Original subtitles

>> Farber: DAVID BOWIE SAID THAT HE BROUGHT A WHOLE NEW LEVEL OF PRETENTIOUSNESS TO ROCK AND

HE BROUGHT A WHOLE NEW LEVEL OF PRETENTIOUSNESS TO ROCK AND ROLL.

PRETENTIOUSNESS TO ROCK AND ROLL. >> Drew: HE'S THE FIRST ONE TO

ROLL. >> Drew: HE'S THE FIRST ONE TO REALLY DEFY ALL GENRES.

>> Drew: HE'S THE FIRST ONE TO REALLY DEFY ALL GENRES. >> Loder: HIS MUSIC WILL LIVE ON

REALLY DEFY ALL GENRES. >> Loder: HIS MUSIC WILL LIVE ON FOR A LONG, LONG TIME, AS LONG

>> Loder: HIS MUSIC WILL LIVE ON FOR A LONG, LONG TIME, AS LONG AS THERE ARE RECORDS OR

FOR A LONG, LONG TIME, AS LONG AS THERE ARE RECORDS OR DOWNLOADS.

AS THERE ARE RECORDS OR DOWNLOADS. >> Farber: HE CONCEIVED HIMSELF

DOWNLOADS. >> Farber: HE CONCEIVED HIMSELF AS THIS CHARACTER OF THE WORLD'S

>> Farber: HE CONCEIVED HIMSELF AS THIS CHARACTER OF THE WORLD'S GREATEST ROCK STAR, AND THEN IT

AS THIS CHARACTER OF THE WORLD'S GREATEST ROCK STAR, AND THEN IT TOOK.

GREATEST ROCK STAR, AND THEN IT TOOK. >> Levy: NO MATTER HOW FAR

TOOK. >> Levy: NO MATTER HOW FAR ANYBODY WENT UP TO THAT POINT,

>> Levy: NO MATTER HOW FAR ANYBODY WENT UP TO THAT POINT, NO ONE HAD GONE THAT FAR.

ANYBODY WENT UP TO THAT POINT, NO ONE HAD GONE THAT FAR. >> Kandell: THE IDEA OF, LIKE,

NO ONE HAD GONE THAT FAR. >> Kandell: THE IDEA OF, LIKE, ROCK STARS POSSIBLY SLEEPING

>> Kandell: THE IDEA OF, LIKE, ROCK STARS POSSIBLY SLEEPING WITH EACH OTHER, ALL OF A

ROCK STARS POSSIBLY SLEEPING WITH EACH OTHER, ALL OF A SUDDEN, OKAY, YOU'VE GOT OUR

WITH EACH OTHER, ALL OF A SUDDEN, OKAY, YOU'VE GOT OUR ATTENTION AGAIN.

SUDDEN, OKAY, YOU'VE GOT OUR ATTENTION AGAIN. >> Collis: BOWIE SAID THAT HE

ATTENTION AGAIN. >> Collis: BOWIE SAID THAT HE LITERALLY CAN'T REMEMBER MAKING

>> Collis: BOWIE SAID THAT HE LITERALLY CAN'T REMEMBER MAKING THE RECORD.

LITERALLY CAN'T REMEMBER MAKING THE RECORD. >> Levy: WHERE DID THESE KIDS

THE RECORD. >> Levy: WHERE DID THESE KIDS LEARN THAT MUSIC WAS A

>> Levy: WHERE DID THESE KIDS LEARN THAT MUSIC WAS A SENSATION?

LEARN THAT MUSIC WAS A SENSATION? ALL OF THAT WENT BACK TO BOWIE.

Captioned by Elrom, Inc. www.elrom.tv

>> Narrator: HE'S BEEN MAJOR TOM, ZIGGY STARDUST, THE THIN WHITE DUKE, THE KING OF

TOM, ZIGGY STARDUST, THE THIN WHITE DUKE, THE KING OF GLAM, AND OF COURSE DAVID BOWIE.

WHITE DUKE, THE KING OF GLAM, AND OF COURSE DAVID BOWIE. OVER THE PAST FIVE DECADES, HE'S

GLAM, AND OF COURSE DAVID BOWIE. OVER THE PAST FIVE DECADES, HE'S BEEN PUSHING THE BOUNDARIES OF

OVER THE PAST FIVE DECADES, HE'S BEEN PUSHING THE BOUNDARIES OF WHAT IT MEANS TO BE AN ARTIST,

BEEN PUSHING THE BOUNDARIES OF WHAT IT MEANS TO BE AN ARTIST, A ROCK STAR, A CELEBRITY, AND A

WHAT IT MEANS TO BE AN ARTIST, A ROCK STAR, A CELEBRITY, AND A PERFORMER.

A ROCK STAR, A CELEBRITY, AND A PERFORMER. >> Rock: I WOULD SUGGEST HIS

PERFORMER. >> Rock: I WOULD SUGGEST HIS INFLUENCE ON MODERN CULTURE,

>> Rock: I WOULD SUGGEST HIS INFLUENCE ON MODERN CULTURE, AND CERTAINLY MODERN ROCK-AND-

INFLUENCE ON MODERN CULTURE, AND CERTAINLY MODERN ROCK-AND- ROLL CULTURE, IS BY FAR--IS A

AND CERTAINLY MODERN ROCK-AND- ROLL CULTURE, IS BY FAR--IS A LOT BIGGER THAN THE STONES OR

ROLL CULTURE, IS BY FAR--IS A LOT BIGGER THAN THE STONES OR THE BEATLES.

LOT BIGGER THAN THE STONES OR THE BEATLES. >> Drew: THE AMOUNT OF ARTISTS

THE BEATLES. >> Drew: THE AMOUNT OF ARTISTS THAT HE'S INSPIRED HAS BEEN

>> Drew: THE AMOUNT OF ARTISTS THAT HE'S INSPIRED HAS BEEN INSANE.

>> Hynde: DAVID BOWIE, OH, HE CHANGED MY LIFE. >> I MEAN, MADONNA HAS CLAIMED

>> I MEAN, MADONNA HAS CLAIMED THAT HE IS ACTUALLY THE BIGGEST INFLUENCE ON HER.

THAT HE IS ACTUALLY THE BIGGEST INFLUENCE ON HER. >> Madonna: I WOULD JUST LIKE TO

INFLUENCE ON HER. >> Madonna: I WOULD JUST LIKE TO THANK YOU, DAVID BOWIE, WHEREVER

>> Madonna: I WOULD JUST LIKE TO THANK YOU, DAVID BOWIE, WHEREVER YOU ARE, FOR INSPIRING ME.

THANK YOU, DAVID BOWIE, WHEREVER YOU ARE, FOR INSPIRING ME. >> Narrator: FROM SMASHING

YOU ARE, FOR INSPIRING ME. >> Narrator: FROM SMASHING PUMPKINS TO MARILYN MANSON, U2

>> Narrator: FROM SMASHING PUMPKINS TO MARILYN MANSON, U2 TO LUTHER VANDROSS, ARTISTS FROM

PUMPKINS TO MARILYN MANSON, U2 TO LUTHER VANDROSS, ARTISTS FROM ALL GENRES HAVE CITED DAVID

TO LUTHER VANDROSS, ARTISTS FROM ALL GENRES HAVE CITED DAVID BOWIE AS A MAJOR INFLUENCE ON

ALL GENRES HAVE CITED DAVID BOWIE AS A MAJOR INFLUENCE ON THEIR CRAFT.

BOWIE AS A MAJOR INFLUENCE ON THEIR CRAFT. >> Bowie: I'D BE A FOOL NOT TO

THEIR CRAFT. >> Bowie: I'D BE A FOOL NOT TO BE AWARE OF WHAT MY CONTRIBUTION

>> Bowie: I'D BE A FOOL NOT TO BE AWARE OF WHAT MY CONTRIBUTION HAS BEEN TO MUSIC OVER THE

BE AWARE OF WHAT MY CONTRIBUTION HAS BEEN TO MUSIC OVER THE YEARS.

HAS BEEN TO MUSIC OVER THE YEARS. YOU KNOW, I KIND OF HEAR TRACES

YEARS. YOU KNOW, I KIND OF HEAR TRACES OF IT HERE, THERE, AND

YOU KNOW, I KIND OF HEAR TRACES OF IT HERE, THERE, AND EVERYWHERE.

OF IT HERE, THERE, AND EVERYWHERE. >> Drew: A LOT OF THESE ARTISTS

EVERYWHERE. >> Drew: A LOT OF THESE ARTISTS THAT ARE CONSTANTLY SWITCHING

>> Drew: A LOT OF THESE ARTISTS THAT ARE CONSTANTLY SWITCHING THINGS UP AND DON'T STICK TO THE

THAT ARE CONSTANTLY SWITCHING THINGS UP AND DON'T STICK TO THE REGULAR ROUTINE OWE EVERYTHING

THINGS UP AND DON'T STICK TO THE REGULAR ROUTINE OWE EVERYTHING TO BOWIE.

REGULAR ROUTINE OWE EVERYTHING TO BOWIE. >> Kandell: TO A CERTAIN EXTENT,

TO BOWIE. >> Kandell: TO A CERTAIN EXTENT, YOU COULD ALMOST, YOU KNOW, MAKE

>> Kandell: TO A CERTAIN EXTENT, YOU COULD ALMOST, YOU KNOW, MAKE THE ARGUMENT THAT HE INVENTED

YOU COULD ALMOST, YOU KNOW, MAKE THE ARGUMENT THAT HE INVENTED THE ROCK STAR, AND I MEAN, LIKE,

THE ARGUMENT THAT HE INVENTED THE ROCK STAR, AND I MEAN, LIKE, YOU KNOW, CAPITAL "R," CAPITAL

THE ROCK STAR, AND I MEAN, LIKE, YOU KNOW, CAPITAL "R," CAPITAL "S."

YOU KNOW, CAPITAL "R," CAPITAL "S." IN TERMS OF THAT, LIKE, LARGER-

"S." IN TERMS OF THAT, LIKE, LARGER- THAN-LIFE CHARACTER, WHENEVER

IN TERMS OF THAT, LIKE, LARGER- THAN-LIFE CHARACTER, WHENEVER YOU'D SEE, LIKE, SOME MOVIE

THAN-LIFE CHARACTER, WHENEVER YOU'D SEE, LIKE, SOME MOVIE WHERE'S THERE'S SOME, LIKE,

YOU'D SEE, LIKE, SOME MOVIE WHERE'S THERE'S SOME, LIKE, CRAZY ROCK STAR, MORE OFTEN THAN

WHERE'S THERE'S SOME, LIKE, CRAZY ROCK STAR, MORE OFTEN THAN NOT, THERE'S SOMETHING ABOUT IT

CRAZY ROCK STAR, MORE OFTEN THAN NOT, THERE'S SOMETHING ABOUT IT THAT SCREAMS "BOWIE."

NOT, THERE'S SOMETHING ABOUT IT THAT SCREAMS "BOWIE." >> Narrator: BEFORE DAVID BOWIE

THAT SCREAMS "BOWIE." >> Narrator: BEFORE DAVID BOWIE BECAME ONE OF THE MOST

>> Narrator: BEFORE DAVID BOWIE BECAME ONE OF THE MOST INFLUENTIAL MUSIC ICONS IN

BECAME ONE OF THE MOST INFLUENTIAL MUSIC ICONS IN HISTORY, HE WAS DAVID JONES,

INFLUENTIAL MUSIC ICONS IN HISTORY, HE WAS DAVID JONES, PART OF THE BABY BOOMER

HISTORY, HE WAS DAVID JONES, PART OF THE BABY BOOMER GENERATION IN POST-WAR LONDON.

PART OF THE BABY BOOMER GENERATION IN POST-WAR LONDON. DAVID'S FATHER, HAYWARD, A

GENERATION IN POST-WAR LONDON. DAVID'S FATHER, HAYWARD, A PUBLICIST, WAS MARRIED TO

DAVID'S FATHER, HAYWARD, A PUBLICIST, WAS MARRIED TO ANOTHER WOMAN WHEN AN AFFAIR

PUBLICIST, WAS MARRIED TO ANOTHER WOMAN WHEN AN AFFAIR WITH DAVID'S MOTHER, MARGARET

ANOTHER WOMAN WHEN AN AFFAIR WITH DAVID'S MOTHER, MARGARET BURNS, LED TO A PREGNANCY.

WITH DAVID'S MOTHER, MARGARET BURNS, LED TO A PREGNANCY. THE TWO MARRIED SHORTLY AFTER

BURNS, LED TO A PREGNANCY. THE TWO MARRIED SHORTLY AFTER DAVID ROBERT JONES'S BIRTH ON

THE TWO MARRIED SHORTLY AFTER DAVID ROBERT JONES'S BIRTH ON JANUARY 8, 1947.

DAVID ROBERT JONES'S BIRTH ON JANUARY 8, 1947. >> Collis: I THINK DAVID BOWIE

JANUARY 8, 1947. >> Collis: I THINK DAVID BOWIE ALWAYS REGARDED HIMSELF AS

>> Collis: I THINK DAVID BOWIE ALWAYS REGARDED HIMSELF AS SOMETHING OF AN OUTSIDER.

HE HAD A UNUSUAL FAMILY SITUATION GROWING UP IN THE '50s AND '60s.

SITUATION GROWING UP IN THE '50s AND '60s. HIS FATHER HAD BEEN PREVIOUSLY

'50s AND '60s. HIS FATHER HAD BEEN PREVIOUSLY MARRIED TO ANOTHER WOMAN, WHO HE

HIS FATHER HAD BEEN PREVIOUSLY MARRIED TO ANOTHER WOMAN, WHO HE DIVORCED, WHICH IS VERY, VERY

MARRIED TO ANOTHER WOMAN, WHO HE DIVORCED, WHICH IS VERY, VERY UNUSUAL FOR THE TIME.

DIVORCED, WHICH IS VERY, VERY UNUSUAL FOR THE TIME. >> Narrator: THINGS DIDN'T GET

>> Narrator: THINGS DIDN'T GET MUCH BETTER FOR DAVID AS A TEEN WHEN A SCHOOLYARD ALTERCATION

MUCH BETTER FOR DAVID AS A TEEN WHEN A SCHOOLYARD ALTERCATION WITH HIS BEST FRIEND GEORGE

WHEN A SCHOOLYARD ALTERCATION WITH HIS BEST FRIEND GEORGE UNDERWOOD PERMANENTLY DAMAGED

WITH HIS BEST FRIEND GEORGE UNDERWOOD PERMANENTLY DAMAGED DAVID'S LEFT EYE.

>> Underwood: MY FIST AND HIS FACE MADE CONTACT, SHALL WE SAY. UNFORTUNATELY CAUSED A BIT OF

FACE MADE CONTACT, SHALL WE SAY. UNFORTUNATELY CAUSED A BIT OF DAMAGE TO HIS EYE, AND THAT WAS

UNFORTUNATELY CAUSED A BIT OF DAMAGE TO HIS EYE, AND THAT WAS NOT THE INTENTION AT ALL.

DAMAGE TO HIS EYE, AND THAT WAS NOT THE INTENTION AT ALL. >> Collis: PEOPLE THINK THAT

>> Collis: PEOPLE THINK THAT DAVID BOWIE'S GOT DIFFERENT- COLORED EYES.

DAVID BOWIE'S GOT DIFFERENT- COLORED EYES. IN FACT, ONE OF HIS EYES, THE

COLORED EYES. IN FACT, ONE OF HIS EYES, THE PUPIL IS PERMANENTLY DILATED.

