48:39,417 --> 00:48:42,333
I know I did that. Anything
to pick up a few dollars.
821
00:48:42,333 --> 00:48:45,125
But I needed something that
didn't tie me down in any way,
822
00:48:45,125 --> 00:48:47,667
so if an audition came along
or whatever,
823
00:48:47,667 --> 00:48:49,834
I'd be free to do it, you know?
824
00:48:52,041 --> 00:48:55,333
[Farthingale]
But by August,
it suddenly came to him
825
00:48:55,333 --> 00:48:58,041
that what he wanted to do was
this mixed media performance.
826
00:49:00,959 --> 00:49:03,625
♪ I will give you dreams ♪
827
00:49:03,625 --> 00:49:08,750
♪ And I'll tell you things
you'd like to hear ♪
828
00:49:08,750 --> 00:49:11,875
♪ Let your hair hang down ♪
829
00:49:14,125 --> 00:49:16,458
[Bowie]
I was in a mixed media group,
830
00:49:16,458 --> 00:49:18,291
which means that
one of us could dance,
831
00:49:18,291 --> 00:49:20,458
another one could sing, and
another one had some poetry,
832
00:49:20,458 --> 00:49:24,667
and we put it all together.
And, uh, it went underground.
833
00:49:24,667 --> 00:49:26,417
It was called Feathers.
834
00:49:26,417 --> 00:49:27,834
And the girl was Hermione
835
00:49:27,834 --> 00:49:30,291
and, uh, the guy
was Hutch on guitar.
836
00:49:30,291 --> 00:49:33,291
["Ching-A-Ling"
by Feathers playing]
837
00:49:33,291 --> 00:49:36,291
♪ Two lover souls we spied ♪
838
00:49:36,291 --> 00:49:39,875
♪ They wished
the cloud boys sang to me ♪
839
00:49:39,875 --> 00:49:42,208
♪ A cheerful happy cry... ♪
840
00:49:42,208 --> 00:49:45,125
[Hutchinson]
David and, uh, Feathers,
we could do a song
841
00:49:45,125 --> 00:49:47,083
quite heavy and quite deep.
842
00:49:47,083 --> 00:49:50,166
But you can change
the mood on a gig
843
00:49:50,166 --> 00:49:53,625
by doing something
with a nice snappy guitar riff.
844
00:49:53,625 --> 00:49:55,917
And "Ching-A-Ling" song
was, uh, fine.
845
00:49:55,917 --> 00:49:59,000
It was a good song.
And it had, uh,
846
00:49:59,000 --> 00:50:01,917
you know, that was unusual,
in its way.
847
00:50:06,083 --> 00:50:08,959
[Visconti]
"Ching-A-Ling" was based
on David's 12-string,
848
00:50:08,959 --> 00:50:13,542
his traveling piano, you know,
that's what he used
all the time to write on.
849
00:50:13,542 --> 00:50:16,125
And as long as he stayed
on that instrument,
850
00:50:16,125 --> 00:50:18,375
songs were gonna come out
that way. It was, you know,
851
00:50:18,375 --> 00:50:21,875
you can't play, like, uh,
rock riffs on a 12-string.
852
00:50:21,875 --> 00:50:24,041
You just can't.
[laughs]
853
00:50:28,375 --> 00:50:30,583
He'd try one thing,
try another.
854
00:50:30,583 --> 00:50:33,834
Things didn't--
If they didn't work out,
that was absolutely fine.
855
00:50:33,834 --> 00:50:35,959
And just move on to the next.
856
00:50:35,959 --> 00:50:40,083
But he wasn't lost.
He just wasn't found either.
857
00:50:40,083 --> 00:50:42,709
["Sell Me a Coat"
by David Bowie playing]
858
00:50:42,709 --> 00:50:45,917
[Bowie]
We used to do some mime pieces,
you know, and it was like
859
00:50:45,917 --> 00:50:50,083
just throwing in
everything I knew to keep
an audience's attention
860
00:50:50,083 --> 00:50:52,250
more than anything else.
861
00:50:54,208 --> 00:50:58,000
I can't remember the specifics
of his performance,
862
00:50:58,000 --> 00:50:59,917
other than what I photographed.
863
00:51:03,709 --> 00:51:06,583
[Stevenson]
It was pretty much
like mime exercises,
864
00:51:06,583 --> 00:51:08,792
but a bit extra.
865
00:51:08,792 --> 00:51:10,750
It didn't really do it for me.
866
00:51:10,750 --> 00:51:14,083
But the man did.
[laughs]
867
00:51:14,083 --> 00:51:17,917
♪ Sell me a coat
with buttons of silver ♪
868
00:51:17,917 --> 00:51:21,875
♪ Sell me a coat
that's red or gold ♪
869
00:51:21,875 --> 00:51:23,542
♪ Sell me a coat... ♪
870
00:51:23,542 --> 00:51:25,625
[Stevenson]
I didn't shoot color
with David,
871
00:51:25,625 --> 00:51:27,291
'cause it seemed like a waste.
872
00:51:27,291 --> 00:51:31,667
Color, whole different
thing and expense.
873
00:51:31,667 --> 00:51:36,250
Yeah, he was obviously not
gonna be a massive star, so...
874
00:51:36,250 --> 00:51:38,625
why would I want
color in my library?
875
00:51:40,208 --> 00:51:42,333
[Kemp]
David asked me to see
876
00:51:42,333 --> 00:51:46,125
a little show that he'd
got together with Feathers.
877
00:51:46,125 --> 00:51:47,667
[Bowie]
I was walking home,
878
00:51:47,667 --> 00:51:51,125
and I happened to glance in
the window of this junk shop.
879
00:51:51,125 --> 00:51:52,875
And there it was.
880
00:51:52,875 --> 00:51:55,959
[Kemp]
It had a piece called The Mask.
881
00:51:55,959 --> 00:52:00,834
David, I suppose, had seen
Marcel Marceau along the line.
882
00:52:00,834 --> 00:52:03,083
But he wasn't Marcel Marceau.
883
00:52:03,083 --> 00:52:06,125
[man and woman laughing]
884
00:52:06,125 --> 00:52:08,542
[Kemp]
It was dreadful.
885
00:52:08,542 --> 00:52:11,333
I cringed.
[stammers] I really cringed.
886
00:52:16,625 --> 00:52:19,166
[recorded applause]
887
00:52:19,166 --> 00:52:20,917
And there are always
people that say,
888
00:52:20,917 --> 00:52:23,792
"He was very good in
that miming, wasn't he?"
889
00:52:23,792 --> 00:52:25,917
Oh, no, he was a load of shit.
890
00:52:27,875 --> 00:52:31,208
[Harty]
Has any of the criticism or
any of the attacks hurt you?
891
00:52:31,208 --> 00:52:34,625
[Bowie]
Yes, everything hurts me
very much. I'm very sensitive.
892
00:52:34,625 --> 00:52:37,500
But, uh, I put myself
in that position, so that's...
893
00:52:37,500 --> 00:52:39,333
what I'm in for, isn't it?
894
00:52:41,542 --> 00:52:44,667
[Farthingale]
Feathers was never
destined to last.
895
00:52:44,667 --> 00:52:49,291
He never said,
"Let's the three of us
get really famous together."
896
00:52:49,291 --> 00:52:52,125
It was a stepping stone.
897
00:52:58,000 --> 00:52:59,875
But I had also said to myself,
898
00:52:59,875 --> 00:53:02,208
"Am I actually going to be with
David for the rest of my life?"
899
00:53:02,208 --> 00:53:04,917
And I didn't think
I was actually going to.
900
00:53:04,917 --> 00:53:06,709
He was clearly going somewhere.
901
00:53:06,709 --> 00:53:10,291
And I just didn't think
I was going to tread
that path with him.
902
00:53:16,542 --> 00:53:20,166
Song of Norway was
a big MGM spectacular,
903
00:53:20,166 --> 00:53:24,542
which needed dancers
for seven months or so.
904
00:53:24,542 --> 00:53:29,250
It was something that
nobody in their right mind
would've turned down.
905
00:53:31,500 --> 00:53:36,458
I just thought, "Yeah, this
is what I want to be doing."
906
00:53:36,458 --> 00:53:39,041
I suddenly realized
that I had to...
907
00:53:39,041 --> 00:53:41,917
I had to pull out, stop.
908
00:53:45,417 --> 00:53:47,834
[Bowie]
Oh, God, yes, my heart broke.
909
00:53:47,834 --> 00:53:50,458
She was doing
this funny romp in Norway
910
00:53:50,458 --> 00:53:54,667
with bits of ballet in it, and
that she was, uh, cast in that.
911
00:53:54,667 --> 00:53:58,417
God, I didn't get over that
for such a long time.
912
00:53:58,417 --> 00:54:00,333
It really broke me up.
913
00:54:01,875 --> 00:54:03,959
[Amadeus]
I think he was vulnerable,
914
00:54:03,959 --> 00:54:06,417
and he was scared
of being abandoned.
915
00:54:08,208 --> 00:54:12,250
I think he was very hesitant
about giving himself.
916
00:54:12,250 --> 00:54:14,166
["When I'm Five"
by David Bowie playing]
917
00:54:14,166 --> 00:54:16,291
And David must've been
very frightened
918
00:54:16,291 --> 00:54:20,834
by all the comings and goings
of various family members.
919
00:54:22,041 --> 00:54:24,583
♪ When I'm five ♪
920
00:54:24,583 --> 00:54:29,500
♪ I will read the magazines
in mummy's drawer ♪
921
00:54:32,667 --> 00:54:35,208
♪ When I'm five ♪
922
00:54:35,208 --> 00:54:39,834
♪ I will walk behind
the soldiers in the ♪
923
00:54:39,834 --> 00:54:42,166
♪ May Day parade... ♪
924
00:54:42,166 --> 00:54:44,458
[Bowie]
I have a cousin
who's very dear to me
925
00:54:44,458 --> 00:54:47,333
who was shuttled around
from family to family
926
00:54:47,333 --> 00:54:49,959
and came to stay with us
for a while.
927
00:54:52,041 --> 00:54:55,417
My mother had, uh, children
that I never really knew about,
928
00:54:55,417 --> 00:54:59,542
but were also shifted off
to another family.
929
00:54:59,542 --> 00:55:02,000
It just seemed
everybody in the family
930
00:55:02,000 --> 00:55:07,000
had this kind of attribute
of being in transition
from one stage to another.
931
00:55:07,000 --> 00:55:09,792
♪ When I'm five ♪
932
00:55:09,792 --> 00:55:14,625
♪ I will catch a butterfly and
eat it and I won't be sick... ♪
933
00:55:14,625 --> 00:55:17,500
[Bowie]
I think I'd realized that
934
00:55:17,500 --> 00:55:21,166
the transitory nature
of life was, um,
935
00:55:21,166 --> 00:55:24,000
something that we all had
to deal with.
936
00:55:27,000 --> 00:55:31,875
I think one of the reasons
he was so very good as a child,
and he was,
937
00:55:31,875 --> 00:55:35,583
was because he was afraid
he'd be given away too.
938
00:55:38,750 --> 00:55:41,542
[Bowie singing acapella]
♪ Ground Control to Major Tom ♪
939
00:55:41,542 --> 00:55:46,291
♪ Your circuit's dead,
there's something wrong ♪
940
00:55:46,291 --> 00:55:49,625
♪ Can you hear me, Major Tom? ♪
941
00:55:51,250 --> 00:55:53,125
[Bowie]
I related it to myself
a lot more
942
00:55:53,125 --> 00:55:55,333
than anything
I'd written up until then.
943
00:55:55,333 --> 00:55:58,375
There was something about it
that touched areas of my fears
944
00:55:58,375 --> 00:56:00,709
about my own insecurity,
socially,
945
00:56:00,709 --> 00:56:02,875
and maybe emotionally.
946
00:56:02,875 --> 00:56:06,458
This feeling of isolation that
I had ever since I was a kid
947
00:56:06,458 --> 00:56:09,750
was really starting
to manifest itself.
948
00:56:12,417 --> 00:56:15,542
I think the isolation
of the film 2001
949
00:56:15,542 --> 00:56:19,542
made itself very obvious
when I wrote the song
"Space Oddity,"
950
00:56:19,542 --> 00:56:21,500
because for the first time,
951
00:56:21,500 --> 00:56:26,500
I really felt a sense of
how you could write
as an isolationist.
952
00:56:26,500 --> 00:56:29,083
["Space Oddity"
by David Bowie playing]
953
00:56:30,834 --> 00:56:34,250
[Bowie]
I thought,
"Well, gee, I am Major Tom.
954
00:56:34,250 --> 00:56:37,417
Here I am in my own
cosmic space, and
955
00:56:37,417 --> 00:56:40,583
nobody can possibly understand
what it's like to be out here
956
00:56:40,583 --> 00:56:44,583
on this umbilical cord
attached to my craft."
957
00:56:49,041 --> 00:56:52,583
♪ Ground Control to Major Tom ♪
958
00:56:56,083 --> 00:56:59,834
♪ Ground Control to Major Tom ♪
959
00:57:02,875 --> 00:57:08,125
♪ Take your protein pills
and put your helmet on... ♪
960
00:57:08,125 --> 00:57:11,083
[Hutchinson]
David wrote it as
a song for two people,
961
00:57:11,083 --> 00:57:14,959
Ground Control and Major Tom.
962
00:57:14,959 --> 00:57:18,625
David would sing the lead, and
I would come up with easiest way
963
00:57:18,625 --> 00:57:23,208
for me to sound right
as the harmony voice.
964
00:57:23,208 --> 00:57:28,875
♪ Check ignition and
may God's love be with you ♪
965
00:57:28,875 --> 00:57:30,875
♪ Blast off! ♪
966
00:57:30,875 --> 00:57:34,291
Not only that,
I should've been on the record
967
00:57:34,291 --> 00:57:36,667
as Ground Control, obviously.
968
00:57:36,667 --> 00:57:39,834
But I'd left.
I was in a drawing office
in Scarborough by then.
969
00:57:42,000 --> 00:57:46,834
♪ This is Major Tom
to Ground Control ♪
970
00:57:46,834 --> 00:57:51,709
♪ I'm stepping
through the door ♪
971
00:57:51,709 --> 00:57:58,709
♪ And I'm floating
in the most peculiar way ♪
972
00:57:58,709 --> 00:58:04,500
♪ Can I please get back
inside now, if I may?... ♪
973
00:58:04,500 --> 00:58:07,417
[Visconti]
When I heard the demo
of "Space Oddity,"
974
00:58:07,417 --> 00:58:09,000
I didn't like it all that much.
975
00:58:09,000 --> 00:58:13,333
And, uh, I handed it
to Gus Dudgeon.
976
00:58:13,333 --> 00:58:15,709
He really loved David.
977
00:58:18,000 --> 00:58:19,667
[Dudgeon]
I said, "Tony, you're crazy.
978
00:58:19,667 --> 00:58:21,500
Are you sure you don't wanna
do this song?" And he said,
979
00:58:21,500 --> 00:58:25,250
"No, you wanna do it,
obviously." I said,
"I can't wait."
980
00:58:25,250 --> 00:58:28,000
And, uh, so he said, "Well,
you do that on the B-side,
981
00:58:28,000 --> 00:58:30,375
and I'll do
the rest of the album."
I said, "OK, fine."
982
00:58:32,750 --> 00:58:35,875
[Visconti]
If Gus were alive,
which he isn't, unfortunately,
983
00:58:35,875 --> 00:58:38,000
he would be
presenting this to you.
984
00:58:38,000 --> 00:58:40,625
And, uh, I was really,
really impressed
985
00:58:40,625 --> 00:58:43,875
with the job that David and
Gus Dudgeon had done on this.
986
00:58:45,458 --> 00:58:49,041
What makes this work is drama.
987
00:58:49,041 --> 00:58:53,333
The first thing you hear is
an ominous 12-string guitar
988
00:58:53,333 --> 00:58:55,625
fade up from nothing.
989
00:58:59,291 --> 00:59:00,875
So all that is quite dramatic.
990
00:59:00,875 --> 00:59:02,709
That's not
your average pop song.
991
00:59:02,709 --> 00:59:06,542
But you know,
it doesn't hit you in the face,
doesn't hit you in the head.
992
00:59:06,542 --> 00:59:08,709
It's drama.
And you're sucked into it.
993
00:59:08,709 --> 00:59:12,333
So this is a very
clever device that he used.
994
00:59:12,333 --> 00:59:16,083
[Bowie singing acapella]
♪ Ground Control to Major Tom ♪
995
00:59:19,500 --> 00:59:23,667
♪ Ground Control to Major Tom ♪
996
00:59:23,667 --> 00:59:27,500
[Visconti]
So David used this
revolutionary new instrument,
997
00:59:27,500 --> 00:59:30,291
the mighty little Stylophone.
998
00:59:30,291 --> 00:59:34,583
So it all adds to the kind of
science-fiction quality
of the song.
999
00:59:34,583 --> 00:59:40,583
♪ Check ignition and
may God's love be with you ♪
1000
00:59:42,083 --> 00:59:44,000
Very dramatic lift-off,
isn't it?
1001
00:59:44,000 --> 00:59:47,792
["Space Oddity"
by David Bowie playing]
1002
00:59:54,959 --> 00:59:59,792
♪ This is Ground Control
to Major Tom ♪
1003
00:59:59,792 --> 01:00:03,875
♪ You've really made
the grade ♪
1004
01:00:03,875 --> 01:00:05,834
And another new thing
it had on it,
1005
01:00:05,834 --> 01:00:09,375
which the Beatles kind of
debuted, was the Mellotron.
1006
01:00:09,375 --> 01:00:13,458
[playing chords
from "Space Oddity"]
1007
01:00:21,291 --> 01:00:24,750
David wanted it,
because he wanted it to sound,
1008
01:00:24,750 --> 01:00:26,959
not like strings,
but like strings.
1009
01:00:26,959 --> 01:00:30,333
And I knew exactly what
he meant. It's recorded strings.
1010
01:00:30,333 --> 01:00:31,834
So, tapes inside.
1011
01:00:35,083 --> 01:00:38,792
Um, but one of the problems
you have with this instrument
1012
01:00:38,792 --> 01:00:43,291
is that, uh, a note
only lasts eight seconds.
1013
01:00:43,291 --> 01:00:45,000
And then, it cuts out.
1014
01:00:45,000 --> 01:00:47,333
So, if you hold
a chord long enough,
1015
01:00:47,333 --> 01:00:51,041
and sometimes you need
to hold it for a lot longer
than eight seconds,
1016
01:00:51,041 --> 01:00:53,625
after you get to
the eight-second mark,
it starts to...