IN FACT, ONE OF HIS EYES, THE PUPIL IS PERMANENTLY DILATED. AND IT'S REALLY INTERESTING

PUPIL IS PERMANENTLY DILATED. AND IT'S REALLY INTERESTING TALKING TO HIM BECAUSE YOU DO

AND IT'S REALLY INTERESTING TALKING TO HIM BECAUSE YOU DO FIND YOURSELF DRAWN TO THIS--YOU

TALKING TO HIM BECAUSE YOU DO FIND YOURSELF DRAWN TO THIS--YOU KNOW, THIS PERMANENTLY DILATED

FIND YOURSELF DRAWN TO THIS--YOU KNOW, THIS PERMANENTLY DILATED PUPIL.

KNOW, THIS PERMANENTLY DILATED PUPIL. >> Narrator: LATER IN HIS

PUPIL. >> Narrator: LATER IN HIS CAREER, DAVID'S EYE WOULD HELP

>> Narrator: LATER IN HIS CAREER, DAVID'S EYE WOULD HELP ADD TO HIS MYSTIQUE.

CAREER, DAVID'S EYE WOULD HELP ADD TO HIS MYSTIQUE. HOWEVER AT THE TIME, HIS ODD

ADD TO HIS MYSTIQUE. HOWEVER AT THE TIME, HIS ODD APPEARANCE SERVED TO FURTHER SET

HOWEVER AT THE TIME, HIS ODD APPEARANCE SERVED TO FURTHER SET HIM APART.

APPEARANCE SERVED TO FURTHER SET HIM APART. AS A RESULT, HE RETREATED TO

HIM APART. AS A RESULT, HE RETREATED TO HIS ROOM, WHERE HE READ AND

AS A RESULT, HE RETREATED TO HIS ROOM, WHERE HE READ AND LISTENED TO AMERICAN ROCK AND

HIS ROOM, WHERE HE READ AND LISTENED TO AMERICAN ROCK AND ROLL, BECOMING INFATUATED WITH

LISTENED TO AMERICAN ROCK AND ROLL, BECOMING INFATUATED WITH THE FLAMBOYANT MUSIC OF LITTLE

ROLL, BECOMING INFATUATED WITH THE FLAMBOYANT MUSIC OF LITTLE RICHARD.

THE FLAMBOYANT MUSIC OF LITTLE RICHARD. >> Bowie: I USED TO WAIT OUTSIDE

RICHARD. >> Bowie: I USED TO WAIT OUTSIDE CLOSED RECORD STORES ALONE TO BE

>> Bowie: I USED TO WAIT OUTSIDE CLOSED RECORD STORES ALONE TO BE THE FIRST IN TOWN TO GET THE NEW

CLOSED RECORD STORES ALONE TO BE THE FIRST IN TOWN TO GET THE NEW LITTLE RICHARD SINGLE.

THE FIRST IN TOWN TO GET THE NEW LITTLE RICHARD SINGLE. I WAS JUST CRAZY ABOUT HIM.

>> Levy: THE BRITISH RELATIONSHIP TO BLACK AMERICAN MUSIC AND TO SOUL MUSIC IS

RELATIONSHIP TO BLACK AMERICAN MUSIC AND TO SOUL MUSIC IS COMPLETELY DIFFERENT THAN THE

MUSIC AND TO SOUL MUSIC IS COMPLETELY DIFFERENT THAN THE WHITE AMERICAN RELATIONSHIP TO

COMPLETELY DIFFERENT THAN THE WHITE AMERICAN RELATIONSHIP TO THAT MUSIC.

WHITE AMERICAN RELATIONSHIP TO THAT MUSIC. IT GOES BACK TO A MOMENT AROUND

IT GOES BACK TO A MOMENT AROUND WORLD WAR II AND AFTERWARDS WHEN AMERICAN SAILORS BROUGHT MUSIC

WORLD WAR II AND AFTERWARDS WHEN AMERICAN SAILORS BROUGHT MUSIC WITH THEM THAT NO ONE IN ENGLAND

AMERICAN SAILORS BROUGHT MUSIC WITH THEM THAT NO ONE IN ENGLAND HAD EVER HEARD BEFORE.

WITH THEM THAT NO ONE IN ENGLAND HAD EVER HEARD BEFORE. >> Narrator: ENTERTAINING DREAMS

HAD EVER HEARD BEFORE. >> Narrator: ENTERTAINING DREAMS OF PLAYING THE HORN IN LITTLE

>> Narrator: ENTERTAINING DREAMS OF PLAYING THE HORN IN LITTLE RICHARD'S BAND, 15-YEAR-OLD

OF PLAYING THE HORN IN LITTLE RICHARD'S BAND, 15-YEAR-OLD DAVEY JONES GOT A JOB WORKING

RICHARD'S BAND, 15-YEAR-OLD DAVEY JONES GOT A JOB WORKING FOR A BUTCHER TO PAY OFF A

DAVEY JONES GOT A JOB WORKING FOR A BUTCHER TO PAY OFF A SECONDHAND SAXOPHONE.

FOR A BUTCHER TO PAY OFF A SECONDHAND SAXOPHONE. IN ADDITION TO HIS LOVE OF

SECONDHAND SAXOPHONE. IN ADDITION TO HIS LOVE OF AMERICAN ROCK AND ROLL, YOUNG

IN ADDITION TO HIS LOVE OF AMERICAN ROCK AND ROLL, YOUNG DAVID HARBORED OTHER CREATIVE

AMERICAN ROCK AND ROLL, YOUNG DAVID HARBORED OTHER CREATIVE INTERESTS.

DAVID HARBORED OTHER CREATIVE INTERESTS. >> Collis: IT IS A CLICHé THAT

INTERESTS. >> Collis: IT IS A CLICHé THAT YOU'VE GOT THE ROCK STAR WHO

>> Collis: IT IS A CLICHé THAT YOU'VE GOT THE ROCK STAR WHO ALSO DABBLES IN PAINTING, BUT TO

YOU'VE GOT THE ROCK STAR WHO ALSO DABBLES IN PAINTING, BUT TO BOWIE, I THINK, MUSIC WAS JUST

ALSO DABBLES IN PAINTING, BUT TO BOWIE, I THINK, MUSIC WAS JUST ONE OF THE, YOU KNOW, WAYS THAT

BOWIE, I THINK, MUSIC WAS JUST ONE OF THE, YOU KNOW, WAYS THAT HE COULD HAVE BECOME FAMOUS.

>> Rock: DAVID I THINK WENT TO ART COLLEGE ABOUT 15, 16, BUT HE'S ABOUT AS SHARP A PERSON AS

ART COLLEGE ABOUT 15, 16, BUT HE'S ABOUT AS SHARP A PERSON AS I'VE EVER COME ACROSS.

HE'S ABOUT AS SHARP A PERSON AS I'VE EVER COME ACROSS. HE HAD STUDIED WITH A GENTLEMAN

HE HAD STUDIED WITH A GENTLEMAN CALLED LINDSAY KEMP, WHO WAS A MIME CHOREOGRAPHER IN THE LATE

CALLED LINDSAY KEMP, WHO WAS A MIME CHOREOGRAPHER IN THE LATE '60s, AND HE HAD LEARNED A LOT

MIME CHOREOGRAPHER IN THE LATE '60s, AND HE HAD LEARNED A LOT ABOUT STAGECRAFT FROM HIM,

'60s, AND HE HAD LEARNED A LOT ABOUT STAGECRAFT FROM HIM, ABOUT MAKEUP, ABOUT COSTUME,

ABOUT STAGECRAFT FROM HIM, ABOUT MAKEUP, ABOUT COSTUME, ABOUT PLEASING THE EYE OF THE

ABOUT MAKEUP, ABOUT COSTUME, ABOUT PLEASING THE EYE OF THE AUDIENCE AS MUCH AS--AS MUCH AS

ABOUT PLEASING THE EYE OF THE AUDIENCE AS MUCH AS--AS MUCH AS THE EAR.

AUDIENCE AS MUCH AS--AS MUCH AS THE EAR. >> Narrator: PAINTING, THEATER,

THE EAR. >> Narrator: PAINTING, THEATER, MIME--ADOLESCENT DAVID STUDIED

>> Narrator: PAINTING, THEATER, MIME--ADOLESCENT DAVID STUDIED AND ABSORBED IT ALL, BUT MUSIC

MIME--ADOLESCENT DAVID STUDIED AND ABSORBED IT ALL, BUT MUSIC WAS HIS OBSESSION.

AND ABSORBED IT ALL, BUT MUSIC WAS HIS OBSESSION. DAVID PERFORMED AROUND LONDON

WAS HIS OBSESSION. DAVID PERFORMED AROUND LONDON IN SEVERAL DIFFERENT BANDS AND

DAVID PERFORMED AROUND LONDON IN SEVERAL DIFFERENT BANDS AND EVEN RELEASED 45s WITH THE

IN SEVERAL DIFFERENT BANDS AND EVEN RELEASED 45s WITH THE MANNISH BOYS AND DAVY JONES

EVEN RELEASED 45s WITH THE MANNISH BOYS AND DAVY JONES AND THE LOWER THIRD.

MANNISH BOYS AND DAVY JONES AND THE LOWER THIRD. >> Collis: I MEAN, BOWIE WENT

AND THE LOWER THIRD. >> Collis: I MEAN, BOWIE WENT THROUGH A LOT DIFFERENT MUSICAL

>> Collis: I MEAN, BOWIE WENT THROUGH A LOT DIFFERENT MUSICAL GENRES.

THROUGH A LOT DIFFERENT MUSICAL GENRES. HE WAS A MOD.

GENRES. HE WAS A MOD. HE WAS INTERESTED IN THE BLUES.

HE WAS A MOD. HE WAS INTERESTED IN THE BLUES. HE WAS, YOU KNOW, SORT OF

HE WAS INTERESTED IN THE BLUES. HE WAS, YOU KNOW, SORT OF SINGER/SONGWRITER HIPPIE TYPE,

HE WAS, YOU KNOW, SORT OF SINGER/SONGWRITER HIPPIE TYPE, BUT I THINK WHAT YOU'VE GOTTA

SINGER/SONGWRITER HIPPIE TYPE, BUT I THINK WHAT YOU'VE GOTTA REMEMBER AT THAT TIME IS THAT

BUT I THINK WHAT YOU'VE GOTTA REMEMBER AT THAT TIME IS THAT EVERY YEAR, REALLY, YOU KNOW,

REMEMBER AT THAT TIME IS THAT EVERY YEAR, REALLY, YOU KNOW, THERE WAS THIS NEW THING COMING

EVERY YEAR, REALLY, YOU KNOW, THERE WAS THIS NEW THING COMING ALONG, AND IF YOU LIVED IN, YOU

THERE WAS THIS NEW THING COMING ALONG, AND IF YOU LIVED IN, YOU KNOW, SO-CALLED SWINGING LONDON

ALONG, AND IF YOU LIVED IN, YOU KNOW, SO-CALLED SWINGING LONDON AT THE TIME, THEN IT WAS VERY

KNOW, SO-CALLED SWINGING LONDON AT THE TIME, THEN IT WAS VERY HARD NOT TO BE AFFECTED BY, YOU

AT THE TIME, THEN IT WAS VERY HARD NOT TO BE AFFECTED BY, YOU KNOW, THIS CONTINUALLY SORT OF

HARD NOT TO BE AFFECTED BY, YOU KNOW, THIS CONTINUALLY SORT OF CHURNING, CHANGING MUSIC SCENE.

KNOW, THIS CONTINUALLY SORT OF CHURNING, CHANGING MUSIC SCENE. >> Narrator: IN 1965, AN

CHURNING, CHANGING MUSIC SCENE. >> Narrator: IN 1965, AN AMERICAN BAND CALLED THE MONKEES

>> Narrator: IN 1965, AN AMERICAN BAND CALLED THE MONKEES HIT THE SCENE, AND THEIR LEAD

AMERICAN BAND CALLED THE MONKEES HIT THE SCENE, AND THEIR LEAD SINGER, DAVEY JONES, BECAME A

HIT THE SCENE, AND THEIR LEAD SINGER, DAVEY JONES, BECAME A TEEN PIN-UP.

SINGER, DAVEY JONES, BECAME A TEEN PIN-UP. TO AVOID CONFUSION, DAVID

TEEN PIN-UP. TO AVOID CONFUSION, DAVID CHANGED HIS SURNAME TO BOWIE,

TO AVOID CONFUSION, DAVID CHANGED HIS SURNAME TO BOWIE, INSPIRED BY THE AMERICAN

CHANGED HIS SURNAME TO BOWIE, INSPIRED BY THE AMERICAN HUNTING KNIFE.

>> Loder: THE MONKEES WERE VERY BIG. THAT MUST HAVE BEEN A DRAG

BIG. THAT MUST HAVE BEEN A DRAG BECAUSE HE'S CALLING HIMSELF

THAT MUST HAVE BEEN A DRAG BECAUSE HE'S CALLING HIMSELF DAVID JONES, AND HERE'S THIS

BECAUSE HE'S CALLING HIMSELF DAVID JONES, AND HERE'S THIS OTHER GUY CALLING HIMSELF DAVEY

DAVID JONES, AND HERE'S THIS OTHER GUY CALLING HIMSELF DAVEY JONES.

OTHER GUY CALLING HIMSELF DAVEY JONES. SO NO WONDER HE JUST CHANGED

SO NO WONDER HE JUST CHANGED HIS NAME. I GUESS HE JUST WANTED TO GET

HIS NAME. I GUESS HE JUST WANTED TO GET OUT OF WHERE HE WAS, AND THAT'S

I GUESS HE JUST WANTED TO GET OUT OF WHERE HE WAS, AND THAT'S THE WAY TO DO IT, YOU KNOW,

OUT OF WHERE HE WAS, AND THAT'S THE WAY TO DO IT, YOU KNOW, JUST CHANGE YOUR NAME ENTIRELY.

>> Narrator: IN 1967, 20-YEAR-OLD DAVID BOWIE HAD MET WITH LOCAL SUCCESS THROUGH HIS

20-YEAR-OLD DAVID BOWIE HAD MET WITH LOCAL SUCCESS THROUGH HIS BANDS, BUT HE WAS HUNGRY FOR

WITH LOCAL SUCCESS THROUGH HIS BANDS, BUT HE WAS HUNGRY FOR MORE.

BANDS, BUT HE WAS HUNGRY FOR MORE. HE DITCHED HIS BANDMATES AND

MORE. HE DITCHED HIS BANDMATES AND MADE A GO OF IT ON HIS OWN,

HE DITCHED HIS BANDMATES AND MADE A GO OF IT ON HIS OWN, LEADING TO A RECORD DEAL AS A

MADE A GO OF IT ON HIS OWN, LEADING TO A RECORD DEAL AS A SOLO ARTIST WITH DERAM RECORDS

LEADING TO A RECORD DEAL AS A SOLO ARTIST WITH DERAM RECORDS AND RELEASING HIS FIRST ALBUM

SOLO ARTIST WITH DERAM RECORDS AND RELEASING HIS FIRST ALBUM EXCLUSIVELY IN THE UK TO LITTLE

AND RELEASING HIS FIRST ALBUM EXCLUSIVELY IN THE UK TO LITTLE NOTICE.

EXCLUSIVELY IN THE UK TO LITTLE NOTICE. UNDETERRED, DAVID KEPT AT IT,

NOTICE. UNDETERRED, DAVID KEPT AT IT, AND HIS BREAKTHROUGH CAME TWO

UNDETERRED, DAVID KEPT AT IT, AND HIS BREAKTHROUGH CAME TWO YEARS LATER, WITH THE MERCURY

AND HIS BREAKTHROUGH CAME TWO YEARS LATER, WITH THE MERCURY RECORD SINGLE "SPACE ODDITY,"

YEARS LATER, WITH THE MERCURY RECORD SINGLE "SPACE ODDITY," A DYLANESQUE BALLAD ABOUT AN

RECORD SINGLE "SPACE ODDITY," A DYLANESQUE BALLAD ABOUT AN ASTRONAUT NAMED MAJOR TOM.