1017
01:00:53,625 --> 01:00:55,125
[chord distorts and stops]
1018
01:00:55,125 --> 01:00:58,542
to do that, which is why
I hated the bloody thing,
1019
01:00:58,542 --> 01:01:00,333
um, to be brutally
honest with you.
1020
01:01:00,333 --> 01:01:07,333
♪ And the papers want to know
whose shirts you wear ♪
1021
01:01:07,333 --> 01:01:13,917
♪ Now it's time to leave
the capsule if you dare ♪
1022
01:01:22,458 --> 01:01:26,875
Covered it in echo to get the
actual sound that David wanted.
1023
01:01:28,500 --> 01:01:32,041
Which I have nicked ever since
to use on Yes records.
1024
01:01:32,041 --> 01:01:37,041
♪ Though I'm past
100'000 miles ♪
1025
01:01:37,041 --> 01:01:42,041
♪ I'm feeling very still ♪
1026
01:01:42,041 --> 01:01:49,041
♪ And I think my spaceship
knows which way to go ♪
1027
01:01:49,041 --> 01:01:55,917
♪ Tell my wife I love her
very much, she knows ♪
1028
01:01:57,750 --> 01:02:00,583
♪ Ground Control to Major Tom ♪
1029
01:02:00,583 --> 01:02:04,500
♪ Your circuit's dead,
there's something wrong ♪
1030
01:02:04,500 --> 01:02:07,583
♪ Can you hear me, Major Tom? ♪
1031
01:02:07,583 --> 01:02:09,291
[Harty]
David, the record
which you have
1032
01:02:09,291 --> 01:02:11,250
in our charts in Britain
at the moment
1033
01:02:11,250 --> 01:02:14,083
is undoubtedly your biggest
success to date, isn't it?
1034
01:02:14,083 --> 01:02:16,709
[Bowie]
My only success to date.
1035
01:02:16,709 --> 01:02:19,875
♪ Here am I floating round
my tin can ♪
1036
01:02:19,875 --> 01:02:22,083
[Visconti]
When he had the big hit
with "Space Oddity,"
1037
01:02:22,083 --> 01:02:27,000
that's where the change came
where he started seeing
himself as a star.
1038
01:02:27,000 --> 01:02:33,083
♪ Planet Earth is blue
and there's nothing I can do ♪
1039
01:02:33,083 --> 01:02:35,667
[Visconti]
People knew who
David Bowie was then.
1040
01:02:35,667 --> 01:02:37,500
He was the Major Tom guy
1041
01:02:37,500 --> 01:02:41,709
and they'd say,
"Hey, Major Tom" and all that.
People would see him, you know.
1042
01:02:41,709 --> 01:02:45,417
Which he loved.
He absolutely loved it.
1043
01:02:45,417 --> 01:02:49,625
[announcer]
Accepting the Special Merit
Award for Originality,
1044
01:02:49,625 --> 01:02:51,458
David Bowie.
1045
01:02:51,458 --> 01:02:52,959
[Visconti]
But they said, "You'll never
write another song
1046
01:02:52,959 --> 01:02:55,208
like this again,"
and he didn't.
1047
01:02:55,208 --> 01:02:59,208
What he did come up with
was something no one
dreamt about at the time.
1048
01:02:59,208 --> 01:03:03,500
He was the first rock star
to take on a different identity.
1049
01:03:03,500 --> 01:03:07,333
In other words, it was
Ziggy Stardust by David Bowie.
1050
01:03:07,333 --> 01:03:09,542
That was his stroke of genius.
1051
01:03:09,542 --> 01:03:11,792
["Starman"
by David Bowie playing]
1052
01:03:11,792 --> 01:03:14,542
[Bowie]
Off the record, what
everybody told me is that,
1053
01:03:14,542 --> 01:03:16,917
"David, you've gotta
have a single."
1054
01:03:16,917 --> 01:03:19,166
So, I said,
"Right, I'll go away,
1055
01:03:19,166 --> 01:03:23,333
and I'll write an RP-type
single in my style.
1056
01:03:23,333 --> 01:03:25,959
[laughs]
Based loosely on "Oddity."
1057
01:03:25,959 --> 01:03:27,875
[man] Loosely on "Space Oddity".
1058
01:03:27,875 --> 01:03:29,333
-Right.
-So that people say,
1059
01:03:29,333 --> 01:03:32,333
"Ah, this is what we were
waiting for from David Bowie,
1060
01:03:32,333 --> 01:03:34,709
is a follow-up
to 'Space Oddity.'"
1061
01:03:34,709 --> 01:03:39,000
That's "Starman."
"Starman" was strictly,
I wrote it in about 15 minutes.
1062
01:03:39,000 --> 01:03:41,250
I used every cliché phrase
I could think of
1063
01:03:41,250 --> 01:03:44,667
to do with starmen and people
in space [unclear] and
1064
01:03:44,667 --> 01:03:46,959
let the children boogie
and all that.
1065
01:03:46,959 --> 01:03:51,250
Shoved it in three minutes
and on a nice tune.
1066
01:03:56,667 --> 01:04:01,667
♪ Didn't know what time it was
and the lights were low ♪
1067
01:04:01,667 --> 01:04:06,208
♪ I leaned back on my radio ♪
1068
01:04:06,208 --> 01:04:08,750
♪ Some cat
was layin' down some ♪
1069
01:04:08,750 --> 01:04:11,542
♪ Get it on rock 'n' roll,
he said ♪
1070
01:04:13,500 --> 01:04:18,291
♪ Then the loud sound
did seem to fade ♪
1071
01:04:18,291 --> 01:04:23,166
♪ Came back like a slow voice
on a wave of phase haze ♪
1072
01:04:23,166 --> 01:04:28,417
♪ That weren't no D.J.
that was hazy cosmic jive ♪
1073
01:04:28,417 --> 01:04:30,625
[interviewer]
Do you enjoy being a rock star?
1074
01:04:30,625 --> 01:04:32,709
[Bowie]
Fantastic. [laughs]
1075
01:04:32,709 --> 01:04:34,625
I'm just really,
I'm itching to write.
1076
01:04:34,625 --> 01:04:39,875
I've never really thought,
"Well, I'm gonna
make my mark as a..."
1077
01:04:39,875 --> 01:04:41,875
I just thought,
"Well, I'll be David Bowie.
1078
01:04:41,875 --> 01:04:43,834
The first David Bowie,
that's all."
1079
01:04:43,834 --> 01:04:48,250
♪ There's a starman
waiting in the sky ♪
1080
01:04:48,250 --> 01:04:50,583
♪ He'd like to come
and meet us ♪
1081
01:04:50,583 --> 01:04:52,917
♪ But he thinks
he'd blow our minds ♪
1082
01:04:52,917 --> 01:04:58,000
♪ There's a starman
waiting in the sky ♪
1083
01:04:58,000 --> 01:05:00,166
♪ He's told us not to blow it ♪
1084
01:05:00,166 --> 01:05:02,625
♪ 'Cause he knows
it's all worthwhile ♪
1085
01:05:02,625 --> 01:05:03,709
♪ He told me ♪
1086
01:05:03,709 --> 01:05:05,792
♪ Let the children lose it ♪
1087
01:05:05,792 --> 01:05:08,333
♪ Let the children use it ♪
1088
01:05:08,333 --> 01:05:12,583
♪ Let all the children boogie ♪
1089
01:05:12,583 --> 01:05:15,250
[Cambridge]
When we did the Space Oddity
album in Trident studio,
1090
01:05:15,250 --> 01:05:17,834
David used to walk about
like he was a star.
1091
01:05:17,834 --> 01:05:19,583
You could see it just by--
1092
01:05:19,583 --> 01:05:21,250
He could walk into a pub,
and you think,
1093
01:05:21,250 --> 01:05:23,458
"He's gonna be a star," and
you could t--, you know, that.
1094
01:05:23,458 --> 01:05:27,250
But not necessarily about
his music or his playing
at that time, you know.
1095
01:05:27,250 --> 01:05:29,875
["Letter to Hermione"
by David Bowie playing]
1096
01:05:29,875 --> 01:05:31,625
He was a bit like
a folky singer.
1097
01:05:31,625 --> 01:05:34,125
He wasn't, like,
the rock God he became.
1098
01:05:35,875 --> 01:05:38,583
But, then again,
David was very deep, you know?
1099
01:05:38,583 --> 01:05:40,250
He would never...
1100
01:05:40,250 --> 01:05:42,375
wore his heart on his sleeve,
1101
01:05:42,375 --> 01:05:44,959
he would never come out to you
and say, "I'm really worried
about this," you know.
1102
01:05:44,959 --> 01:05:48,125
He would just ride over it.
1103
01:05:48,125 --> 01:05:50,750
♪ The hand that
wrote this letter ♪
1104
01:05:50,750 --> 01:05:53,166
♪ Sweeps the pillow clean ♪
1105
01:05:54,959 --> 01:05:59,625
♪ So rest your head
and read a treasured dream ♪
1106
01:06:01,208 --> 01:06:04,792
♪ I care for
no one else but you ♪
1107
01:06:04,792 --> 01:06:07,959
♪ I tear my soul
to cease the pain ♪
1108
01:06:07,959 --> 01:06:11,709
♪ I think maybe
you feel the same ♪
1109
01:06:11,709 --> 01:06:14,166
♪ What can we do?... ♪
1110
01:06:14,166 --> 01:06:17,125
[Bowie]
So, I wrote my, you know,
my "Letter to Hermione"
1111
01:06:17,125 --> 01:06:19,792
on my album.
There, that'll show her.