A DYLANESQUE BALLAD ABOUT AN ASTRONAUT NAMED MAJOR TOM. "SPACE ODDITY" WAS ONE EARLY

ASTRONAUT NAMED MAJOR TOM. "SPACE ODDITY" WAS ONE EARLY EXAMPLE OF BOWIE USING A

"SPACE ODDITY" WAS ONE EARLY EXAMPLE OF BOWIE USING A CHARACTER TO EXPRESS HIS

EXAMPLE OF BOWIE USING A CHARACTER TO EXPRESS HIS THOUGHTS.

CHARACTER TO EXPRESS HIS THOUGHTS. IN THIS CASE, MAJOR TOM CONVEYED

THOUGHTS. IN THIS CASE, MAJOR TOM CONVEYED HIS FEELINGS OF ALIENATION.

IN THIS CASE, MAJOR TOM CONVEYED HIS FEELINGS OF ALIENATION. >> Drew: BOWIE CHARACTERS ARE

HIS FEELINGS OF ALIENATION. >> Drew: BOWIE CHARACTERS ARE VERY ORNATE AND VERY INTRICATE,

>> Drew: BOWIE CHARACTERS ARE VERY ORNATE AND VERY INTRICATE, BUT THEY ALL REST ON A--A SLIGHT

VERY ORNATE AND VERY INTRICATE, BUT THEY ALL REST ON A--A SLIGHT OR MAJOR BED OF INSECURITY.

BUT THEY ALL REST ON A--A SLIGHT OR MAJOR BED OF INSECURITY. THERE'S ALWAYS SOME ELEMENT OF

OR MAJOR BED OF INSECURITY. THERE'S ALWAYS SOME ELEMENT OF THE OUTCAST, THE REJECT, THE

THERE'S ALWAYS SOME ELEMENT OF THE OUTCAST, THE REJECT, THE LONER.

THE OUTCAST, THE REJECT, THE LONER. >> Collis: BOWIE SAID THAT HE

LONER. >> Collis: BOWIE SAID THAT HE WAS A PRETTY INSECURE CHARACTER,

>> Collis: BOWIE SAID THAT HE WAS A PRETTY INSECURE CHARACTER, WHICH IS WHY HE DEVELOPED ALL

WAS A PRETTY INSECURE CHARACTER, WHICH IS WHY HE DEVELOPED ALL THESE ALTER EGOS.

WHICH IS WHY HE DEVELOPED ALL THESE ALTER EGOS. >> Narrator: "SPACE ODDITY" HIT

THESE ALTER EGOS. >> Narrator: "SPACE ODDITY" HIT NUMBER 5 ON THE UK CHARTS.

>> Narrator: "SPACE ODDITY" HIT NUMBER 5 ON THE UK CHARTS. THANKS TO THE SINGLE'S SUCCESS,

NUMBER 5 ON THE UK CHARTS. THANKS TO THE SINGLE'S SUCCESS, BOWIE WAS THE TOAST OF SWINGING

THANKS TO THE SINGLE'S SUCCESS, BOWIE WAS THE TOAST OF SWINGING LONDON.

BOWIE WAS THE TOAST OF SWINGING LONDON. WHILE ATTENDING A DONOVAN GIG,

LONDON. WHILE ATTENDING A DONOVAN GIG, BOWIE SPOTTED 18-YEAR-OLD MODEL,

WHILE ATTENDING A DONOVAN GIG, BOWIE SPOTTED 18-YEAR-OLD MODEL, MUSICIAN AND LONDON SCENESTER

BOWIE SPOTTED 18-YEAR-OLD MODEL, MUSICIAN AND LONDON SCENESTER MARY ANGELA BARNETT AND ASKED

MUSICIAN AND LONDON SCENESTER MARY ANGELA BARNETT AND ASKED HER TO DANCE.

MARY ANGELA BARNETT AND ASKED HER TO DANCE. IMPRESSED WITH HER VAST

HER TO DANCE. IMPRESSED WITH HER VAST KNOWLEDGE OF CUTTING-EDGE ART

IMPRESSED WITH HER VAST KNOWLEDGE OF CUTTING-EDGE ART AND MUSIC, DAVID FELL IN LOVE

KNOWLEDGE OF CUTTING-EDGE ART AND MUSIC, DAVID FELL IN LOVE AND MARRIED ANGELA IN MARCH OF

AND MUSIC, DAVID FELL IN LOVE AND MARRIED ANGELA IN MARCH OF 1970.

AND MARRIED ANGELA IN MARCH OF 1970. A YEAR LATER, THE COUPLE HAD A

1970. A YEAR LATER, THE COUPLE HAD A SON, ZOWIE.

A YEAR LATER, THE COUPLE HAD A SON, ZOWIE. AT 23 YEARS OLD, DAVID BOWIE

SON, ZOWIE. AT 23 YEARS OLD, DAVID BOWIE HAD KICKED OFF A JOURNEY THAT

AT 23 YEARS OLD, DAVID BOWIE HAD KICKED OFF A JOURNEY THAT WOULD REDEFINE HOW THE WORLD

HAD KICKED OFF A JOURNEY THAT WOULD REDEFINE HOW THE WORLD VIEWED SEX, DRUGS, AND ROCK AND

WOULD REDEFINE HOW THE WORLD VIEWED SEX, DRUGS, AND ROCK AND ROLL.

>> Narrator: AFTER NEARLY FIVE YEARS OF GRINDING IT OUT ON THE LONDON CLUB SCENE, DAVID BOWIE

YEARS OF GRINDING IT OUT ON THE LONDON CLUB SCENE, DAVID BOWIE FOUND HIS FIRST TASTE OF SUCCESS

LONDON CLUB SCENE, DAVID BOWIE FOUND HIS FIRST TASTE OF SUCCESS IN 1969 WHEN HIS SINGLE "SPACE

FOUND HIS FIRST TASTE OF SUCCESS IN 1969 WHEN HIS SINGLE "SPACE ODDITY" HIT THE CHARTS IN THE

IN 1969 WHEN HIS SINGLE "SPACE ODDITY" HIT THE CHARTS IN THE UK, BUT DAVID WAS STILL AN

ODDITY" HIT THE CHARTS IN THE UK, BUT DAVID WAS STILL AN UNKNOWN IN AMERICA.

UK, BUT DAVID WAS STILL AN UNKNOWN IN AMERICA. OBSESSED WITH THE LAND THAT

UNKNOWN IN AMERICA. OBSESSED WITH THE LAND THAT INVENTED ROCK AND ROLL, DAVID

OBSESSED WITH THE LAND THAT INVENTED ROCK AND ROLL, DAVID TRAVELED TO NEW YORK TO MEET TWO

INVENTED ROCK AND ROLL, DAVID TRAVELED TO NEW YORK TO MEET TWO OF HIS IDOLS, ARTIST ANDY WARHOL

TRAVELED TO NEW YORK TO MEET TWO OF HIS IDOLS, ARTIST ANDY WARHOL AND LOU REED, LEAD SINGER OF

OF HIS IDOLS, ARTIST ANDY WARHOL AND LOU REED, LEAD SINGER OF WARHOL'S HOUSE BAND, THE VELVET

AND LOU REED, LEAD SINGER OF WARHOL'S HOUSE BAND, THE VELVET UNDERGROUND.

>> O'Brien: I WAS AT THE--AT ANDY WARHOL'S THE DAY THAT BOWIE CAME UP TO ANDY, AND ANDY DIDN'T

ANDY WARHOL'S THE DAY THAT BOWIE CAME UP TO ANDY, AND ANDY DIDN'T KNOW WHO HE WAS.

CAME UP TO ANDY, AND ANDY DIDN'T KNOW WHO HE WAS. AND I SAID, "OH, HE'S REALLY BIG

KNOW WHO HE WAS. AND I SAID, "OH, HE'S REALLY BIG IN ENGLAND.

AND I SAID, "OH, HE'S REALLY BIG IN ENGLAND. SHOULD WE LET HIM IN?"

SHOULD WE LET HIM IN?" "YEAH, YEAH, LET'S LET HIM IN." SO HE CAME IN, AND BEFORE HE

"YEAH, YEAH, LET'S LET HIM IN." SO HE CAME IN, AND BEFORE HE SANG, HE DID THIS MIME ROUTINE.

SO HE CAME IN, AND BEFORE HE SANG, HE DID THIS MIME ROUTINE. YOU KNOW LIKE...

SANG, HE DID THIS MIME ROUTINE. YOU KNOW LIKE... AND ANDY WAS LIKE, "SHOULD WE

YOU KNOW LIKE... AND ANDY WAS LIKE, "SHOULD WE LAUGH?"

AND ANDY WAS LIKE, "SHOULD WE LAUGH?" >> Farber: I MEAN, CERINLY,

LAUGH?" >> Farber: I MEAN, CERINLY, BOWIE WAS COMPLETELY TRANSFIXED

>> Farber: I MEAN, CERINLY, BOWIE WAS COMPLETELY TRANSFIXED BY THE WHOLE WARHOL WORLD, BY

BOWIE WAS COMPLETELY TRANSFIXED BY THE WHOLE WARHOL WORLD, BY THE WHOLE FACTORY IDEA, BY THIS

BY THE WHOLE WARHOL WORLD, BY THE WHOLE FACTORY IDEA, BY THIS WHOLE IDEA OF STARS WHO ARE

THE WHOLE FACTORY IDEA, BY THIS WHOLE IDEA OF STARS WHO ARE STARS BECAUSE THEY SAY THEY ARE,

WHOLE IDEA OF STARS WHO ARE STARS BECAUSE THEY SAY THEY ARE, PEOPLE FROM THE MARGINS, YOU

STARS BECAUSE THEY SAY THEY ARE, PEOPLE FROM THE MARGINS, YOU KNOW, JUNKIES AND DRAG QUEENS

PEOPLE FROM THE MARGINS, YOU KNOW, JUNKIES AND DRAG QUEENS AND EVERYTHING AND THIS, AND

KNOW, JUNKIES AND DRAG QUEENS AND EVERYTHING AND THIS, AND THEY'RE SAYING, "NO, WE'RE THE

AND EVERYTHING AND THIS, AND THEY'RE SAYING, "NO, WE'RE THE MOST IMPORTANT PEOPLE IN THE

THEY'RE SAYING, "NO, WE'RE THE MOST IMPORTANT PEOPLE IN THE WORLD.

MOST IMPORTANT PEOPLE IN THE WORLD. WE'RE LIVING LIFE THE WAY IT'S

WORLD. WE'RE LIVING LIFE THE WAY IT'S SUPPOSED TO BE LIVED."

WE'RE LIVING LIFE THE WAY IT'S SUPPOSED TO BE LIVED." IT WAS A REALLY EXCITING,

SUPPOSED TO BE LIVED." IT WAS A REALLY EXCITING, SUBVERSIVE IDEA.

IT WAS A REALLY EXCITING, SUBVERSIVE IDEA. IT REALLY FIRED BOWIE'S

SUBVERSIVE IDEA. IT REALLY FIRED BOWIE'S IMAGINATION.

IT REALLY FIRED BOWIE'S IMAGINATION. >> Narrator: DAVID'S BRIEF PEEK

IMAGINATION. >> Narrator: DAVID'S BRIEF PEEK INTO NEW YORK'S AVANT-GARDE ART

>> Narrator: DAVID'S BRIEF PEEK INTO NEW YORK'S AVANT-GARDE ART SCENE WAS CRITICAL IN SHAPING

INTO NEW YORK'S AVANT-GARDE ART SCENE WAS CRITICAL IN SHAPING HIS CAREER FROM THAT MOMENT

SCENE WAS CRITICAL IN SHAPING HIS CAREER FROM THAT MOMENT FORWARD.

HIS CAREER FROM THAT MOMENT FORWARD. DAVID CELEBRATED ALL THE

FORWARD. DAVID CELEBRATED ALL THE GENDER-BENDING AND FREAKY

DAVID CELEBRATED ALL THE GENDER-BENDING AND FREAKY FREEDOM OF WARHOL'S CIRCLE ON

GENDER-BENDING AND FREAKY FREEDOM OF WARHOL'S CIRCLE ON 1971'S "HUNKY DORY."

>> Levy: NOW, "HUNKY DORY" IS A MOMENT WHERE THINGS CRYSTALLIZE FOR BOWIE VISUALLY AND

MOMENT WHERE THINGS CRYSTALLIZE FOR BOWIE VISUALLY AND MUSICALLY.

FOR BOWIE VISUALLY AND MUSICALLY. THE ALBUM CONTAINS "CHANGES,"

HE COMES TO THE ALBUM-COVER SHOOT WITH A BOOK OF MARLENA DIETRICH PHOTOS BECAUSE THIS IS

SHOOT WITH A BOOK OF MARLENA DIETRICH PHOTOS BECAUSE THIS IS THE WAY HE WANTS TO LOOK.

DIETRICH PHOTOS BECAUSE THIS IS THE WAY HE WANTS TO LOOK. >> Narrator: DAVID BOWIE AND A

>> Narrator: DAVID BOWIE AND A HANDFUL OF OTHERS WERE PUSHING THE BOUNDARIES OF MUSIC,

HANDFUL OF OTHERS WERE PUSHING THE BOUNDARIES OF MUSIC, SEXUALITY, FASHION, AND

THE BOUNDARIES OF MUSIC, SEXUALITY, FASHION, AND PERFORMANCE FURTHER THAN ANYONE

SEXUALITY, FASHION, AND PERFORMANCE FURTHER THAN ANYONE EVER HAD.

PERFORMANCE FURTHER THAN ANYONE EVER HAD. THEY WERE CREATING A NEW KIND

EVER HAD. THEY WERE CREATING A NEW KIND OF MUSIC CALLED GLAM.

>> Drew: GLAM ROCK PUSHED THE BUTTONS OF PEOPLE AT A TIME WHEN THEY WERE LOOKING FOR THEIR

BUTTONS OF PEOPLE AT A TIME WHEN THEY WERE LOOKING FOR THEIR BUTTONS TO BE PUSHED.

THEY WERE LOOKING FOR THEIR BUTTONS TO BE PUSHED. THEY PUT OUT AN ELEMENT OF

BUTTONS TO BE PUSHED. THEY PUT OUT AN ELEMENT OF CROSS-DRESSING, OF

THEY PUT OUT AN ELEMENT OF CROSS-DRESSING, OF GENDER-BENDING, OF PUSHING THE

CROSS-DRESSING, OF GENDER-BENDING, OF PUSHING THE LIMITS WHILE STILL BEING VERY

GENDER-BENDING, OF PUSHING THE LIMITS WHILE STILL BEING VERY MASCULINE IN THEIR PRESENTATION.

LIMITS WHILE STILL BEING VERY MASCULINE IN THEIR PRESENTATION. >> Farber: THEY HATED THE WHOLE

>> Farber: THEY HATED THE WHOLE DRABNESS OF HIPPIES. THEY HATED THE WHOLE--YOU KNOW,

DRABNESS OF HIPPIES. THEY HATED THE WHOLE--YOU KNOW, THE CLOTHES WERE BORING, THEY

THEY HATED THE WHOLE--YOU KNOW, THE CLOTHES WERE BORING, THEY SEEMED SELF-RIGHTEOUS, YOU KNOW,

THE CLOTHES WERE BORING, THEY SEEMED SELF-RIGHTEOUS, YOU KNOW, AND SMUG, AND THIS WAS VERY

SEEMED SELF-RIGHTEOUS, YOU KNOW, AND SMUG, AND THIS WAS VERY PUNKY, IN ITS WAY.

AND SMUG, AND THIS WAS VERY PUNKY, IN ITS WAY. IT WAS A REAL SORT OF, LIKE,

PUNKY, IN ITS WAY. IT WAS A REAL SORT OF, LIKE, MIDDLE FINGER TO HIPPIES.

IT WAS A REAL SORT OF, LIKE, MIDDLE FINGER TO HIPPIES. YOU KNOW, IT WAS LIKE A WAKE-UP

MIDDLE FINGER TO HIPPIES. YOU KNOW, IT WAS LIKE A WAKE-UP CALL IN A WAY, SAYING, "YOU'VE

YOU KNOW, IT WAS LIKE A WAKE-UP CALL IN A WAY, SAYING, "YOU'VE BECOME COMPLACENT.

CALL IN A WAY, SAYING, "YOU'VE BECOME COMPLACENT. YOU HAVE BECOME BORING."

BECOME COMPLACENT. YOU HAVE BECOME BORING." >> Levy: BOWIE IS WHAT BRIDGES

YOU HAVE BECOME BORING." >> Levy: BOWIE IS WHAT BRIDGES THE SPACE BETWEEN THE HIPPIES

>> Levy: BOWIE IS WHAT BRIDGES THE SPACE BETWEEN THE HIPPIES AND THE PUNKS IN ENGLAND.

THE SPACE BETWEEN THE HIPPIES AND THE PUNKS IN ENGLAND. >> Farber: WELL, YOU CAN IMAGINE

AND THE PUNKS IN ENGLAND. >> Farber: WELL, YOU CAN IMAGINE HOW SHOCKED PEOPLE WOULD HAVE

>> Farber: WELL, YOU CAN IMAGINE HOW SHOCKED PEOPLE WOULD HAVE BEEN BY BOWIE.

HOW SHOCKED PEOPLE WOULD HAVE BEEN BY BOWIE. FIRST OF ALL, HE HAD A LOOK WITH

BEEN BY BOWIE. FIRST OF ALL, HE HAD A LOOK WITH LONG BLOND HAIR AND DRESSES

FIRST OF ALL, HE HAD A LOOK WITH LONG BLOND HAIR AND DRESSES WHERE HE LOOKED BASICALLY LIKE

LONG BLOND HAIR AND DRESSES WHERE HE LOOKED BASICALLY LIKE LAUREN BACALL'S YOUNGER SISTER.

WHERE HE LOOKED BASICALLY LIKE LAUREN BACALL'S YOUNGER SISTER. YOU KNOW, I MEAN, THIS IS A BIG

LAUREN BACALL'S YOUNGER SISTER. YOU KNOW, I MEAN, THIS IS A BIG DEAL.

YOU KNOW, I MEAN, THIS IS A BIG DEAL. THIS IS SHOCKING.

DEAL. THIS IS SHOCKING. ROCK STARS HAD LONG HAIR,

THIS IS SHOCKING. ROCK STARS HAD LONG HAIR, OBVIOUSLY, IN THE LATE '60s BUT

ROCK STARS HAD LONG HAIR, OBVIOUSLY, IN THE LATE '60s BUT DIDN'T STYLE THEMSELVES IN AN

OBVIOUSLY, IN THE LATE '60s BUT DIDN'T STYLE THEMSELVES IN AN AGGRESSIVELY FEMININE WAY, IN A

DIDN'T STYLE THEMSELVES IN AN AGGRESSIVELY FEMININE WAY, IN A GENDER-BENDING WAY WITH SUCH

AGGRESSIVELY FEMININE WAY, IN A GENDER-BENDING WAY WITH SUCH PURPOSE.

GENDER-BENDING WAY WITH SUCH PURPOSE. THAT WAS VERY SUBVERSIVE IN ITS

PURPOSE. THAT WAS VERY SUBVERSIVE IN ITS DAY.

>> Collis: BOWIE TOLD ME THAT WHEN THEY DID THEIR VERY, VERY FIRST GIG, HIS BAND WERE

WHEN THEY DID THEIR VERY, VERY FIRST GIG, HIS BAND WERE BITTERLY COMPLAINING ABOUT

FIRST GIG, HIS BAND WERE BITTERLY COMPLAINING ABOUT HAVING TO WEAR I GUESS WHAT THEY

BITTERLY COMPLAINING ABOUT HAVING TO WEAR I GUESS WHAT THEY ASSUMED OR THOUGHT OF AS WOMEN'S

HAVING TO WEAR I GUESS WHAT THEY ASSUMED OR THOUGHT OF AS WOMEN'S CLOTHING, BUT THEN THEY PLAYED

ASSUMED OR THOUGHT OF AS WOMEN'S CLOTHING, BUT THEN THEY PLAYED THE SHOW, AND THE BAND NOTICED

CLOTHING, BUT THEN THEY PLAYED THE SHOW, AND THE BAND NOTICED HOW THE WOMEN KIND OF FLOCKED TO

THE SHOW, AND THE BAND NOTICED HOW THE WOMEN KIND OF FLOCKED TO THEM.

HOW THE WOMEN KIND OF FLOCKED TO THEM. >> Bowie: AND SUDDENLY THE

>> Bowie: AND SUDDENLY THE DRESSING ROOM PROCEDURE IS REALLY DIFFERENT.

DRESSING ROOM PROCEDURE IS REALLY DIFFERENT. IT'S, "RIGHT, WHO'S GOT THE

REALLY DIFFERENT. IT'S, "RIGHT, WHO'S GOT THE BLUSH?"

IT'S, "RIGHT, WHO'S GOT THE BLUSH?" (laughter)

BLUSH?" (laughter) >> Narrator: IN 1972, EVERYTHING

(laughter) >> Narrator: IN 1972, EVERYTHING BOWIE HAD HINTED AT IN HIS PAST

>> Narrator: IN 1972, EVERYTHING BOWIE HAD HINTED AT IN HIS PAST PROJECTS GELLED INTO A FULLY

BOWIE HAD HINTED AT IN HIS PAST PROJECTS GELLED INTO A FULLY REALIZED VISION CALLED "THE

PROJECTS GELLED INTO A FULLY REALIZED VISION CALLED "THE RISE AND FALL OF ZIGGY STARDUST

REALIZED VISION CALLED "THE RISE AND FALL OF ZIGGY STARDUST AND THE SPIDERS FROM MARS," A

RISE AND FALL OF ZIGGY STARDUST AND THE SPIDERS FROM MARS," A CONCEPT ALBUM THAT TOLD THE

AND THE SPIDERS FROM MARS," A CONCEPT ALBUM THAT TOLD THE STORY OF AN ANDROGYNOUS ALIEN

CONCEPT ALBUM THAT TOLD THE STORY OF AN ANDROGYNOUS ALIEN ROCK STAR WHO SAVED THE WORLD

STORY OF AN ANDROGYNOUS ALIEN ROCK STAR WHO SAVED THE WORLD WITH ROCK AND ROLL.

ROCK STAR WHO SAVED THE WORLD WITH ROCK AND ROLL. THANKS TO THE BBC, BOWIE'S ALIEN

WITH ROCK AND ROLL. THANKS TO THE BBC, BOWIE'S ALIEN ROCK STAR LANDED IN LIVING

THANKS TO THE BBC, BOWIE'S ALIEN ROCK STAR LANDED IN LIVING ROOMS ACROSS ENGLAND AND SHOCKED

ROCK STAR LANDED IN LIVING ROOMS ACROSS ENGLAND AND SHOCKED THE COUNTRY.

ROOMS ACROSS ENGLAND AND SHOCKED THE COUNTRY. >> Bowie: IMPROMPTU, ISN'T IT?

THE COUNTRY. >> Bowie: IMPROMPTU, ISN'T IT? >> Collis: IT'S HARD TO REMEMBER

>> Bowie: IMPROMPTU, ISN'T IT? >> Collis: IT'S HARD TO REMEMBER NOW, BUT IN THE EARLY '70s, THE

>> Collis: IT'S HARD TO REMEMBER NOW, BUT IN THE EARLY '70s, THE IDEA OF ZIGGY STARDUST WAS

NOW, BUT IN THE EARLY '70s, THE IDEA OF ZIGGY STARDUST WAS REALLY INCREDIBLE.

IDEA OF ZIGGY STARDUST WAS REALLY INCREDIBLE. I MEAN, YOU'VE ONLY--YOU'RE

REALLY INCREDIBLE. I MEAN, YOU'VE ONLY--YOU'RE ONLY 10 YEARS ON FROM THE VERY

I MEAN, YOU'VE ONLY--YOU'RE ONLY 10 YEARS ON FROM THE VERY EARLY BEATLES SONGS, WHERE IT'S

ONLY 10 YEARS ON FROM THE VERY EARLY BEATLES SONGS, WHERE IT'S "LOVE ME DO" AND ALL REST OF IT.

EARLY BEATLES SONGS, WHERE IT'S "LOVE ME DO" AND ALL REST OF IT. AND NOW YOU'VE GOT THIS, YOU

"LOVE ME DO" AND ALL REST OF IT. AND NOW YOU'VE GOT THIS, YOU KNOW, INCREDIBLE ALIEN SUDDENLY

AND NOW YOU'VE GOT THIS, YOU KNOW, INCREDIBLE ALIEN SUDDENLY INVADING PEOPLE'S TELEVISION

KNOW, INCREDIBLE ALIEN SUDDENLY INVADING PEOPLE'S TELEVISION SCREENS.

INVADING PEOPLE'S TELEVISION SCREENS. A LOT OF THE KIDS ARE LOVING IT,

SCREENS. A LOT OF THE KIDS ARE LOVING IT, AND A LOT OF THE PARENTS ARE

A LOT OF THE KIDS ARE LOVING IT, AND A LOT OF THE PARENTS ARE GOING, YOU KNOW, "WHAT ON EARTH

AND A LOT OF THE PARENTS ARE GOING, YOU KNOW, "WHAT ON EARTH IS THIS?"

GOING, YOU KNOW, "WHAT ON EARTH IS THIS?" >> Levy: BOWIE, HE'S VOICING

IS THIS?" >> Levy: BOWIE, HE'S VOICING WHAT KIDS AROUND HIM ARE

>> Levy: BOWIE, HE'S VOICING WHAT KIDS AROUND HIM ARE FEELING, WHICH IS, "WE DON'T

WHAT KIDS AROUND HIM ARE FEELING, WHICH IS, "WE DON'T FEEL LIKE WE BELONG.

FEELING, WHICH IS, "WE DON'T FEEL LIKE WE BELONG. WE SHOULDN'T EVEN BE HERE ON

FEEL LIKE WE BELONG. WE SHOULDN'T EVEN BE HERE ON EARTH."

WE SHOULDN'T EVEN BE HERE ON EARTH." WE SHOULD BE UP IN THE SKIES."

EARTH." WE SHOULD BE UP IN THE SKIES." YOU KNOW, A COMBINATION OF HIGH

WE SHOULD BE UP IN THE SKIES." YOU KNOW, A COMBINATION OF HIGH AND IN OUTER SPACE.

>> Farber: THAT ALBUM WAS A SELF-FULFILLING PROPHECY. YOU KNOW, HE CONCEIVED HIMSELF

SELF-FULFILLING PROPHECY. YOU KNOW, HE CONCEIVED HIMSELF AS THIS CHARACTER OF THE WORLD'S

YOU KNOW, HE CONCEIVED HIMSELF AS THIS CHARACTER OF THE WORLD'S GREATEST ROCK STAR AND THEN IT--

AS THIS CHARACTER OF THE WORLD'S GREATEST ROCK STAR AND THEN IT-- IT TOOK.

GREATEST ROCK STAR AND THEN IT-- IT TOOK. >> Narrator: AS ZIGGY STARDUST,

>> Narrator: AS ZIGGY STARDUST, BOWIE PUSHED ALL THE RIGHT BUTTONS AND BECAME A GLAM GOD.

BOWIE PUSHED ALL THE RIGHT BUTTONS AND BECAME A GLAM GOD. UNDERSTANDING THAT SHOCK SELLS,

BUTTONS AND BECAME A GLAM GOD. UNDERSTANDING THAT SHOCK SELLS, DAVID USED HIS MAKE-UP-WEARING,

UNDERSTANDING THAT SHOCK SELLS, DAVID USED HIS MAKE-UP-WEARING, CROSS-DRESSING ALTER EGO TO

DAVID USED HIS MAKE-UP-WEARING, CROSS-DRESSING ALTER EGO TO SHAKE UP THE ESTABLISHMENT WHEN

CROSS-DRESSING ALTER EGO TO SHAKE UP THE ESTABLISHMENT WHEN HE HINTED TO THE ENGLISH PRESS

SHAKE UP THE ESTABLISHMENT WHEN HE HINTED TO THE ENGLISH PRESS HE WAS BISEXUAL.

HE HINTED TO THE ENGLISH PRESS HE WAS BISEXUAL. >> Bowie: I WAS PLAYING AROUND

HE WAS BISEXUAL. >> Bowie: I WAS PLAYING AROUND WITH THE IDEA OF DEVELOPING

>> Bowie: I WAS PLAYING AROUND WITH THE IDEA OF DEVELOPING CHARACTERS THAT ONE COULD TAKE

WITH THE IDEA OF DEVELOPING CHARACTERS THAT ONE COULD TAKE INTO REAL LIFE, THAT ZIGGY WOULD

CHARACTERS THAT ONE COULD TAKE INTO REAL LIFE, THAT ZIGGY WOULD GO AND DO INTERVIEWS AND SAY

INTO REAL LIFE, THAT ZIGGY WOULD GO AND DO INTERVIEWS AND SAY THINGS THAT DAVID BOWIE WOULD

GO AND DO INTERVIEWS AND SAY THINGS THAT DAVID BOWIE WOULD NEVER SAY, PROBABLY.

THINGS THAT DAVID BOWIE WOULD NEVER SAY, PROBABLY. >> Rock: LET'S GET THAT FOR THE

NEVER SAY, PROBABLY. >> Rock: LET'S GET THAT FOR THE RECORD.

>> Rock: LET'S GET THAT FOR THE RECORD. DAVID BOWIE WOULD SAY JUST

RECORD. DAVID BOWIE WOULD SAY JUST ABOUT ANYTHING 'CAUSE HE WAS

DAVID BOWIE WOULD SAY JUST ABOUT ANYTHING 'CAUSE HE WAS INCREDIBLY AMBITIOUS.

THAT WAS A REVOLUTIONARY STATEMENT--WHETHER YOU ARE BISEXUAL OR GAY OR NOT, IF HE

STATEMENT--WHETHER YOU ARE BISEXUAL OR GAY OR NOT, IF HE HAD TO PLAY UP TO THE MEDIA IN

BISEXUAL OR GAY OR NOT, IF HE HAD TO PLAY UP TO THE MEDIA IN SOME WAY, HE WAS QUITE HAPPY TO

HAD TO PLAY UP TO THE MEDIA IN SOME WAY, HE WAS QUITE HAPPY TO DO IT.