1112
01:06:19,792 --> 01:06:21,375
I write something that public,
1113
01:06:21,375 --> 01:06:24,125
and she'll see that
she really messed me up.
1114
01:06:24,125 --> 01:06:29,041
♪ So I've been writing you
just for you... ♪
1115
01:06:29,041 --> 01:06:31,250
He was definitely
feeling that song.
1116
01:06:31,250 --> 01:06:34,000
That was him being vulnerable.
1117
01:06:34,000 --> 01:06:35,542
I think we only did
one or two takes.
1118
01:06:35,542 --> 01:06:37,875
There was no reason
to keep recording it
1119
01:06:37,875 --> 01:06:39,542
and do it one more time,
better.
1120
01:06:39,542 --> 01:06:41,000
He just did that performance
1121
01:06:41,000 --> 01:06:43,583
and it was heart-tugging.
1122
01:06:43,583 --> 01:06:47,917
♪ They say your life
is going very well ♪
1123
01:06:49,834 --> 01:06:54,291
♪ They say you sparkle
like a different girl ♪
1124
01:06:55,542 --> 01:06:59,291
♪ But something tells me
that you hide ♪
1125
01:06:59,291 --> 01:07:02,083
♪ When all the world
is warm and tired ♪
1126
01:07:02,083 --> 01:07:06,375
♪ You cry a little
in the dark ♪
1127
01:07:06,375 --> 01:07:09,625
♪ Well so do I... ♪
1128
01:07:09,625 --> 01:07:12,542
Did I cry? Probably.
1129
01:07:15,208 --> 01:07:18,041
I missed him terribly.
We missed each other.
1130
01:07:18,041 --> 01:07:21,166
As friends, apart from
anything else, you know,
1131
01:07:21,166 --> 01:07:24,542
that's what we really,
we really missed. Yeah.
1132
01:07:24,542 --> 01:07:30,333
♪ I'm not quite sure
what I'm supposed to do ♪
1133
01:07:30,333 --> 01:07:35,834
♪ So I'll just write
some love to you ♪
1134
01:08:02,041 --> 01:08:07,792
♪ Still don't know
what I was waiting for ♪
1135
01:08:07,792 --> 01:08:12,542
♪ And my time
was running wild ♪
1136
01:08:12,542 --> 01:08:17,250
♪ A million dead end
streets and ♪
1137
01:08:17,250 --> 01:08:21,792
♪ Every time I thought
I'd got it made ♪
1138
01:08:21,792 --> 01:08:25,458
♪ It seemed the taste
was not so sweet ♪
1139
01:08:27,458 --> 01:08:31,375
[Bowie]
It almost seemed like 1970
was the cumulative year for me.
1140
01:08:31,375 --> 01:08:35,458
That's where it all sort of
started to make sense.
1141
01:08:35,458 --> 01:08:38,291
["Conversation Piece"
by David Bowie playing]
1142
01:08:45,792 --> 01:08:50,166
♪ I took this walk
to ease my mind ♪
1143
01:08:52,000 --> 01:08:54,667
♪ To find out
what's gnawing at me ♪
1144
01:08:56,166 --> 01:08:59,333
♪ Wouldn't think
to look at me ♪
1145
01:09:02,959 --> 01:09:07,625
♪ That I've spent
a lot of time in education... ♪
1146
01:09:07,625 --> 01:09:12,125
[Bowie]
I was living in this, uh, huge,
almost neo-gothic pile
1147
01:09:12,125 --> 01:09:14,125
down in Beckenham
called Haddon Hall.
1148
01:09:14,125 --> 01:09:18,333
Which had some kind of, uh,
baronial hall entrance
hall-type thing.
1149
01:09:18,333 --> 01:09:20,667
And the band that
we collected together,
1150
01:09:20,667 --> 01:09:23,041
Visconti and,
at the time, Angela,
1151
01:09:23,041 --> 01:09:25,667
all kind of shared this,
uh, baronial hall.
1152
01:09:25,667 --> 01:09:28,333
So it's kind of
a commune thing.
1153
01:09:32,709 --> 01:09:37,250
[Visconti]
Angie, when I met her,
was this free spirit.
1154
01:09:37,250 --> 01:09:41,542
She was outspoken, had courage
like you wouldn't believe.
1155
01:09:41,542 --> 01:09:44,792
She could walk up to anybody and
give them a piece of her mind.
1156
01:09:44,792 --> 01:09:46,375
Or get things.
1157
01:09:46,375 --> 01:09:49,166
And Angie was the one
who made things happen.
1158
01:09:49,166 --> 01:09:52,250
["The Width of a Circle"
by David Bowie playing]
1159
01:09:59,625 --> 01:10:02,542
[Bowie]
Mick came from Hull, you know,
and was very down to Earth.
1160
01:10:02,542 --> 01:10:05,542
[laughs]
1161
01:10:05,542 --> 01:10:08,375
But when I first heard
him play, I thought, [gasps]
1162
01:10:08,375 --> 01:10:12,583
"That's my Jeff Beck. He is
fantastic, this kid is great."
1163
01:10:12,583 --> 01:10:15,750
And so, I sort of hoodwinked
him into working with me.
1164
01:10:18,083 --> 01:10:21,875
[Victonti]
What David should've said was,
"He's my Mick Ronson."
1165
01:10:21,875 --> 01:10:23,959
Mick was his own man.
1166
01:10:26,208 --> 01:10:28,125
He could play like Beck,
1167
01:10:28,125 --> 01:10:31,458
but he was definitely
a very different guitarist
1168
01:10:31,458 --> 01:10:34,667
in the sense that Mick was
also a violinist and a pianist.
1169
01:10:34,667 --> 01:10:36,709
He studied classical music.
1170
01:10:36,709 --> 01:10:41,625
He picked up things that most
rock guitarists didn't know.
1171
01:10:44,792 --> 01:10:46,959
[Bowie]
My new band was called Hype.
1172
01:10:46,959 --> 01:10:50,125
Tony Visconti on bass,
Mick Ronson on guitar,
1173
01:10:50,125 --> 01:10:52,250
and John Cambridge on drums.
1174
01:10:52,250 --> 01:10:55,875
And myself on rhythm guitar
and keyboard thing.
1175
01:10:58,417 --> 01:11:04,291
♪ In the corner of
the morning in the past ♪
1176
01:11:04,291 --> 01:11:10,208
♪ I would sit and blame
the master first and last ♪
1177
01:11:10,208 --> 01:11:13,166
♪ All the roads were
straight and narrow ♪
1178
01:11:13,166 --> 01:11:16,125
♪ And the prayers
were small and yellow ♪
1179
01:11:16,125 --> 01:11:20,375
♪ And the rumor spread
that I was aging fast... ♪
1180
01:11:20,375 --> 01:11:25,333
[Bowie]
One of the first gigs that
we did was in February 1970
1181
01:11:25,333 --> 01:11:28,166
at the Roundhouse with Hype.
1182
01:11:28,166 --> 01:11:31,625
And I think it was probably
my first costume band.
1183
01:11:33,542 --> 01:11:37,500
And our respective girlfriends
and wives and whatever
1184
01:11:37,500 --> 01:11:40,500
put together all these
really ridiculous, like,
1185
01:11:40,500 --> 01:11:44,333
cartoon capers
comic hero costumes.
1186
01:11:46,583 --> 01:11:48,834
[Cambridge]
The Roundhouse gig
with the costumes,
1187
01:11:48,834 --> 01:11:50,291
that was Angie's idea.
1188
01:11:50,291 --> 01:11:52,166
She said we should
all get dressed up,
1189
01:11:52,166 --> 01:11:55,333
and maybe David
did want to maybe, uh,
1190
01:11:55,333 --> 01:11:58,542
a bit in it as well, but
Angie had a lot to do with it.
1191
01:11:58,542 --> 01:12:02,333
I was Cowboy Man with a cowboy
hat on. I had a frilly shirt.
1192
01:12:04,041 --> 01:12:06,166
[Bowie]
Ronson was Guitar Gangster,
1193
01:12:06,166 --> 01:12:08,291
and he wore a sort of
gangster's outfit.
1194
01:12:08,291 --> 01:12:11,208
And I became
this kind of Spaceman,
1195
01:12:11,208 --> 01:12:13,667
silver llama and all that.
1196
01:12:13,667 --> 01:12:15,667
Tony was Hypeman.
1197
01:12:15,667 --> 01:12:19,125
He was like a converted
Superman-type thing.
1198
01:12:21,125 --> 01:12:26,417
♪ So softly a super God cries ♪
1199
01:12:31,375 --> 01:12:34,041
[Bowie]
We thought we were kind of,
you know, smart.
1200
01:12:34,041 --> 01:12:36,500
But nobody even
looked at the stage.
1201
01:12:36,500 --> 01:12:40,709
I mean, it was really just
the most depressing night
of our lives.
1202
01:12:40,709 --> 01:12:43,250
♪ Where all were minds
in uni-thought ♪
1203
01:12:43,250 --> 01:12:45,709
♪ Power is weird
by mystic's thoughts... ♪
1204
01:12:45,709 --> 01:12:48,500
[Bowie]
But I think I was getting
nearer to what I wanted to do,
1205
01:12:48,500 --> 01:12:51,417
which is to create
this alternative world.
1206
01:12:51,417 --> 01:12:56,959
Which is what I ultimately
ended up doing with
the Ziggy thing.