SOME WAY, HE WAS QUITE HAPPY TO DO IT. >> Narrator: AT A DAVID BOWIE

>> Narrator: AT A DAVID BOWIE CONCERT DURING THE ZIGGY STARDUST TOUR IN 1972,

CONCERT DURING THE ZIGGY STARDUST TOUR IN 1972, PHOTOGRAPHER MICK ROCK TOOK A

STARDUST TOUR IN 1972, PHOTOGRAPHER MICK ROCK TOOK A PHOTOGRAPH OF DAVID BOWIE THAT

PHOTOGRAPHER MICK ROCK TOOK A PHOTOGRAPH OF DAVID BOWIE THAT WOULD BECOME ONE OF BOWIE'S MOST

PHOTOGRAPH OF DAVID BOWIE THAT WOULD BECOME ONE OF BOWIE'S MOST TALKED-ABOUT AND ICONIC IMAGES.

WOULD BECOME ONE OF BOWIE'S MOST TALKED-ABOUT AND ICONIC IMAGES. >> Levy: WHEN MICK RONSON, HIS

TALKED-ABOUT AND ICONIC IMAGES. >> Levy: WHEN MICK RONSON, HIS GUITARIST IN THE SPIDERS FROM

>> Levy: WHEN MICK RONSON, HIS GUITARIST IN THE SPIDERS FROM MARS, PLAYS A GUITAR SOLO.

GUITARIST IN THE SPIDERS FROM MARS, PLAYS A GUITAR SOLO. DAVID BOWIE GETS ON HIS KNEES

MARS, PLAYS A GUITAR SOLO. DAVID BOWIE GETS ON HIS KNEES IN FRONT OF HIM TO ENACT THE

DAVID BOWIE GETS ON HIS KNEES IN FRONT OF HIM TO ENACT THE FANTASY OF FELLATIO.

IN FRONT OF HIM TO ENACT THE FANTASY OF FELLATIO. NO MATTER HOW FAR ANYBODY WENT

FANTASY OF FELLATIO. NO MATTER HOW FAR ANYBODY WENT UP TO THAT POINT, NO ONE HAD

NO MATTER HOW FAR ANYBODY WENT UP TO THAT POINT, NO ONE HAD GONE THAT FAR.

>> Kandell: THE IDEA OF A ROCK STAR, YOU KNOW, SLEEPING WITH TONS OF BEAUTIFUL WOMEN, LIKE,

STAR, YOU KNOW, SLEEPING WITH TONS OF BEAUTIFUL WOMEN, LIKE, THAT SORT OF LOSES ITS POWER TO

TONS OF BEAUTIFUL WOMEN, LIKE, THAT SORT OF LOSES ITS POWER TO SHOCK, BUT THE IDEA OF, LIKE,

THAT SORT OF LOSES ITS POWER TO SHOCK, BUT THE IDEA OF, LIKE, ROCK STARS POSSIBLY SLEEPING

SHOCK, BUT THE IDEA OF, LIKE, ROCK STARS POSSIBLY SLEEPING WITH EACH OTHER, YOU KNOW, ALL

ROCK STARS POSSIBLY SLEEPING WITH EACH OTHER, YOU KNOW, ALL OF A SUDDEN, OKAY, YOU'VE GOT

WITH EACH OTHER, YOU KNOW, ALL OF A SUDDEN, OKAY, YOU'VE GOT OUR ATTENTION.

OF A SUDDEN, OKAY, YOU'VE GOT OUR ATTENTION. NO ONE'S EVER REALLY GONNA KNOW

NO ONE'S EVER REALLY GONNA KNOW IF ANY OF THAT STUFF IS TRUE. I DON'T--I PERSONALLY DON'T EVEN

IF ANY OF THAT STUFF IS TRUE. I DON'T--I PERSONALLY DON'T EVEN REALLY NEED TO KNOW, BUT THE

I DON'T--I PERSONALLY DON'T EVEN REALLY NEED TO KNOW, BUT THE IDEA THAT IT WAS A POSSIBILITY

REALLY NEED TO KNOW, BUT THE IDEA THAT IT WAS A POSSIBILITY SORT OF FUELED A LOT OF THE

IDEA THAT IT WAS A POSSIBILITY SORT OF FUELED A LOT OF THE IMAGINATION OF WHAT IT MEANT TO

SORT OF FUELED A LOT OF THE IMAGINATION OF WHAT IT MEANT TO BE A ROCK STAR.

IMAGINATION OF WHAT IT MEANT TO BE A ROCK STAR. >> Levy: WHERE DID THESE KIDS

BE A ROCK STAR. >> Levy: WHERE DID THESE KIDS LEARN THAT MUSIC WAS A

>> Levy: WHERE DID THESE KIDS LEARN THAT MUSIC WAS A SENSATION, SOMETHING THAT COULD

LEARN THAT MUSIC WAS A SENSATION, SOMETHING THAT COULD MAKE YOUR PARENTS GO "UH, NO.

SENSATION, SOMETHING THAT COULD MAKE YOUR PARENTS GO "UH, NO. UH, NO, NO, NO, THERE'LL BE NONE

MAKE YOUR PARENTS GO "UH, NO. UH, NO, NO, NO, THERE'LL BE NONE OF THAT IN THIS HOUSE"?

UH, NO, NO, NO, THERE'LL BE NONE OF THAT IN THIS HOUSE"? ALL OF THAT WENT BACK TO BOWIE.

OF THAT IN THIS HOUSE"? ALL OF THAT WENT BACK TO BOWIE. >> Narrator: "ZIGGY STARDUST"

ALL OF THAT WENT BACK TO BOWIE. >> Narrator: "ZIGGY STARDUST" WAS A ZEITGEIST DEFINING WORK,

>> Narrator: "ZIGGY STARDUST" WAS A ZEITGEIST DEFINING WORK, AND BOWIE BECAME AN

WAS A ZEITGEIST DEFINING WORK, AND BOWIE BECAME AN INTERNATIONAL SUPERSTAR.

AND BOWIE BECAME AN INTERNATIONAL SUPERSTAR. THE SUCCESS FUELED DAVID'S

INTERNATIONAL SUPERSTAR. THE SUCCESS FUELED DAVID'S CREATIVITY AS HE DOVE HEADFIRST

THE SUCCESS FUELED DAVID'S CREATIVITY AS HE DOVE HEADFIRST INTO MULTIPLE PROJECTS.

CREATIVITY AS HE DOVE HEADFIRST INTO MULTIPLE PROJECTS. HE MIXED "RAW POWER," THE MOST

INTO MULTIPLE PROJECTS. HE MIXED "RAW POWER," THE MOST SUCCESSFUL ALBUM BY IGGY POP

HE MIXED "RAW POWER," THE MOST SUCCESSFUL ALBUM BY IGGY POP AND HIS BAND THE STOOGES, AND

SUCCESSFUL ALBUM BY IGGY POP AND HIS BAND THE STOOGES, AND PRODUCED LOU REED'S

AND HIS BAND THE STOOGES, AND PRODUCED LOU REED'S "TRANSFORMER," A RECORD THAT

PRODUCED LOU REED'S "TRANSFORMER," A RECORD THAT CONTAINED "WALK ON THE WILD

"TRANSFORMER," A RECORD THAT CONTAINED "WALK ON THE WILD SIDE," REED'S ONLY TOP-40 HIT.

CONTAINED "WALK ON THE WILD SIDE," REED'S ONLY TOP-40 HIT. >> Rock: IGGY AND LOU REED, WHO

SIDE," REED'S ONLY TOP-40 HIT. >> Rock: IGGY AND LOU REED, WHO HAD NOT BEEN SUCCESSFUL IN ANY

>> Rock: IGGY AND LOU REED, WHO HAD NOT BEEN SUCCESSFUL IN ANY COMMERCIAL SENSE--LOU HADN'T

HAD NOT BEEN SUCCESSFUL IN ANY COMMERCIAL SENSE--LOU HADN'T BEEN ABLE TO GIVE AWAY ANY

COMMERCIAL SENSE--LOU HADN'T BEEN ABLE TO GIVE AWAY ANY RECORDS BEFORE "WALK ON THE WILD

BEEN ABLE TO GIVE AWAY ANY RECORDS BEFORE "WALK ON THE WILD SIDE."

RECORDS BEFORE "WALK ON THE WILD SIDE." >> Loder: NOBODY HAD TO MAKE A

SIDE." >> Loder: NOBODY HAD TO MAKE A LOU REED RECORD.

>> Loder: NOBODY HAD TO MAKE A LOU REED RECORD. THE STOOGES, I MEAN, NOBODY KNEW

LOU REED RECORD. THE STOOGES, I MEAN, NOBODY KNEW WHO THEY WERE, SO YOU GOTTA

THE STOOGES, I MEAN, NOBODY KNEW WHO THEY WERE, SO YOU GOTTA ADMIRE HIM FOR DOING THAT.

WHO THEY WERE, SO YOU GOTTA ADMIRE HIM FOR DOING THAT. I MEAN, HE REALLY WENT TO THE

ADMIRE HIM FOR DOING THAT. I MEAN, HE REALLY WENT TO THE PEOPLE WHO INFLUENCED HIM AND

I MEAN, HE REALLY WENT TO THE PEOPLE WHO INFLUENCED HIM AND TRIED TO BRING THEM BACK.

PEOPLE WHO INFLUENCED HIM AND TRIED TO BRING THEM BACK. "THIS IS WHERE IT CAME FROM FOR

TRIED TO BRING THEM BACK. "THIS IS WHERE IT CAME FROM FOR ME."

"THIS IS WHERE IT CAME FROM FOR ME." >> Narrator: "ZIGGY STARDUST"

ME." >> Narrator: "ZIGGY STARDUST" PUT DAVID IN A POSITION WHERE

>> Narrator: "ZIGGY STARDUST" PUT DAVID IN A POSITION WHERE THE WORLD WAS HIS FOR THE

PUT DAVID IN A POSITION WHERE THE WORLD WAS HIS FOR THE TAKING.

THE WORLD WAS HIS FOR THE TAKING. SO THE WORLD WAS STUNNED WHEN ON

TAKING. SO THE WORLD WAS STUNNED WHEN ON JULY 3, 1973, DURING A SHOW AT

SO THE WORLD WAS STUNNED WHEN ON JULY 3, 1973, DURING A SHOW AT LONDON'S HAMMERSMITH ODEON

JULY 3, 1973, DURING A SHOW AT LONDON'S HAMMERSMITH ODEON THEATER, ZIGGY STARDUST

LONDON'S HAMMERSMITH ODEON THEATER, ZIGGY STARDUST COMMITTED AN ONSTAGE

THEATER, ZIGGY STARDUST COMMITTED AN ONSTAGE ROCK-AND-ROLL SUICIDE.

>> Narrator: IN 1972, A 25-YEAR-OLD DAVID BOWIE CREATED "ZIGGY STARDUST," AN ALBUM AND A

25-YEAR-OLD DAVID BOWIE CREATED "ZIGGY STARDUST," AN ALBUM AND A CHARACTER THAT MADE BOWIE AN

"ZIGGY STARDUST," AN ALBUM AND A CHARACTER THAT MADE BOWIE AN INTERNATIONAL SUPERSTAR AND

CHARACTER THAT MADE BOWIE AN INTERNATIONAL SUPERSTAR AND SHOCKED THE WORLD.

INTERNATIONAL SUPERSTAR AND SHOCKED THE WORLD. BUT NOTHING COULD HAVE PREPARED

SHOCKED THE WORLD. BUT NOTHING COULD HAVE PREPARED FANS FOR BOWIE'S STARTLING

BUT NOTHING COULD HAVE PREPARED FANS FOR BOWIE'S STARTLING ONSTAGE ANNOUNCEMENT AT LONDON'S

FANS FOR BOWIE'S STARTLING ONSTAGE ANNOUNCEMENT AT LONDON'S HAMMERSMITH ODEON THEATER A

ONSTAGE ANNOUNCEMENT AT LONDON'S HAMMERSMITH ODEON THEATER A SHORT YEAR LATER.

HAMMERSMITH ODEON THEATER A SHORT YEAR LATER. >> Bowie: OF ALL THE SHOWS ON

SHORT YEAR LATER. >> Bowie: OF ALL THE SHOWS ON THIS TOUR, THIS PARTICULAR SHOW

>> Bowie: OF ALL THE SHOWS ON THIS TOUR, THIS PARTICULAR SHOW WILL REMAIN WITH US THE LONGEST

THIS TOUR, THIS PARTICULAR SHOW WILL REMAIN WITH US THE LONGEST BECAUSE...

WILL REMAIN WITH US THE LONGEST BECAUSE... (cheers and applause)

BECAUSE... (cheers and applause) NOT ONLY IS IT--NOT ONLY IS IT

(cheers and applause) NOT ONLY IS IT--NOT ONLY IS IT THE LAST SHOW OF THE TOUR, BUT

NOT ONLY IS IT--NOT ONLY IS IT THE LAST SHOW OF THE TOUR, BUT IT'S THE LAST SHOW THAT WE'LL

THE LAST SHOW OF THE TOUR, BUT IT'S THE LAST SHOW THAT WE'LL EVER DO.

IT'S THE LAST SHOW THAT WE'LL EVER DO. THANK YOU.

EVER DO. THANK YOU. (audience screaming)

THANK YOU. (audience screaming) >> Narrator: FANS AND THE PRESS

(audience screaming) >> Narrator: FANS AND THE PRESS WERE STUNNED BY THE NEWS THAT

>> Narrator: FANS AND THE PRESS WERE STUNNED BY THE NEWS THAT BOWIE WOULD QUIT HAVING JUST

WERE STUNNED BY THE NEWS THAT BOWIE WOULD QUIT HAVING JUST FOUND SUCCESS.

BOWIE WOULD QUIT HAVING JUST FOUND SUCCESS. THE TRUTH WAS, BOWIE HAD NO

FOUND SUCCESS. THE TRUTH WAS, BOWIE HAD NO PLANS TO RETIRE.

THE TRUTH WAS, BOWIE HAD NO PLANS TO RETIRE. IT WAS ZIGGY WHO WOULD NEVER

PLANS TO RETIRE. IT WAS ZIGGY WHO WOULD NEVER TAKE THE STAGE AGAIN.

IT WAS ZIGGY WHO WOULD NEVER TAKE THE STAGE AGAIN. >> Collis: HE DOES HAVE A KIND

TAKE THE STAGE AGAIN. >> Collis: HE DOES HAVE A KIND OF P.T. BARNUM ASPECT TO IT.

ZIGGY STARDUST IS GOOD FOR ONE ALBUM, TWO ALBUMS, BUT YOU REALLY WANT TO LEAVE THEM--YOU

ALBUM, TWO ALBUMS, BUT YOU REALLY WANT TO LEAVE THEM--YOU KNOW, LEAVE THEM WANTING MORE,

REALLY WANT TO LEAVE THEM--YOU KNOW, LEAVE THEM WANTING MORE, WHICH IS THE KIND OF CLASSIC

KNOW, LEAVE THEM WANTING MORE, WHICH IS THE KIND OF CLASSIC P.T. BARNUM IDEA.

WHICH IS THE KIND OF CLASSIC P.T. BARNUM IDEA. >> Narrator: BY THE TIME DAVID

>> Narrator: BY THE TIME DAVID WAS TOURING BEHIND HIS 1974 ALBUM "DIAMOND DOGS," HE HAD

WAS TOURING BEHIND HIS 1974 ALBUM "DIAMOND DOGS," HE HAD GROWN TIRED OF THE GLITTER

ALBUM "DIAMOND DOGS," HE HAD GROWN TIRED OF THE GLITTER SCENE.

GROWN TIRED OF THE GLITTER SCENE. HE WANTED TO DITCH THE MAKE-UP

SCENE. HE WANTED TO DITCH THE MAKE-UP AND GET BACK TO BASICS.

HE WANTED TO DITCH THE MAKE-UP AND GET BACK TO BASICS. >> Bowie: I MOVED TO

AND GET BACK TO BASICS. >> Bowie: I MOVED TO PHILADELPHIA AND STARTED GOING

>> Bowie: I MOVED TO PHILADELPHIA AND STARTED GOING OUT TO A LOT OF DISCOS AND

PHILADELPHIA AND STARTED GOING OUT TO A LOT OF DISCOS AND REALLY GETTING INVOLVED WITH

OUT TO A LOT OF DISCOS AND REALLY GETTING INVOLVED WITH BLACK MUSIC, AMERICAN BLACK

REALLY GETTING INVOLVED WITH BLACK MUSIC, AMERICAN BLACK MUSIC AGAIN.

BLACK MUSIC, AMERICAN BLACK MUSIC AGAIN. I PUT TOGETHER A BAND WITH

MUSIC AGAIN. I PUT TOGETHER A BAND WITH A--KIND OF A EUROPEAN-AMERICAN

I PUT TOGETHER A BAND WITH A--KIND OF A EUROPEAN-AMERICAN SOUND, AND WE MADE AN ALBUM

A--KIND OF A EUROPEAN-AMERICAN SOUND, AND WE MADE AN ALBUM CALLED "YOUNG AMERICANS."

SOUND, AND WE MADE AN ALBUM CALLED "YOUNG AMERICANS." >> Narrator: "YOUNG AMERICANS"

CALLED "YOUNG AMERICANS." >> Narrator: "YOUNG AMERICANS" CAPTURED A SOUND BOWIE CALLED

>> Narrator: "YOUNG AMERICANS" CAPTURED A SOUND BOWIE CALLED PLASTIC SOUL AND PRODUCED HIS

CAPTURED A SOUND BOWIE CALLED PLASTIC SOUL AND PRODUCED HIS FIRST AMERICAN NUMBER ONE,

PLASTIC SOUL AND PRODUCED HIS FIRST AMERICAN NUMBER ONE, "FAME," A SONG CO-WRITTEN WITH

FIRST AMERICAN NUMBER ONE, "FAME," A SONG CO-WRITTEN WITH JOHN LENNON DURING AN IMPROMPTU

"FAME," A SONG CO-WRITTEN WITH JOHN LENNON DURING AN IMPROMPTU JAM SESSION.

JOHN LENNON DURING AN IMPROMPTU JAM SESSION. FINDING INSPIRATION AND SUCCESS

JAM SESSION. FINDING INSPIRATION AND SUCCESS IN AMERICA, 26-YEAR-OLD DAVID

FINDING INSPIRATION AND SUCCESS IN AMERICA, 26-YEAR-OLD DAVID STAYED STATESIDE AND RELOCATED

IN AMERICA, 26-YEAR-OLD DAVID STAYED STATESIDE AND RELOCATED TO LOS ANGELES.

STAYED STATESIDE AND RELOCATED TO LOS ANGELES. IN 1975, HE SHOT HIS FIRST FILM,

TO LOS ANGELES. IN 1975, HE SHOT HIS FIRST FILM, NICOLAS ROEG'S "THE MAN WHO

IN 1975, HE SHOT HIS FIRST FILM, NICOLAS ROEG'S "THE MAN WHO FELL TO EARTH."

NICOLAS ROEG'S "THE MAN WHO FELL TO EARTH." >> I CAN'T STAY.

FELL TO EARTH." >> I CAN'T STAY. >> YOU'RE AN ALIEN!

>> I CAN'T STAY. >> YOU'RE AN ALIEN! DO YOU KNOW WHAT WOULD HAPPEN

>> YOU'RE AN ALIEN! DO YOU KNOW WHAT WOULD HAPPEN IF THEY FOUND OUT YOUR VISA HAD

DO YOU KNOW WHAT WOULD HAPPEN IF THEY FOUND OUT YOUR VISA HAD EXPIRED?

>> Drew: BOWIE REALLY SAW L.A. AS ANOTHER ELEMENT OF HIS INCARNATION, AS ANOTHER STAGE IN

AS ANOTHER ELEMENT OF HIS INCARNATION, AS ANOTHER STAGE IN HIS EXPERIMENTATION.

INCARNATION, AS ANOTHER STAGE IN HIS EXPERIMENTATION. HE SAW IT ALMOST AS AN ARTISTIC

HIS EXPERIMENTATION. HE SAW IT ALMOST AS AN ARTISTIC EXERCISE IN ITSELF, RUNNING

HE SAW IT ALMOST AS AN ARTISTIC EXERCISE IN ITSELF, RUNNING AROUND TOWN WITH JOHN LENNON,

EXERCISE IN ITSELF, RUNNING AROUND TOWN WITH JOHN LENNON, PLAYING THE DRUG-ADDICTED ROCK

AROUND TOWN WITH JOHN LENNON, PLAYING THE DRUG-ADDICTED ROCK STAR, AND HE REALLY SAW AN

PLAYING THE DRUG-ADDICTED ROCK STAR, AND HE REALLY SAW AN ALMOST ART TO PLAYING THAT ROLE

STAR, AND HE REALLY SAW AN ALMOST ART TO PLAYING THAT ROLE THERE.

ALMOST ART TO PLAYING THAT ROLE THERE. >> Narrator: DAVID HAD BEEN

>> Narrator: DAVID HAD BEEN DABBLING IN DRUGS SINCE '73, BUT BY THE TIME HE MOVED INTO A

DABBLING IN DRUGS SINCE '73, BUT BY THE TIME HE MOVED INTO A RENTED MANSION IN THE HOLLYWOOD

BUT BY THE TIME HE MOVED INTO A RENTED MANSION IN THE HOLLYWOOD HILLS, HE HAD BECOME A FULL-

RENTED MANSION IN THE HOLLYWOOD HILLS, HE HAD BECOME A FULL- BLOWN PARANOID COCAINE ADDICT.

>> Levy: NOT JUST COCAINE, BY THE WAY. BOWIE RECALLS THIS PERIOD AS

THE WAY. BOWIE RECALLS THIS PERIOD AS ONE FULL OF AMPHETAMINE, PCP,

BOWIE RECALLS THIS PERIOD AS ONE FULL OF AMPHETAMINE, PCP, AND COCAINE.

ONE FULL OF AMPHETAMINE, PCP, AND COCAINE. THE PCP IS CRUCIAL.

THE PCP IS CRUCIAL. IT'S A HALLUCINOGENIC DRUG AND NOT A PLEASANT DRUG FOR MANY

IT'S A HALLUCINOGENIC DRUG AND NOT A PLEASANT DRUG FOR MANY WHO TAKE IT, AND BOWIE AT THIS

NOT A PLEASANT DRUG FOR MANY WHO TAKE IT, AND BOWIE AT THIS POINT BECOMES CONVINCED, AMONG

WHO TAKE IT, AND BOWIE AT THIS POINT BECOMES CONVINCED, AMONG OTHER THINGS, THAT EITHER

POINT BECOMES CONVINCED, AMONG OTHER THINGS, THAT EITHER DEMONS OR THE GOVERNMENT WANT

OTHER THINGS, THAT EITHER DEMONS OR THE GOVERNMENT WANT TO STEAL HIS PRECIOUS BODILY

DEMONS OR THE GOVERNMENT WANT TO STEAL HIS PRECIOUS BODILY FLUIDS.

TO STEAL HIS PRECIOUS BODILY FLUIDS. SO HE KEEPS THEM IN JARS IN THE

FLUIDS. SO HE KEEPS THEM IN JARS IN THE REFRIGERATOR 'CAUSE YOU DON'T

SO HE KEEPS THEM IN JARS IN THE REFRIGERATOR 'CAUSE YOU DON'T WANT THAT TO SPOIL.

REFRIGERATOR 'CAUSE YOU DON'T WANT THAT TO SPOIL. BOWIE LOSES IT, EXCEPT

WANT THAT TO SPOIL. BOWIE LOSES IT, EXCEPT CREATIVELY.

BOWIE LOSES IT, EXCEPT CREATIVELY. >> Narrator: BOWIE TOOK HIS

CREATIVELY. >> Narrator: BOWIE TOOK HIS DRUGGED-OUT ROCK-STAR PERSONA

>> Narrator: BOWIE TOOK HIS DRUGGED-OUT ROCK-STAR PERSONA AND CREATED A NEW IDENTITY, THE

DRUGGED-OUT ROCK-STAR PERSONA AND CREATED A NEW IDENTITY, THE THIN WHITE DUKE.

AND CREATED A NEW IDENTITY, THE THIN WHITE DUKE. IT WAS AS THIS CHARACTER THAT

THIN WHITE DUKE. IT WAS AS THIS CHARACTER THAT HE RECORDED HIS NEXT ALBUM,

IT WAS AS THIS CHARACTER THAT HE RECORDED HIS NEXT ALBUM, "STATION TO STATION."

HE RECORDED HIS NEXT ALBUM, "STATION TO STATION." THE CONSTANT INTAKE OF COCAINE

"STATION TO STATION." THE CONSTANT INTAKE OF COCAINE PUSHED DAVID TO WORK FOR DAYS

THE CONSTANT INTAKE OF COCAINE PUSHED DAVID TO WORK FOR DAYS AT A TIME WITHOUT SLEEP AND WITH

PUSHED DAVID TO WORK FOR DAYS AT A TIME WITHOUT SLEEP AND WITH AN EYE TOWARDS EXPERIMENTATION.

AT A TIME WITHOUT SLEEP AND WITH AN EYE TOWARDS EXPERIMENTATION. >> Collis: "STATION TO STATION"

AN EYE TOWARDS EXPERIMENTATION. >> Collis: "STATION TO STATION" IS A REALLY, REALLY INTERESTING

>> Collis: "STATION TO STATION" IS A REALLY, REALLY INTERESTING ALBUM, I THINK, IN AS MUCH AS

IS A REALLY, REALLY INTERESTING ALBUM, I THINK, IN AS MUCH AS IT'S ONE OF THE--PROBABLY ONE OF

ALBUM, I THINK, IN AS MUCH AS IT'S ONE OF THE--PROBABLY ONE OF THE FEW CASES WHERE THE ARTIST

IT'S ONE OF THE--PROBABLY ONE OF THE FEW CASES WHERE THE ARTIST HAS NO RECOLLECTION WHATSOEVER

THE FEW CASES WHERE THE ARTIST HAS NO RECOLLECTION WHATSOEVER OF MAKING IT.

HAS NO RECOLLECTION WHATSOEVER OF MAKING IT. I INTERVIEWED BOWIE, AND HE SAID

OF MAKING IT. I INTERVIEWED BOWIE, AND HE SAID THAT HE LITERALLY CAN'T REMEMBER

I INTERVIEWED BOWIE, AND HE SAID THAT HE LITERALLY CAN'T REMEMBER MAKING THE RECORD, THAT WHEN HE

THAT HE LITERALLY CAN'T REMEMBER MAKING THE RECORD, THAT WHEN HE HEARS THE SONGS ON THE RADIO, HE

MAKING THE RECORD, THAT WHEN HE HEARS THE SONGS ON THE RADIO, HE KNOWS LOGICALLY THAT, YOU KNOW,

HEARS THE SONGS ON THE RADIO, HE KNOWS LOGICALLY THAT, YOU KNOW, THEY'RE HIS.

KNOWS LOGICALLY THAT, YOU KNOW, THEY'RE HIS. I MEAN, I PRESUME HE GETS

THEY'RE HIS. I MEAN, I PRESUME HE GETS ROYALTY CHECKS FOR THEM, BUT,

I MEAN, I PRESUME HE GETS ROYALTY CHECKS FOR THEM, BUT, YOU KNOW, IT'S JUST--IT'S LIKE

ROYALTY CHECKS FOR THEM, BUT, YOU KNOW, IT'S JUST--IT'S LIKE SOMEONE ELSE MADE IT.

YOU KNOW, IT'S JUST--IT'S LIKE SOMEONE ELSE MADE IT. >> Levy: BOWIE'S "STATION TO

SOMEONE ELSE MADE IT. >> Levy: BOWIE'S "STATION TO STATION," THE RECORD FAMOUSLY

>> Levy: BOWIE'S "STATION TO STATION," THE RECORD FAMOUSLY THAT HE DOESN'T REMEMBER MAKING,

STATION," THE RECORD FAMOUSLY THAT HE DOESN'T REMEMBER MAKING, WEIRDLY IS NOT THE LONELY,

THAT HE DOESN'T REMEMBER MAKING, WEIRDLY IS NOT THE LONELY, DISAFFECTED RECORD THAT YOU

WEIRDLY IS NOT THE LONELY, DISAFFECTED RECORD THAT YOU WOULD SUSPECT A MAN WHO BELIEVES

DISAFFECTED RECORD THAT YOU WOULD SUSPECT A MAN WHO BELIEVES THE GOVERNMENT AND SPACE ALIENS

WOULD SUSPECT A MAN WHO BELIEVES THE GOVERNMENT AND SPACE ALIENS AND DEMONS AND WITCHES ARE OUT

THE GOVERNMENT AND SPACE ALIENS AND DEMONS AND WITCHES ARE OUT TO GET HIM WOULD MAKE.

AND DEMONS AND WITCHES ARE OUT TO GET HIM WOULD MAKE. IT'S NOT INSANE.

TO GET HIM WOULD MAKE. IT'S NOT INSANE. IN FACT, IT'S ALMOST AS THOUGH

IT'S NOT INSANE. IN FACT, IT'S ALMOST AS THOUGH WHILE THE REST OF HIS LIFE AND

IN FACT, IT'S ALMOST AS THOUGH WHILE THE REST OF HIS LIFE AND MIND WENT ROUND THE BEND, BOWIE

WHILE THE REST OF HIS LIFE AND MIND WENT ROUND THE BEND, BOWIE WAS DEEPLY ANCHORED IN THE

MIND WENT ROUND THE BEND, BOWIE WAS DEEPLY ANCHORED IN THE MUSIC HE WAS MAKING.

WAS DEEPLY ANCHORED IN THE MUSIC HE WAS MAKING. >> Narrator: DESPITE A CRIPPLING

MUSIC HE WAS MAKING. >> Narrator: DESPITE A CRIPPLING COCAINE ADDICTION, BOWIE WAS

>> Narrator: DESPITE A CRIPPLING COCAINE ADDICTION, BOWIE WAS PRODUCING GROUNDBREAKING MUSIC

COCAINE ADDICTION, BOWIE WAS PRODUCING GROUNDBREAKING MUSIC LIKE THE "STATION TO STATION"

PRODUCING GROUNDBREAKING MUSIC LIKE THE "STATION TO STATION" HIT, "GOLDEN YEARS," A TRIBUTE

LIKE THE "STATION TO STATION" HIT, "GOLDEN YEARS," A TRIBUTE TO HIS WIFE ANGIE.

HIT, "GOLDEN YEARS," A TRIBUTE TO HIS WIFE ANGIE. EVEN THOUGH HE WAS WRITING SONGS

TO HIS WIFE ANGIE. EVEN THOUGH HE WAS WRITING SONGS FOR HER, THE RELATIONSHIP

EVEN THOUGH HE WAS WRITING SONGS FOR HER, THE RELATIONSHIP BETWEEN DAVID AND HIS WIFE WAS

FOR HER, THE RELATIONSHIP BETWEEN DAVID AND HIS WIFE WAS WELL PAST ITS GOLDEN YEARS.

BETWEEN DAVID AND HIS WIFE WAS WELL PAST ITS GOLDEN YEARS. >> Seabrook: SHE WASN'T AROUND

WELL PAST ITS GOLDEN YEARS. >> Seabrook: SHE WASN'T AROUND TOO MUCH.