1207
01:12:56,959 --> 01:13:00,709
♪ A man would tear
his brother's flesh,
a chance to die ♪
1208
01:13:00,709 --> 01:13:03,083
♪ To turn to mold ♪
1209
01:13:05,458 --> 01:13:08,333
[Woodmansey]
I got a call from David.
1210
01:13:08,333 --> 01:13:11,083
"I've got this place
in Beckenham in Kent
1211
01:13:11,083 --> 01:13:13,667
called Haddon Hall,
and we all live there.
1212
01:13:14,834 --> 01:13:16,750
And I'm doing another album.
1213
01:13:16,750 --> 01:13:19,625
You know, will you come?"
So, I was like, "Ooh."
1214
01:13:19,625 --> 01:13:20,959
[laughs]
1215
01:13:20,959 --> 01:13:23,291
["Looking for a Friend"
by David Bowie playing]
1216
01:13:23,291 --> 01:13:25,917
♪ Watch me while you can... ♪
1217
01:13:25,917 --> 01:13:30,250
[Coleman]
Haddon Hall was obviously
neglected, wonderful building.
1218
01:13:30,250 --> 01:13:31,667
They just rented it and
1219
01:13:31,667 --> 01:13:34,667
probably someone was glad
to have anyone in there.
1220
01:13:34,667 --> 01:13:37,083
It was a bit like a squat.
1221
01:13:39,041 --> 01:13:43,709
[Woodmansey]
Mick and I slept on
the landing in sleeping bags.
1222
01:13:43,709 --> 01:13:46,625
I remember waking up
one morning, there was a--
1223
01:13:46,625 --> 01:13:51,208
I just heard giggling and
screaming down below
through the banisters.
1224
01:13:51,208 --> 01:13:55,583
I looked down and there
was like, ten naked females
1225
01:13:55,583 --> 01:13:57,458
prancing about downstairs.
1226
01:13:57,458 --> 01:14:00,792
♪ You don't have to be
a big wheel ♪
1227
01:14:00,792 --> 01:14:03,083
♪ You don't have to be
the end... ♪
1228
01:14:03,083 --> 01:14:06,875
I never saw ten naked women.
I saw two.
1229
01:14:06,875 --> 01:14:10,000
But people would try to get
into my bedroom.
1230
01:14:10,000 --> 01:14:13,125
And climb into bed with,
uh, Liz and myself,
1231
01:14:13,125 --> 01:14:16,208
and it was like, "Mate,
you're in the wrong room.
1232
01:14:16,208 --> 01:14:19,709
Go back in that room," you know?
"It's not like a bordello."
1233
01:14:19,709 --> 01:14:22,667
Which it kind of resembled
after a while.
1234
01:14:25,667 --> 01:14:28,166
[Woodmansey]
You never quite knew
what was gonna happen.
1235
01:14:28,166 --> 01:14:31,667
And then David would come down
the staircase in the dress.
1236
01:14:31,667 --> 01:14:34,208
You know,
you'd never seen that before.
1237
01:14:34,208 --> 01:14:38,041
"It's a man's dress." I said,
"Yeah, I assumed that,"
you know?
1238
01:14:40,500 --> 01:14:42,667
[MacCormack]
It was definitely
a man's dress.
1239
01:14:42,667 --> 01:14:45,417
Although zipped up
in the same way as a woman's.
1240
01:14:45,417 --> 01:14:47,875
We all wore dresses
at that time.
1241
01:14:47,875 --> 01:14:51,667
And, uh, no, we didn't. No.
1242
01:14:51,667 --> 01:14:54,583
["She Shook Me Cold"
by David Bowie playing]
1243
01:14:57,959 --> 01:15:01,750
♪ We met upon a hill ♪
1244
01:15:01,750 --> 01:15:05,417
♪ The night was
cool and still... ♪
1245
01:15:05,417 --> 01:15:08,875
[Bowie]
I was still very much trying
to find who I was as a writer.
1246
01:15:08,875 --> 01:15:11,750
And electric music was
appealing to me more and more.
1247
01:15:11,750 --> 01:15:14,542
Especially the heavier
kind of guitar-oriented things.
1248
01:15:14,542 --> 01:15:17,458
♪ I will go back again ♪
1249
01:15:17,458 --> 01:15:21,375
♪ My God, she shook me cold ♪
1250
01:15:23,083 --> 01:15:25,041
[Woodmansey]
I mean,
The Man Who Sold The World
1251
01:15:25,041 --> 01:15:28,208
is not completely disconnected
from the Led Zeppelin style
1252
01:15:28,208 --> 01:15:31,125
heavy metal that was beginning
to arrive, as well.
1253
01:15:33,709 --> 01:15:36,709
I think all the sounds
that he's going through
1254
01:15:36,709 --> 01:15:39,917
are things that he's listening
to, having a look at,
1255
01:15:39,917 --> 01:15:42,417
pulling into the next record
and, you know,
1256
01:15:42,417 --> 01:15:44,291
using that and
going on from there.
1257
01:15:44,291 --> 01:15:46,208
["Running Gun Blues"
by David Bowie playing]
1258
01:15:46,208 --> 01:15:48,750
♪ I slashed them cold,
I killed them dead ♪
1259
01:15:48,750 --> 01:15:52,333
♪ I broke the gooks
I cracked their heads ♪
1260
01:15:52,333 --> 01:15:55,417
♪ I'll bomb them out
from under their beds ♪
1261
01:15:55,417 --> 01:15:59,166
♪ But now I've got
the running gun blues... ♪
1262
01:16:01,583 --> 01:16:04,041
[Woodmansey]
On Man Who Sold The World,
1263
01:16:04,041 --> 01:16:07,792
he was starting to get
more of a concept of
1264
01:16:07,792 --> 01:16:10,750
"I'll do what I want to do"
1265
01:16:10,750 --> 01:16:13,959
lyrically, particularly,
and song-wise.
1266
01:16:13,959 --> 01:16:18,417
Um, Man Who Sold The World
opened the floodgates.
1267
01:16:18,417 --> 01:16:22,000
I think he was learning that
his ideas could be put across.
1268
01:16:22,000 --> 01:16:24,792
And I think the times when
he didn't compromise
1269
01:16:24,792 --> 01:16:27,875
on what he wanted to say
were the successful things.
1270
01:16:27,875 --> 01:16:30,333
["All the Madmen"
by David Bowie playing]
1271
01:16:30,333 --> 01:16:33,625
♪ Day after day ♪
1272
01:16:33,625 --> 01:16:37,625
♪ They send my friends away ♪
1273
01:16:37,625 --> 01:16:40,583
♪ To mansions cold
and gray... ♪
1274
01:16:40,583 --> 01:16:43,542
[Bowie]
One of my, sort of,
half-siblings
1275
01:16:43,542 --> 01:16:47,667
meant so much to me in my early
years, and his name was Terry.
1276
01:16:47,667 --> 01:16:50,458
He was my half-brother.
My mother's son.
1277
01:16:50,458 --> 01:16:54,000
♪ To the far side of town ♪
1278
01:16:54,000 --> 01:16:57,458
♪ Where the thin men
stalk the streets ♪
1279
01:16:57,458 --> 01:17:01,917
♪ While the sane stay
underground... ♪
1280
01:17:01,917 --> 01:17:03,542
[Bowie]
Terry probably gave me
1281
01:17:03,542 --> 01:17:05,542
the greatest education
that I could ever have had.
1282
01:17:05,542 --> 01:17:10,333
I mean, he just introduced
me to the outside things.
1283
01:17:13,458 --> 01:17:15,083
And I guess Terry had shown me
1284
01:17:15,083 --> 01:17:18,542
that there has always been
a history of the outside,
1285
01:17:18,542 --> 01:17:19,625
of the rebel.
1286
01:17:19,625 --> 01:17:21,291
Of not being in the center,
1287
01:17:21,291 --> 01:17:24,542
not being drawn to
the tyranny of the mainstream.
1288
01:17:26,750 --> 01:17:29,709
But then he would go away
for long periods.
1289
01:17:29,709 --> 01:17:33,875
One period he went away,
he joined the, uh, RAF.
1290
01:17:33,875 --> 01:17:37,375
And when he came back,
he had changed considerably.
1291
01:17:37,375 --> 01:17:40,875
And was showing very evident
signs of schizophrenia.
1292
01:17:42,625 --> 01:17:44,083
And then,
he went into hospital,
1293
01:17:44,083 --> 01:17:47,166
and he stayed in hospital
for the rest of his life.
1294
01:17:47,166 --> 01:17:50,250
♪ Day after day ♪
1295
01:17:50,250 --> 01:17:53,834
♪ They tell me I can go ♪
1296
01:17:53,834 --> 01:17:57,625
♪ They tell me I can blow ♪
1297
01:17:57,625 --> 01:18:01,375
♪ To the far side of town ♪
1298
01:18:01,375 --> 01:18:04,917
♪ Where it's pointless
to be high ♪
1299
01:18:04,917 --> 01:18:07,792
♪ 'Cause it's such
a long way down ♪
1300
01:18:09,583 --> 01:18:11,291
♪ So I tell them that ♪
1301
01:18:11,291 --> 01:18:12,750
♪ I can fly ♪
1302
01:18:12,750 --> 01:18:16,917
♪ I will scream,
I will break my arm ♪
1303
01:18:18,583 --> 01:18:22,125
♪ I will do me harm... ♪
1304
01:18:22,125 --> 01:18:25,834
[Bowie]
Insanity was something
that I was terribly fearful of.
1305
01:18:25,834 --> 01:18:27,959
But I felt that
I was the lucky one,
1306
01:18:27,959 --> 01:18:31,875
because as long as
I could put those psychological
excesses into my music,
1307
01:18:31,875 --> 01:18:35,667
then I could always
be throwing it off.
1308
01:18:35,667 --> 01:18:39,000
[Amadeus]
One of the porkies
that David perpetuated
1309
01:18:39,000 --> 01:18:43,709
for a very long time was
that he came from a family
1310
01:18:43,709 --> 01:18:47,041
where insanity
seemed to be the norm.
1311
01:18:47,041 --> 01:18:49,500
And it just wasn't true.
1312
01:18:49,500 --> 01:18:53,041
Yes, Terry had his breakdown.
1313
01:18:53,041 --> 01:18:57,458
But, um, I believe
it was a bad acid trip.
1314
01:19:04,542 --> 01:19:05,917
[Visconti]
Every arrangement we did
1315
01:19:05,917 --> 01:19:08,625
on The Man Who Sold The World
album,
1316
01:19:08,625 --> 01:19:10,917
we started them
in Haddon Hall,
1317
01:19:10,917 --> 01:19:13,750
but we finished most
of the album in the studio
1318
01:19:13,750 --> 01:19:17,458
and made up
our own parts on the spot.
1319
01:19:17,458 --> 01:19:21,417
And David would
go off into the hallway
and write the lyrics.
1320
01:19:21,417 --> 01:19:23,125
I'd go out half an hour later,
1321
01:19:23,125 --> 01:19:25,417
and he'd just be
holding hands with Angie.
1322
01:19:25,417 --> 01:19:28,834
I'd go, "Come on, write the
damn lyrics, for God's sake!"
1323
01:19:28,834 --> 01:19:31,792
The Man Who Sold The World
was writ--,
1324
01:19:31,792 --> 01:19:34,792
the lyrics were written on
the same day we recorded it,
1325
01:19:34,792 --> 01:19:36,458
which was the last day
of the album.
1326
01:19:36,458 --> 01:19:40,125
["The Man Who Sold the World"
by David Bowie playing]
1327
01:19:40,125 --> 01:19:42,583
[Woodmansey]
"The Man Who Sold The World"
as a song
1328
01:19:42,583 --> 01:19:45,083
was kind of about
1329
01:19:45,083 --> 01:19:48,458
meeting himself in the future
and where he'd been
1330
01:19:48,458 --> 01:19:51,000
and you kind of--
1331
01:19:51,000 --> 01:19:54,417
that's the picture you,
or I had in my head.
1332
01:19:54,417 --> 01:19:58,875
♪ We passed upon the stair ♪
1333
01:19:58,875 --> 01:20:03,208
♪ We spoke of was and when ♪
1334
01:20:03,208 --> 01:20:07,750
♪ Although I wasn't there ♪
1335
01:20:07,750 --> 01:20:11,834
♪ He said I was his friend ♪
1336
01:20:11,834 --> 01:20:15,917
♪ Which came as some surprise ♪
1337
01:20:15,917 --> 01:20:19,375
[demo version]
♪ I spoke into his eyes ♪
1338
01:20:19,375 --> 01:20:23,500
♪ I thought you died alone ♪
1339
01:20:23,500 --> 01:20:27,083
♪ A long long time ago ♪
1340
01:20:28,625 --> 01:20:30,291
[Woodmansey]
I thought at the time,
1341
01:20:30,291 --> 01:20:34,458
"OK, it's pretty hard rock
and progressive, a lot of it."
1342
01:20:34,458 --> 01:20:39,083
So, imagine you've got a
Zeppelin album, a Sabbath album,
1343
01:20:39,083 --> 01:20:41,166
and this guy in a dress.
1344
01:20:41,166 --> 01:20:45,041
It's not gonna happen,
just from the cover alone.
1345
01:20:48,083 --> 01:20:50,375
♪ Who knows? ♪
1346
01:20:50,375 --> 01:20:52,417
♪ Not me ♪
1347
01:20:52,417 --> 01:20:56,542
♪ We never lost control ♪
1348
01:20:56,542 --> 01:21:00,834
♪ You're face to face ♪
1349
01:21:00,834 --> 01:21:03,917
♪ With the man
who sold the world ♪
1350
01:21:19,375 --> 01:21:22,083
[Coleman]
I was having to create
a bill out of nothing.
1351
01:21:22,083 --> 01:21:26,250
And so, I started off with
people that I liked and knew.
1352
01:21:26,250 --> 01:21:29,208
So, I rang David and said, "Are
you interested in doing it?"
1353
01:21:29,208 --> 01:21:33,083
Got Angie, who said, "No,
he's doing some solo gigs, and
1354
01:21:33,083 --> 01:21:36,959
he's not enjoying them
very much," um,
1355
01:21:36,959 --> 01:21:40,333
in her inimitable way.
1356
01:21:40,333 --> 01:21:43,208
And then, I rang again and got
David a couple of days later,
1357
01:21:43,208 --> 01:21:46,750
and he said, "Well, I'm kind of
interested in doing it."
1358
01:21:48,667 --> 01:21:52,959
[Bowie]
I did the second festival
ever in 1971.
1359
01:21:52,959 --> 01:21:56,583
I got on at 5:30
in the morning.
1360
01:21:56,583 --> 01:22:01,417
And it was just me and this
electric Woolworth's organ
that I'd brought.
1361
01:22:01,417 --> 01:22:04,417
[organ playing
"Oh, You Pretty Things"]
1362
01:22:04,417 --> 01:22:06,458
♪ Wake up you sleepy head ♪
1363
01:22:06,458 --> 01:22:09,625
♪ Put on some clothes,
shake out your bed ♪
1364
01:22:11,125 --> 01:22:14,041
[David and crowd laughing]
1365
01:22:14,041 --> 01:22:16,917
[Bowie on stage]
This is about homo superior.
1366
01:22:16,917 --> 01:22:19,041
You're letting
the lyrics down, badly.
1367
01:22:19,041 --> 01:22:20,792
[laughter]
1368
01:22:20,792 --> 01:22:23,792
[Gillespie]
David, Angie, and I
went to Glastonbury.
1369
01:22:23,792 --> 01:22:29,792
And I do remember
people crawling out of their
sleeping bags and their tents.
1370
01:22:29,792 --> 01:22:32,834
And he was up there
on his own.
1371
01:22:32,834 --> 01:22:38,083
♪ I still don't know
what I was waiting for ♪
1372
01:22:38,083 --> 01:22:42,959
♪ And my time
was running wild ♪
1373
01:22:42,959 --> 01:22:46,166
♪ A million
dead end streets and ♪
1374
01:22:47,834 --> 01:22:52,208
♪ Every time I thought
I'd got it made ♪
1375
01:22:52,208 --> 01:22:56,500
♪ It seemed the taste
was not so sweet... ♪
1376
01:22:56,500 --> 01:22:59,375
[Coleman]
Then, a few more arrived,
and a few more arrived,
1377
01:22:59,375 --> 01:23:01,542
and then, people were running
around waking people up.
1378
01:23:01,542 --> 01:23:03,000
I could see people,
1379
01:23:03,000 --> 01:23:05,166
I could see little scurrying
figures up the hillside
1380
01:23:05,166 --> 01:23:07,208
from my seat
on the side of the stage.
1381
01:23:07,208 --> 01:23:11,333
Until eventually there were
about 4-500 people there.
1382
01:23:11,333 --> 01:23:16,625
♪ How the others
must see the faker... ♪
1383
01:23:16,625 --> 01:23:19,000
[Coleman]
The sun was out,
it was warming up,
1384
01:23:19,000 --> 01:23:22,917
and these people had
obviously thought they were
the only people on the planet
1385
01:23:22,917 --> 01:23:25,041
that had discovered
this young man, and it r--,
1386
01:23:25,041 --> 01:23:29,542
it really was an important
moment for a lot of people.
1387
01:23:32,667 --> 01:23:34,291
[Bowie on stage]
I tell you what, um,
1388
01:23:34,291 --> 01:23:37,375
I just wanna say that
you've given me more pleasure
1389
01:23:37,375 --> 01:23:39,875
than I've had in
a good few months of working,
1390
01:23:39,875 --> 01:23:43,041
and I don't do gigs anymore,
because I got so pissed off
1391
01:23:43,041 --> 01:23:45,792
with working and dying
a death every time I worked.
1392
01:23:45,792 --> 01:23:50,041
And it's really nice
to have somebody appreciate me
for a change.
1393
01:23:50,041 --> 01:23:52,375
[applause]
1394
01:23:54,291 --> 01:23:56,834
[Bowie]
'71 is when I got down
to seriously writing
1395
01:23:56,834 --> 01:24:00,208
and trying to, uh,
not diversify too much.
1396
01:24:00,208 --> 01:24:02,959
I was, uh, trying to be
a one-man revolution.
1397
01:24:02,959 --> 01:24:04,375
[laughter]
1398
01:24:06,083 --> 01:24:09,917
["Changes"
by David Bowie playing]
1399
01:24:09,917 --> 01:24:11,834
[Grace]
I know exactly
what he wanted, he told me.
1400
01:24:11,834 --> 01:24:14,625
He said, "World domination."
1401
01:24:14,625 --> 01:24:17,458
He said there was absolutely no
doubt that he was going to be,
1402
01:24:17,458 --> 01:24:20,959
you know, a world-class
superstar that he became.
1403
01:24:20,959 --> 01:24:22,792
And that's what he wanted.