>> Seabrook: SHE WASN'T AROUND TOO MUCH. SHE PUT IT IN HER AUTOBIOGRAPHY

TOO MUCH. SHE PUT IT IN HER AUTOBIOGRAPHY THEY HAD A MARRIAGE OF

SHE PUT IT IN HER AUTOBIOGRAPHY THEY HAD A MARRIAGE OF CONVENIENCE.

THEY HAD A MARRIAGE OF CONVENIENCE. WHEN THE GOING GOT TOUGH, AS IT

CONVENIENCE. WHEN THE GOING GOT TOUGH, AS IT DID WHEN HE WAS IN L.A., SHE

WHEN THE GOING GOT TOUGH, AS IT DID WHEN HE WAS IN L.A., SHE WASN'T AROUND TOO MUCH.

SHE SPENT A LOT OF TIME IN LONDON THEN, LEAVING HIM TO HIS OWN DEVICES.

LONDON THEN, LEAVING HIM TO HIS OWN DEVICES. THEY JUST HAD VERY SEPARATE

OWN DEVICES. THEY JUST HAD VERY SEPARATE LIVES.

THEY JUST HAD VERY SEPARATE LIVES. >> Narrator: HIS OLD FRIEND,

>> Narrator: HIS OLD FRIEND, EX-STOOGES SINGER IGGY POP, WAS ALSO IN A PERIOD OF PERSONAL

EX-STOOGES SINGER IGGY POP, WAS ALSO IN A PERIOD OF PERSONAL TURMOIL.

ALSO IN A PERIOD OF PERSONAL TURMOIL. NOT ONLY WAS IGGY BROKE AND

TURMOIL. NOT ONLY WAS IGGY BROKE AND HOMELESS, HE WAS SO RAVAGED BY

NOT ONLY WAS IGGY BROKE AND HOMELESS, HE WAS SO RAVAGED BY HEROIN THAT HE ENDED UP IN AN

HOMELESS, HE WAS SO RAVAGED BY HEROIN THAT HE ENDED UP IN AN L.A. MENTAL HOSPITAL.

HEROIN THAT HE ENDED UP IN AN L.A. MENTAL HOSPITAL. >> Loder: IGGY WAS SORT OF AT A

L.A. MENTAL HOSPITAL. >> Loder: IGGY WAS SORT OF AT A LOW POINT, AND THE ONLY PERSON

>> Loder: IGGY WAS SORT OF AT A LOW POINT, AND THE ONLY PERSON THAT CARED ABOUT HIM WAS DAVID

LOW POINT, AND THE ONLY PERSON THAT CARED ABOUT HIM WAS DAVID BOWIE.

THAT CARED ABOUT HIM WAS DAVID BOWIE. NOBODY ELSE CARED.

BOWIE. NOBODY ELSE CARED. HE COULD'VE DIED, AND NO ONE

NOBODY ELSE CARED. HE COULD'VE DIED, AND NO ONE WOULD HAVE CARED AT ALL.

HE COULD'VE DIED, AND NO ONE WOULD HAVE CARED AT ALL. >> Levy: AND SO IGGY ENDS UP IN

WOULD HAVE CARED AT ALL. >> Levy: AND SO IGGY ENDS UP IN A SANITARIUM, AN INSANE ASYLUM,

>> Levy: AND SO IGGY ENDS UP IN A SANITARIUM, AN INSANE ASYLUM, SOME SORT OF HOSPITAL WHERE HE

A SANITARIUM, AN INSANE ASYLUM, SOME SORT OF HOSPITAL WHERE HE CAN DRY OUT, AND HE SAID ONE OF

SOME SORT OF HOSPITAL WHERE HE CAN DRY OUT, AND HE SAID ONE OF THE FEW FRIENDS TO COME VISIT

CAN DRY OUT, AND HE SAID ONE OF THE FEW FRIENDS TO COME VISIT HIM IS DAVID BOWIE.

THE FEW FRIENDS TO COME VISIT HIM IS DAVID BOWIE. >> Collis: THERE'S THIS

HIM IS DAVID BOWIE. >> Collis: THERE'S THIS LEGENDARY STORY ABOUT BOWIE

>> Collis: THERE'S THIS LEGENDARY STORY ABOUT BOWIE GOING TO VISIT IGGY POP IN A

LEGENDARY STORY ABOUT BOWIE GOING TO VISIT IGGY POP IN A PSYCHIATRIC HOSPITAL, AND THE

GOING TO VISIT IGGY POP IN A PSYCHIATRIC HOSPITAL, AND THE APOCRYPHAL--WHAT I ASSUME TO BE

PSYCHIATRIC HOSPITAL, AND THE APOCRYPHAL--WHAT I ASSUME TO BE THE APOCRYPHAL TALE WAS THAT

APOCRYPHAL--WHAT I ASSUME TO BE THE APOCRYPHAL TALE WAS THAT HE'D TAKEN A BUNCH OF DRUGS IN

THE APOCRYPHAL TALE WAS THAT HE'D TAKEN A BUNCH OF DRUGS IN FOR IGGY POP.

HE'D TAKEN A BUNCH OF DRUGS IN FOR IGGY POP. WHEN I SAID, "WHY?" HE SAID--

FOR IGGY POP. WHEN I SAID, "WHY?" HE SAID-- BOWIE SAID BECAUSE HE THOUGHT

WHEN I SAID, "WHY?" HE SAID-- BOWIE SAID BECAUSE HE THOUGHT THAT, YOU KNOW, IGGY HAD--

BOWIE SAID BECAUSE HE THOUGHT THAT, YOU KNOW, IGGY HAD-- WOULDN'T HAVE HAD ANY DRUGS FOR

THAT, YOU KNOW, IGGY HAD-- WOULDN'T HAVE HAD ANY DRUGS FOR A WHILE AND COULD--YOU KNOW,

WOULDN'T HAVE HAD ANY DRUGS FOR A WHILE AND COULD--YOU KNOW, PROBABLY NEED THEM.

>> Narrator: DAVID'S OWN DRUG USE HAD BECOME SO BAD THAT HE REPORTEDLY WEIGHED 80 POUNDS AND

USE HAD BECOME SO BAD THAT HE REPORTEDLY WEIGHED 80 POUNDS AND WAS LIVING ON A DIET OF MILK AND

REPORTEDLY WEIGHED 80 POUNDS AND WAS LIVING ON A DIET OF MILK AND COCAINE.

WAS LIVING ON A DIET OF MILK AND COCAINE. DYING A SLOW DEATH, BOWIE KNEW

COCAINE. DYING A SLOW DEATH, BOWIE KNEW HE HAD TO GET OUT OF HOLLYWOOD,

DYING A SLOW DEATH, BOWIE KNEW HE HAD TO GET OUT OF HOLLYWOOD, AND HE WASN'T GOING TO LEAVE

HE HAD TO GET OUT OF HOLLYWOOD, AND HE WASN'T GOING TO LEAVE IGGY BEHIND.

AND HE WASN'T GOING TO LEAVE IGGY BEHIND. DAVID RESCUED IGGY FROM THE

IGGY BEHIND. DAVID RESCUED IGGY FROM THE HOSPITAL, GOT HIM ON A PLANE,

DAVID RESCUED IGGY FROM THE HOSPITAL, GOT HIM ON A PLANE, AND THE DAMAGED DUO FLED TO

HOSPITAL, GOT HIM ON A PLANE, AND THE DAMAGED DUO FLED TO EUROPE, EVENTUALLY ENDING UP IN

AND THE DAMAGED DUO FLED TO EUROPE, EVENTUALLY ENDING UP IN THE MOST UNLIKELY OF CITIES.

>> Narrator: IN 1976, IGGY POP AND 29-YEAR-OLD DAVID BOWIE FLED LOS ANGELES FOR EUROPE WITH

AND 29-YEAR-OLD DAVID BOWIE FLED LOS ANGELES FOR EUROPE WITH HOPES OF GETTING SOBER AND

LOS ANGELES FOR EUROPE WITH HOPES OF GETTING SOBER AND FINDING REDEMPTION THROUGH

HOPES OF GETTING SOBER AND FINDING REDEMPTION THROUGH MUSIC.

FINDING REDEMPTION THROUGH MUSIC. THE PAIR EVENTUALLY ENDED UP IN

MUSIC. THE PAIR EVENTUALLY ENDED UP IN THE DIVIDED CITY OF BERLIN,

THE PAIR EVENTUALLY ENDED UP IN THE DIVIDED CITY OF BERLIN, KICKING OFF WHAT WOULD PROVE TO

THE DIVIDED CITY OF BERLIN, KICKING OFF WHAT WOULD PROVE TO BE ONE OF THE MOST CREATIVE

KICKING OFF WHAT WOULD PROVE TO BE ONE OF THE MOST CREATIVE PERIODS FOR BOTH MUSICIANS.

>> Collis: I THINK WHAT'S INTERESTING ABOUT WHEN BOWIE WENT TO BERLIN IS THAT THE

INTERESTING ABOUT WHEN BOWIE WENT TO BERLIN IS THAT THE TRADITION IS OF ROCK STARS GOING

WENT TO BERLIN IS THAT THE TRADITION IS OF ROCK STARS GOING TO THE COUNTRY TO GET THEIR

TRADITION IS OF ROCK STARS GOING TO THE COUNTRY TO GET THEIR HEADS TOGETHER, BUT BOWIE KIND

TO THE COUNTRY TO GET THEIR HEADS TOGETHER, BUT BOWIE KIND OF DID THE REVERSE.

HEADS TOGETHER, BUT BOWIE KIND OF DID THE REVERSE. IF YOUR HEAD'S NOT IN A GOOD

IF YOUR HEAD'S NOT IN A GOOD PLACE, WHERE DON'T YOU WANT TO GO IS, LIKE, BERLIN IN THE MID-

PLACE, WHERE DON'T YOU WANT TO GO IS, LIKE, BERLIN IN THE MID- '70s.

GO IS, LIKE, BERLIN IN THE MID- '70s. >> Levy: WHY DOES DAVID BOWIE

'70s. >> Levy: WHY DOES DAVID BOWIE GO TO BERLIN?

>> Levy: WHY DOES DAVID BOWIE GO TO BERLIN? WELL, FOR ONE THING, THAT CITY

GO TO BERLIN? WELL, FOR ONE THING, THAT CITY IS A METAPHOR IN CONCRETE FOR

WELL, FOR ONE THING, THAT CITY IS A METAPHOR IN CONCRETE FOR THE KIND OF ALIENATION THAT

IS A METAPHOR IN CONCRETE FOR THE KIND OF ALIENATION THAT BOWIE HAD WRITTEN ABOUT, SUNG

THE KIND OF ALIENATION THAT BOWIE HAD WRITTEN ABOUT, SUNG ABOUT, MADE MUSIC ABOUT HIS

BOWIE HAD WRITTEN ABOUT, SUNG ABOUT, MADE MUSIC ABOUT HIS ENTIRE CAREER UP TO THAT POINT.

ABOUT, MADE MUSIC ABOUT HIS ENTIRE CAREER UP TO THAT POINT. >> Seabrook: I THINK HE NEEDED

ENTIRE CAREER UP TO THAT POINT. >> Seabrook: I THINK HE NEEDED THAT SENSE OF ANONYMITY THAT HE

>> Seabrook: I THINK HE NEEDED THAT SENSE OF ANONYMITY THAT HE FOUND IN BERLIN.

THAT SENSE OF ANONYMITY THAT HE FOUND IN BERLIN. IT WAS A CITY FULL OF DRAFT

FOUND IN BERLIN. IT WAS A CITY FULL OF DRAFT DODGERS AND OUTCASTS AND SOCIAL

IT WAS A CITY FULL OF DRAFT DODGERS AND OUTCASTS AND SOCIAL MISFITS, AND HE WAS ABLE TO JUST

DODGERS AND OUTCASTS AND SOCIAL MISFITS, AND HE WAS ABLE TO JUST GET ON AND DO WHAT HE WANTED AND

MISFITS, AND HE WAS ABLE TO JUST GET ON AND DO WHAT HE WANTED AND DEVELOP HIS MUSIC WITHOUT HAVING

GET ON AND DO WHAT HE WANTED AND DEVELOP HIS MUSIC WITHOUT HAVING TO BE DAVID BOWIE THE POP STAR.

DEVELOP HIS MUSIC WITHOUT HAVING TO BE DAVID BOWIE THE POP STAR. >> Kandell: BERLIN KIND OF

TO BE DAVID BOWIE THE POP STAR. >> Kandell: BERLIN KIND OF LOOKED THE WAY HE FELT.

>> Kandell: BERLIN KIND OF LOOKED THE WAY HE FELT. YOU KNOW, KIND OF SHABBY, KIND

LOOKED THE WAY HE FELT. YOU KNOW, KIND OF SHABBY, KIND OF AT ODDS WITH ITSELF, AND--

AND, YOU KNOW, A BIT OF A-- A BIT OF A MESS, MAYBE TOO MANY CHEMICALS IN IT, INDUSTRIAL

A BIT OF A MESS, MAYBE TOO MANY CHEMICALS IN IT, INDUSTRIAL UGLINESS.

CHEMICALS IN IT, INDUSTRIAL UGLINESS. HIS BRAIN FELT LIKE WHAT HE WAS

HIS BRAIN FELT LIKE WHAT HE WAS SEEING OUT HIS WINDOW, AND THAT WAS PROBABLY PRETTY

SEEING OUT HIS WINDOW, AND THAT WAS PROBABLY PRETTY INSPIRATIONAL, AND IT JUST MADE

WAS PROBABLY PRETTY INSPIRATIONAL, AND IT JUST MADE HIM WANT TO WORK.

INSPIRATIONAL, AND IT JUST MADE HIM WANT TO WORK. >> Narrator: BOWIE AND IGGY

HIM WANT TO WORK. >> Narrator: BOWIE AND IGGY SPLIT THEIR TIME BETWEEN GERMANY

>> Narrator: BOWIE AND IGGY SPLIT THEIR TIME BETWEEN GERMANY AND A STUDIO IN FRANCE WRITING

SPLIT THEIR TIME BETWEEN GERMANY AND A STUDIO IN FRANCE WRITING AND RECORDING WHAT WOULD

AND A STUDIO IN FRANCE WRITING AND RECORDING WHAT WOULD EVENTUALLY BECOME TWO VERY

AND RECORDING WHAT WOULD EVENTUALLY BECOME TWO VERY DIFFERENT RECORDS, IGGY'S FIRST

EVENTUALLY BECOME TWO VERY DIFFERENT RECORDS, IGGY'S FIRST SOLO ALBUM, "THE IDIOT"...

DIFFERENT RECORDS, IGGY'S FIRST SOLO ALBUM, "THE IDIOT"... AND DAVID BOWIE'S "LOW."

SOLO ALBUM, "THE IDIOT"... AND DAVID BOWIE'S "LOW." >> Collis: I THINK WHAT'S

AND DAVID BOWIE'S "LOW." >> Collis: I THINK WHAT'S INTERESTING ABOUT THE

>> Collis: I THINK WHAT'S INTERESTING ABOUT THE COLLABORATIONS THAT DAVID BOWIE

INTERESTING ABOUT THE COLLABORATIONS THAT DAVID BOWIE DID IN THE '70s IS THAT THEY

COLLABORATIONS THAT DAVID BOWIE DID IN THE '70s IS THAT THEY WERE PROPER COLLABORATIONS, AND

DID IN THE '70s IS THAT THEY WERE PROPER COLLABORATIONS, AND BASED ON PROPER RELATIONSHIPS.