1404
01:24:22,792 --> 01:24:26,625
♪ Still don't know
what I was waiting for ♪
1405
01:24:26,625 --> 01:24:29,250
♪ Time was running wild ♪
1406
01:24:29,250 --> 01:24:31,417
♪ A million
dead end streets and ♪
1407
01:24:31,417 --> 01:24:34,250
♪ Every time I thought
I'd got it made ♪
1408
01:24:34,250 --> 01:24:37,333
♪ It seemed the taste
was not so sweet ♪
1409
01:24:38,750 --> 01:24:43,375
♪ Then I turned
myself to face me ♪
1410
01:24:43,375 --> 01:24:47,250
♪ But I've never
caught a glimpse ♪
1411
01:24:47,250 --> 01:24:51,291
♪ How the others
must see the faker ♪
1412
01:24:51,291 --> 01:24:54,333
♪ I'm much too fast
to take that test ♪
1413
01:24:54,333 --> 01:24:56,458
♪ Ch-ch-ch-ch-changes ♪
1414
01:24:56,458 --> 01:24:58,583
♪ Turn and face the strange ♪
1415
01:24:58,583 --> 01:25:00,125
♪ Ch-ch-ch-ch-changes ♪
1416
01:25:00,125 --> 01:25:03,458
♪ Don't want to be
a richer man ♪
1417
01:25:03,458 --> 01:25:05,208
♪ Ch-ch-ch-ch-changes ♪
1418
01:25:05,208 --> 01:25:07,250
♪ Turn and face the strange ♪
1419
01:25:07,250 --> 01:25:09,291
♪ Ch-ch-ch-ch-changes ♪
1420
01:25:09,291 --> 01:25:12,125
♪ Don't tell them
to grow up and out of it ♪
1421
01:25:12,125 --> 01:25:14,041
♪ Ch-ch-ch-ch-changes ♪
1422
01:25:14,041 --> 01:25:16,000
♪ Turn and face the strange ♪
1423
01:25:16,000 --> 01:25:17,750
♪ Oh, changes ♪
1424
01:25:17,750 --> 01:25:20,917
♪ But you see, you've left us
up to our necks in it ♪
1425
01:25:20,917 --> 01:25:23,291
♪ Time may change me ♪
1426
01:25:23,291 --> 01:25:26,417
♪ But I can't trace time... ♪
1427
01:25:26,417 --> 01:25:29,291
[Bowie]
God came to me and he said,
"Let there be Ziggy," you know?
1428
01:25:29,291 --> 01:25:31,375
And I just saw the world
in another kind of fashion.
1429
01:25:31,375 --> 01:25:34,959
And it was about pushing
together all the pieces
1430
01:25:34,959 --> 01:25:37,750
and all the things
that fascinated me culturally.
1431
01:25:37,750 --> 01:25:39,834
A hybrid of everything I liked.
1432
01:25:39,834 --> 01:25:42,000
Just playing around
with the idea of rock 'n' roll.
1433
01:25:42,000 --> 01:25:44,834
♪ Turn and face the strange ♪
1434
01:25:44,834 --> 01:25:46,542
♪ Ch-ch-ch-ch-changes ♪
1435
01:25:46,542 --> 01:25:49,208
♪ Look out
all you rock 'n' rollers... ♪
1436
01:25:49,208 --> 01:25:51,166
[Woodmansey]
He needed a vehicle,
1437
01:25:51,166 --> 01:25:55,166
he needed a character
to feel comfortable
1438
01:25:55,166 --> 01:25:57,542
and to put his ideas across.
1439
01:25:57,542 --> 01:26:00,709
It seemed like
he really needed that.
1440
01:26:00,709 --> 01:26:04,667
Which was missing
from all those earlier attempts
at success.
1441
01:26:04,667 --> 01:26:06,917
♪ Time may change me ♪
1442
01:26:06,917 --> 01:26:10,333
♪ But I can't trace time ♪
1443
01:26:31,083 --> 01:26:32,750
[audience applauding]
1444
01:26:34,000 --> 01:26:36,542
["My Death"
by David Bowie playing]
1445
01:26:40,709 --> 01:26:45,458
♪ My death waits like ♪
1446
01:26:45,458 --> 01:26:47,625
♪ A beggar blind ♪
1447
01:26:49,000 --> 01:26:52,291
♪ Who sees the world ♪
1448
01:26:52,291 --> 01:26:54,834
♪ Through an unlit mind ♪
1449
01:26:56,083 --> 01:26:59,250
♪ Throw him a dime ♪
1450
01:26:59,250 --> 01:27:01,750
♪ For the passing time ♪
1451
01:27:04,250 --> 01:27:07,417
♪ My death waits ♪
1452
01:27:09,083 --> 01:27:11,959
♪ To allow my friends ♪
1453
01:27:14,458 --> 01:27:18,166
♪ A few good times
before it ends ♪
1454
01:27:18,166 --> 01:27:21,125
Is it difficult for you to do
what you've just been doing
1455
01:27:21,125 --> 01:27:23,417
in a tiny television studio?
I mean,
1456
01:27:23,417 --> 01:27:24,917
throwing yourself outwards.
1457
01:27:24,917 --> 01:27:28,417
Uh, I find singing and
performing very easy.
1458
01:27:28,417 --> 01:27:30,291
But, uh, this is awful.
1459
01:27:30,291 --> 01:27:32,250
I've never done this before,
chat show like this.
1460
01:27:32,250 --> 01:27:34,083
-Never done--
-I find this very difficult.
1461
01:27:34,083 --> 01:27:36,041
-Are you nervous?
-Yes, very.
1462
01:27:36,041 --> 01:27:40,250
♪ Oh, let's pick violets for ♪
1463
01:27:40,250 --> 01:27:43,208
♪ The passing time ♪
1464
01:27:44,959 --> 01:27:49,041
♪ My death waits there ♪
1465
01:27:49,041 --> 01:27:52,667
♪ In a double bed ♪
1466
01:27:52,667 --> 01:27:56,667
♪ Sails of oblivion ♪
1467
01:27:56,667 --> 01:27:59,959
♪ At my head ♪
1468
01:27:59,959 --> 01:28:02,834
♪ Pull up the sheets against ♪
1469
01:28:04,166 --> 01:28:07,375
♪ The passing time... ♪
1470
01:28:08,250 --> 01:28:09,709
[Harty]
How long do you give it?
1471
01:28:09,709 --> 01:28:11,083
-What, me?
-Yeah.
1472
01:28:11,083 --> 01:28:12,250
-How long do I give me?
-Yeah,
1473
01:28:12,250 --> 01:28:14,250
how many years
do you give yourself?
1474
01:28:14,250 --> 01:28:16,250
I don't mean, "How many years
do you give yourself in life?"
1475
01:28:16,250 --> 01:28:18,583
But how many years can you
be a head of the glamor field
1476
01:28:18,583 --> 01:28:20,208
and the head
of the glitter field?
1477
01:28:20,208 --> 01:28:22,333
Oh, no, I've never
been ahead of anything.
1478
01:28:22,333 --> 01:28:25,166
I've been, I think on my own.
1479
01:28:25,166 --> 01:28:27,375
I'm not, I'm not in an Olympics.
1480
01:28:28,000 --> 01:28:30,375
[piano playing]
1481
01:28:35,458 --> 01:28:38,083
[Bowie]
The artist
is strictly a figment
1482
01:28:38,083 --> 01:28:40,125
of people's imagination.
1483
01:28:40,125 --> 01:28:41,750
I really believe that.
1484
01:28:41,750 --> 01:28:45,083
We're the original false
prophets, we are the Gods.
1485
01:28:45,083 --> 01:28:47,917
We want it all, you know,
we want all the adulation
1486
01:28:47,917 --> 01:28:49,625
and people to read the lyrics
and everything,
1487
01:28:49,625 --> 01:28:51,959
just to play the game.
1488
01:28:51,959 --> 01:28:53,667
We don't exist.
1489
01:28:53,667 --> 01:28:56,834
And I know that that, that's--
I feel that same emptiness
1490
01:28:56,834 --> 01:29:00,333
that they all feel
when they get there.
1491
01:29:00,333 --> 01:29:02,583
'Cause they know
that it's not real.
1492
01:29:04,500 --> 01:29:06,667
[Garson]
David didn't like
a comfort zone.
1493
01:29:06,667 --> 01:29:08,709
He could've done Ziggy
for his whole life,
1494
01:29:08,709 --> 01:29:12,834
and he would've had fans,
but he wanted to move on.
1495
01:29:12,834 --> 01:29:16,208
So, I knew Ziggy was not
gonna be long-lived.
1496
01:29:17,917 --> 01:29:20,208
[Bowie]
Well, it's the last one
tonight, you know?
1497
01:29:20,208 --> 01:29:23,375
[interviewer]
Is it? Oh, I heard it was last
for all time, is that right?
1498
01:29:23,375 --> 01:29:25,208
We shall see
at the end of the show.
1499
01:29:25,208 --> 01:29:26,375
[laughs]
1500
01:29:26,375 --> 01:29:28,125
Has been mentioned.
1501
01:29:28,125 --> 01:29:30,375
[interviewer]
You're making an announcement,
are you, tonight?
1502
01:29:30,375 --> 01:29:33,875
[Bowie]
Um, if that's the case,
I will be.
1503
01:29:33,875 --> 01:29:36,959
I knew that it was
a very important show.
1504
01:29:36,959 --> 01:29:38,417
I knew he was nervous.
1505
01:29:38,417 --> 01:29:41,542
Because something
was really working.
1506
01:29:41,542 --> 01:29:45,083
And he spent a decade
working to that.
1507
01:29:48,583 --> 01:29:49,709
Go away.
1508
01:29:49,709 --> 01:29:51,333
[interviewer]
I can glean that you're nervous,
1509
01:29:51,333 --> 01:29:53,750
but I really think
the audience you have tonight,
1510
01:29:53,750 --> 01:29:56,583
it's the easiest
you've ever had.
1511
01:29:56,583 --> 01:29:59,125
-You think so?
-Oh. And how.
1512
01:29:59,125 --> 01:30:03,166
["Moonage Daydream"
by David Bowie playing]
1513
01:30:03,166 --> 01:30:06,291
♪ I'm a mama-papa
coming for you ♪
1514
01:30:06,291 --> 01:30:09,417
♪ I'm the space invader ♪
1515
01:30:09,417 --> 01:30:13,125
♪ I'll be a rock 'n' rolling
bitch for you ♪
1516
01:30:13,125 --> 01:30:15,834
♪ Keep your mouth shut ♪
1517
01:30:15,834 --> 01:30:19,166
♪ You're squawking
like a pink monkey bird ♪
1518
01:30:19,166 --> 01:30:24,000
♪ And I'm busting up
my brains for the words ♪
1519
01:30:24,000 --> 01:30:25,625
♪ You know I am ♪
1520
01:30:28,125 --> 01:30:32,208
♪ Keep your electric eye
on me, babe... ♪
1521
01:30:32,208 --> 01:30:37,083
The Hammersmith gig, of the
thousand shows I did with him,
1522
01:30:37,083 --> 01:30:41,125
had a mystique, an energy.
1523
01:30:41,125 --> 01:30:42,959
This is something special.
1524
01:30:42,959 --> 01:30:46,000
It was something electric
about it.
1525
01:30:46,000 --> 01:30:47,750
["Suffragette City"
by David Bowie playing]
1526
01:30:47,750 --> 01:30:49,375
♪ Oh, don't lean on me man ♪
1527
01:30:49,375 --> 01:30:51,208
♪ 'cause you can't
afford the ticket ♪
1528
01:30:51,208 --> 01:30:53,333
♪ I'm back on
Suffragette City ♪
1529
01:30:53,333 --> 01:30:55,125
♪ Oh, don't lean on me man ♪
1530
01:30:55,125 --> 01:30:57,083
♪ 'cause you can't
afford the ticket ♪
1531
01:30:57,083 --> 01:30:59,208
♪ I'm back
on Suffragette City... ♪
1532
01:30:59,208 --> 01:31:00,667
[Hutchinson]
We finished the last song
1533
01:31:00,667 --> 01:31:03,333
and David walked
to my side of the stage.
1534
01:31:03,333 --> 01:31:06,208
And said, "Don't start
'Rock And Roll Suicide,'"
1535
01:31:06,208 --> 01:31:08,875
which I play the intro on,
1536
01:31:08,875 --> 01:31:10,333
"until I tell you."
1537
01:31:13,250 --> 01:31:15,417
So I figured
he must be gonna say,
1538
01:31:15,417 --> 01:31:19,041
"Thanks for the tour, we'll see
you in September," or whatever.
1539
01:31:19,041 --> 01:31:20,458
But he didn't.
1540
01:31:20,458 --> 01:31:22,417
[Bowie]
Of all the shows on this tour,
1541
01:31:22,417 --> 01:31:26,500
this, this particular show
will remain with us the longest.
1542
01:31:26,500 --> 01:31:30,291
-Because...
-[audience cheering]
1543
01:31:30,291 --> 01:31:34,709
not only is it, not only is it
the last show of the tour,
1544
01:31:34,709 --> 01:31:40,458
but it's the last show that
we'll ever do. Thank you.
1545
01:31:40,458 --> 01:31:44,417
[Woodmansey]
I thought,
"OK, maybe this is a stunt."
1546
01:31:44,417 --> 01:31:46,500
And then, part of me was going,
1547
01:31:46,500 --> 01:31:49,208
"I've just got the sack."
[laughs] Live.
1548
01:31:50,417 --> 01:31:52,709
♪ Time takes a cigarette ♪
1549
01:31:54,250 --> 01:31:56,250
♪ Puts it in your mouth ♪
1550
01:31:57,500 --> 01:31:59,709
♪ You pull on your finger ♪
1551
01:31:59,709 --> 01:32:04,500
♪ Then another finger,
then your cigarette ♪
1552
01:32:04,500 --> 01:32:07,333
♪ The wall-to-wall is calling ♪
1553
01:32:07,333 --> 01:32:11,083
♪ It lingers,
but still you forget ♪
1554
01:32:11,083 --> 01:32:14,000
♪ Oh ♪
1555
01:32:14,000 --> 01:32:16,792
♪ You're a rock 'n' roll
suicide... ♪
1556
01:32:16,792 --> 01:32:21,041
[MacCormack]
It did really seem odd that, at
the very height of his career,
1557
01:32:21,041 --> 01:32:26,542
he was extinguishing it
with a couple of phrases.
1558
01:32:26,542 --> 01:32:29,834
It must've seemed to people,
1559
01:32:29,834 --> 01:32:33,583
"Why would you do that?
Why would you give it all up?
1560
01:32:33,583 --> 01:32:36,542
When you're just
at the starting grid."
1561
01:32:36,542 --> 01:32:40,083
♪ But you can't eat
when you've lived too long... ♪
1562
01:32:40,083 --> 01:32:43,417
[MacCormack]
Extraordinary night,
an extraordinary statement.
1563
01:32:43,417 --> 01:32:46,583
♪ You're a rock 'n' roll
suicide... ♪
1564
01:32:47,792 --> 01:32:50,458
There was something
very calculated about it.
1565
01:32:50,458 --> 01:32:53,166
And I think
1566
01:32:53,166 --> 01:32:57,250
what he had that most artists
didn't have is he had a sense of
1567
01:32:57,250 --> 01:32:59,250
what is commercial, what works,
1568
01:32:59,250 --> 01:33:03,750
what can sell in addition
to his own integrity.
1569
01:33:03,750 --> 01:33:07,333
♪ Don't let the sunlight
blast your shadow ♪
1570
01:33:07,333 --> 01:33:11,000
♪ Don't let the milk float
ride your mind... ♪
1571
01:33:11,000 --> 01:33:14,083
[Hutchinson]
Ziggy Stardust
was a culmination
1572
01:33:14,083 --> 01:33:19,792
of all the things that David
tried to do in the 60's.
1573
01:33:19,792 --> 01:33:24,917
I think with Ziggy Stardust,
he achieved the success,
1574
01:33:24,917 --> 01:33:28,875
uh, that an individual like
Ziggy Stardust would aim for.
1575
01:33:30,458 --> 01:33:33,333
But David himself
wasn't Ziggy Stardust.
1576
01:33:33,333 --> 01:33:36,709
So, I think he'd already
stepped outside of
that character,
1577
01:33:36,709 --> 01:33:38,875
back into being David Bowie.
1578
01:33:41,583 --> 01:33:43,291
Thank you very much.
1579
01:33:43,291 --> 01:33:44,875
Bye-bye, we love you.
1580
01:33:44,875 --> 01:33:47,125
[audience cheering]
1581
01:33:52,000 --> 01:33:53,917
[Bowie]
To make the kind of
breakthrough I needed,
1582
01:33:53,917 --> 01:33:56,333
I had to put on a few trappings
in the beginning.
1583
01:33:56,333 --> 01:33:58,125
And I think now,
1584
01:33:58,125 --> 01:34:02,125
I will just be David Bowie,
period.
1585
01:34:02,125 --> 01:34:04,583
I've got massive plans
for the future.
1586
01:34:04,583 --> 01:34:08,041
["Rebel Rebel"
by David Bowie playing]
1587
01:34:08,041 --> 01:34:09,291
♪ Rebel rebel ♪
1588
01:34:09,291 --> 01:34:11,166
♪ You've torn your dress ♪
1589
01:34:12,333 --> 01:34:13,500
♪ Rebel rebel ♪
1590
01:34:13,500 --> 01:34:15,333
♪ Your face is a mess ♪
1591
01:34:16,208 --> 01:34:17,458
♪ Rebel rebel ♪
1592
01:34:17,458 --> 01:34:19,917
♪ How could they know? ♪
1593
01:34:19,917 --> 01:34:23,667
♪ Hot tramp, I love you so! ♪
1594
01:34:24,250 --> 01:34:25,500
♪ Rebel rebel ♪
1595
01:34:25,500 --> 01:34:27,667
♪ You've torn your dress ♪
1596
01:34:27,667 --> 01:34:29,458
♪ Rebel rebel ♪
1597
01:34:29,458 --> 01:34:31,333
♪ Your face is a mess ♪
1598
01:34:31,333 --> 01:34:32,333
♪ And you're a ♪
1599
01:34:32,333 --> 01:34:33,834
♪ Rebel rebel ♪
1600
01:34:33,834 --> 01:34:35,875
♪ How could they know? ♪
1601
01:34:35,875 --> 01:34:39,250
[audience]
♪ Hot tramp, I love you so! ♪
1602
01:34:39,250 --> 01:34:40,375
You bet!
1603
01:34:44,125 --> 01:34:47,875
♪ Hey baby,
let's stay out tonight ♪
1604
01:34:47,875 --> 01:34:50,917
♪ Hey baby,
let's stay out tonight ♪
126523
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