WERE PROPER COLLABORATIONS, AND BASED ON PROPER RELATIONSHIPS. I THINK WE'VE ALL HEARD STORIES

BASED ON PROPER RELATIONSHIPS. I THINK WE'VE ALL HEARD STORIES ABOUT SO-CALLED DUETS THAT TAKE

I THINK WE'VE ALL HEARD STORIES ABOUT SO-CALLED DUETS THAT TAKE PLACE THESE DAYS WHERE THE

ABOUT SO-CALLED DUETS THAT TAKE PLACE THESE DAYS WHERE THE PEOPLE AREN'T EVEN ON THE SAME

PLACE THESE DAYS WHERE THE PEOPLE AREN'T EVEN ON THE SAME CONTINENT, WHEREAS, YOU KNOW, IN

PEOPLE AREN'T EVEN ON THE SAME CONTINENT, WHEREAS, YOU KNOW, IN THE CASE OF BOWIE AND IGGY POP,

CONTINENT, WHEREAS, YOU KNOW, IN THE CASE OF BOWIE AND IGGY POP, I MEAN, THESE ARE PEOPLE THAT,

THE CASE OF BOWIE AND IGGY POP, I MEAN, THESE ARE PEOPLE THAT, YOU KNOW, KNEW AND LIKED EACH

I MEAN, THESE ARE PEOPLE THAT, YOU KNOW, KNEW AND LIKED EACH OTHER, BUT THEIR COLLABORATIONS

YOU KNOW, KNEW AND LIKED EACH OTHER, BUT THEIR COLLABORATIONS WERE BUILT ON THESE VERY REAL

OTHER, BUT THEIR COLLABORATIONS WERE BUILT ON THESE VERY REAL RELATIONSHIPS.

>> Levy: YOU KNOW, I MEAN, HE'S VERY CLEAR ABOUT PAYING HOMAGE TO THAT WHICH HELPED HIM ALONG

VERY CLEAR ABOUT PAYING HOMAGE TO THAT WHICH HELPED HIM ALONG HIS WAY.

TO THAT WHICH HELPED HIM ALONG HIS WAY. HE WANTS THE WORLD TO HEAR IGGY

HE WANTS THE WORLD TO HEAR IGGY POP, LITERALLY SAVES THAT GUY FROM THE INSANE ASYLUM, GETS HIM

POP, LITERALLY SAVES THAT GUY FROM THE INSANE ASYLUM, GETS HIM OUT TO MAKE MUSIC, RECORDS A

FROM THE INSANE ASYLUM, GETS HIM OUT TO MAKE MUSIC, RECORDS A COUPLE OF RECORDS WITH HIM,

OUT TO MAKE MUSIC, RECORDS A COUPLE OF RECORDS WITH HIM, TOURS WITH HIM PLAYING IN

COUPLE OF RECORDS WITH HIM, TOURS WITH HIM PLAYING IN IGGY'S BAND.

>> Seabrook: BOWIE DID GO OUT AS IGGY'S KEYBOARD PLAYER ON A TOUR IN SUPPORT OF "THE IDIOT," WHICH

IGGY'S KEYBOARD PLAYER ON A TOUR IN SUPPORT OF "THE IDIOT," WHICH ALLOWED HIM TO GENTLY EASE

IN SUPPORT OF "THE IDIOT," WHICH ALLOWED HIM TO GENTLY EASE HIMSELF BACK IN TO THE PROCESS

ALLOWED HIM TO GENTLY EASE HIMSELF BACK IN TO THE PROCESS OF BEING A PERFORMER AND BEING

HIMSELF BACK IN TO THE PROCESS OF BEING A PERFORMER AND BEING A ROCK STAR WITHOUT HAVING TO

OF BEING A PERFORMER AND BEING A ROCK STAR WITHOUT HAVING TO STAND ON THE FRONT LINE OF IT,

A ROCK STAR WITHOUT HAVING TO STAND ON THE FRONT LINE OF IT, GAVE HIM A BIT OF A CONFIDENCE

GAVE HIM A BIT OF A CONFIDENCE BOOST. HE'D MAYBE NOT QUITE RECOVERED

BOOST. HE'D MAYBE NOT QUITE RECOVERED FROM EVERYTHING HE'D BEEN

HE'D MAYBE NOT QUITE RECOVERED FROM EVERYTHING HE'D BEEN THROUGH BUT WAS CERTAINLY A LOT

FROM EVERYTHING HE'D BEEN THROUGH BUT WAS CERTAINLY A LOT STRONGER FOR IT.

THROUGH BUT WAS CERTAINLY A LOT STRONGER FOR IT. >> Narrator: "THE IDIOT'S"

STRONGER FOR IT. >> Narrator: "THE IDIOT'S" IMPACT WAS IMMEDIATE, PROVIDING

>> Narrator: "THE IDIOT'S" IMPACT WAS IMMEDIATE, PROVIDING THE BLUEPRINT FOR THE LATE-'70s

IMPACT WAS IMMEDIATE, PROVIDING THE BLUEPRINT FOR THE LATE-'70s MOVEMENT KNOWN AS POST-PUNK.

THE BLUEPRINT FOR THE LATE-'70s MOVEMENT KNOWN AS POST-PUNK. THE REACTION TO DAVID'S "LOW"

MOVEMENT KNOWN AS POST-PUNK. THE REACTION TO DAVID'S "LOW" WAS ANOTHER STORY.

THE REACTION TO DAVID'S "LOW" WAS ANOTHER STORY. >> Seabrook: I THINK WHEN "LOW"

WAS ANOTHER STORY. >> Seabrook: I THINK WHEN "LOW" CAME OUT, THE MAIN REACTION TO

>> Seabrook: I THINK WHEN "LOW" CAME OUT, THE MAIN REACTION TO IT WAS ONE OF CONFUSION.

CAME OUT, THE MAIN REACTION TO IT WAS ONE OF CONFUSION. MOST PEOPLE WERE JUST BAFFLED

IT WAS ONE OF CONFUSION. MOST PEOPLE WERE JUST BAFFLED BY IT.

MOST PEOPLE WERE JUST BAFFLED BY IT. THEY WEREN'T SURE WHY A

BY IT. THEY WEREN'T SURE WHY A MUSICIAN WOULD--SUCH AS BOWIE

THEY WEREN'T SURE WHY A MUSICIAN WOULD--SUCH AS BOWIE WOULD SUDDENLY START USING

MUSICIAN WOULD--SUCH AS BOWIE WOULD SUDDENLY START USING SYNTHESIZERS AND MOVE IN TO

WOULD SUDDENLY START USING SYNTHESIZERS AND MOVE IN TO THIS ELECTRONIC WORLD.

SYNTHESIZERS AND MOVE IN TO THIS ELECTRONIC WORLD. I THINK SOME PEOPLE WERE ALMOST

THIS ELECTRONIC WORLD. I THINK SOME PEOPLE WERE ALMOST OUTRAGED BY IT.

>> O'Brien: WHAT I LOVED ABOUT "LOW" WAS THAT IT JUST--IT SEEMED TO COME OUT OF NOWHERE.

"LOW" WAS THAT IT JUST--IT SEEMED TO COME OUT OF NOWHERE. IT DIDN'T--IT DIDN'T SEEM TO

SEEMED TO COME OUT OF NOWHERE. IT DIDN'T--IT DIDN'T SEEM TO HAVE ANY IMMEDIATE, LIKE,

IT DIDN'T--IT DIDN'T SEEM TO HAVE ANY IMMEDIATE, LIKE, ANTECEDENT, OR--YOU KNOW, IT

HAVE ANY IMMEDIATE, LIKE, ANTECEDENT, OR--YOU KNOW, IT WAS, LIKE, JUST KIND OF, "OKAY,

ANTECEDENT, OR--YOU KNOW, IT WAS, LIKE, JUST KIND OF, "OKAY, LET'S REINVENT WHAT YOU CAN DO

WAS, LIKE, JUST KIND OF, "OKAY, LET'S REINVENT WHAT YOU CAN DO WITH GUITAR, DRUMS, AND BASS."

LET'S REINVENT WHAT YOU CAN DO WITH GUITAR, DRUMS, AND BASS." IT SORT OF WAS RETHINKING POP

IT SORT OF WAS RETHINKING POP MUSIC. >> Narrator: THE SOUND OF "LOW"

MUSIC. >> Narrator: THE SOUND OF "LOW" APPEARED TO COME OUT OF THE

>> Narrator: THE SOUND OF "LOW" APPEARED TO COME OUT OF THE BLUE, BUT THE ALBUM MIRRORED

APPEARED TO COME OUT OF THE BLUE, BUT THE ALBUM MIRRORED EVERY PERVIOUS BOWIE EFFORT IN

BLUE, BUT THE ALBUM MIRRORED EVERY PERVIOUS BOWIE EFFORT IN TWO KEY WAYS--IT WAS THE PRODUCT

EVERY PERVIOUS BOWIE EFFORT IN TWO KEY WAYS--IT WAS THE PRODUCT OF BOWIE'S ENVIRONMENT AND A

TWO KEY WAYS--IT WAS THE PRODUCT OF BOWIE'S ENVIRONMENT AND A RESULT OF INSPIRED

OF BOWIE'S ENVIRONMENT AND A RESULT OF INSPIRED COLLABORATION.

RESULT OF INSPIRED COLLABORATION. >> Seabrook: '76 AND '77, BOWIE

COLLABORATION. >> Seabrook: '76 AND '77, BOWIE LIVED IN A QUITE POOR PART OF

>> Seabrook: '76 AND '77, BOWIE LIVED IN A QUITE POOR PART OF BERLIN ABOVE AN AUTO-REPAIR

LIVED IN A QUITE POOR PART OF BERLIN ABOVE AN AUTO-REPAIR SHOP.

BERLIN ABOVE AN AUTO-REPAIR SHOP. IGGY ONCE SAID THAT, AVERAGE

SHOP. IGGY ONCE SAID THAT, AVERAGE WEEK IN BERLIN, HE AND BOWIE

IGGY ONCE SAID THAT, AVERAGE WEEK IN BERLIN, HE AND BOWIE WOULD GO TO GALLERIES.

WEEK IN BERLIN, HE AND BOWIE WOULD GO TO GALLERIES. THEY WOULD EXPLORE THE CITY ON

WOULD GO TO GALLERIES. THEY WOULD EXPLORE THE CITY ON THEIR BIKES.

THEY WOULD EXPLORE THE CITY ON THEIR BIKES. DAVID WOULD PAINT.

THEIR BIKES. DAVID WOULD PAINT. SO THEY WERE BOTH KIND OF

DAVID WOULD PAINT. SO THEY WERE BOTH KIND OF IMMERSING THEMSELVES IN THE CITY

SO THEY WERE BOTH KIND OF IMMERSING THEMSELVES IN THE CITY AND THE CULTURE AS MUCH AS

IMMERSING THEMSELVES IN THE CITY AND THE CULTURE AS MUCH AS TRYING TO RECOVER.

AND THE CULTURE AS MUCH AS TRYING TO RECOVER. >> Narrator: A FAR CRY FROM

TRYING TO RECOVER. >> Narrator: A FAR CRY FROM CHAUFFEURED LIMOS AND THE

>> Narrator: A FAR CRY FROM CHAUFFEURED LIMOS AND THE CELEBRITY PARTY CIRCUIT, BERLIN

CHAUFFEURED LIMOS AND THE CELEBRITY PARTY CIRCUIT, BERLIN GROUNDED BOWIE AND PUT HIM ON

CELEBRITY PARTY CIRCUIT, BERLIN GROUNDED BOWIE AND PUT HIM ON THE ROAD TO SOBRIETY.

GROUNDED BOWIE AND PUT HIM ON THE ROAD TO SOBRIETY. >> Seabrook: HE WAS ABLE TO JUST

THE ROAD TO SOBRIETY. >> Seabrook: HE WAS ABLE TO JUST GET ON AND DO WHAT HE WANTED

>> Seabrook: HE WAS ABLE TO JUST GET ON AND DO WHAT HE WANTED AND DEVELOP HIS MUSIC WITHOUT

GET ON AND DO WHAT HE WANTED AND DEVELOP HIS MUSIC WITHOUT HAVING TO BE DAVID BOWIE THE

AND DEVELOP HIS MUSIC WITHOUT HAVING TO BE DAVID BOWIE THE POP STAR.

HAVING TO BE DAVID BOWIE THE POP STAR. >> Narrator: DAVID WENT ON TO

POP STAR. >> Narrator: DAVID WENT ON TO RECORD TWO MORE RECORDS WHILE

>> Narrator: DAVID WENT ON TO RECORD TWO MORE RECORDS WHILE LIVING IN BERLIN, "HEROES" AND

RECORD TWO MORE RECORDS WHILE LIVING IN BERLIN, "HEROES" AND "LODGER," COMPLETING WHAT LATER

LIVING IN BERLIN, "HEROES" AND "LODGER," COMPLETING WHAT LATER BECAME KNOWN AS THE

"LODGER," COMPLETING WHAT LATER BECAME KNOWN AS THE GROUNDBREAKING AND WIDELY

BECAME KNOWN AS THE GROUNDBREAKING AND WIDELY INFLUENTIAL BERLIN TRILOGY.

GROUNDBREAKING AND WIDELY INFLUENTIAL BERLIN TRILOGY. >> Seabrook: I THINK THE

INFLUENTIAL BERLIN TRILOGY. >> Seabrook: I THINK THE MOTIVATION FOR MAKING "LOW" AND

>> Seabrook: I THINK THE MOTIVATION FOR MAKING "LOW" AND "HEROES" IN PARTICULAR WAS JUST

MOTIVATION FOR MAKING "LOW" AND "HEROES" IN PARTICULAR WAS JUST THAT BOWIE WANTED TO CREATE ART

"HEROES" IN PARTICULAR WAS JUST THAT BOWIE WANTED TO CREATE ART THAT HE HIMSELF WOULD LIKE AND

THAT BOWIE WANTED TO CREATE ART THAT HE HIMSELF WOULD LIKE AND ENJOY.

THAT HE HIMSELF WOULD LIKE AND ENJOY. >> Bowie: I DIDN'T STRIVE FOR

ENJOY. >> Bowie: I DIDN'T STRIVE FOR SUCCESS.

>> Bowie: I DIDN'T STRIVE FOR SUCCESS. I STRIVED TO DO SOMETHING

SUCCESS. I STRIVED TO DO SOMETHING ARTISTICALLY IMPORTANT.

I STRIVED TO DO SOMETHING ARTISTICALLY IMPORTANT. AND SUCCESS OVER HERE, I

ARTISTICALLY IMPORTANT. AND SUCCESS OVER HERE, I BELIEVE, IS VERY MUCH IN THE

AND SUCCESS OVER HERE, I BELIEVE, IS VERY MUCH IN THE KIND OF MATERIAL WORLD.

BELIEVE, IS VERY MUCH IN THE KIND OF MATERIAL WORLD. SO CAN I JUST SAY THAT BEFORE

KIND OF MATERIAL WORLD. SO CAN I JUST SAY THAT BEFORE WE START?

SO CAN I JUST SAY THAT BEFORE WE START? I WANTED TO DO SOMETHING

WE START? I WANTED TO DO SOMETHING ARTISTICALLY VALID.

I WANTED TO DO SOMETHING ARTISTICALLY VALID. >> Narrator: THOUGH REVIEWS WERE

ARTISTICALLY VALID. >> Narrator: THOUGH REVIEWS WERE MIXED AT THE TIME, TODAY THE

>> Narrator: THOUGH REVIEWS WERE MIXED AT THE TIME, TODAY THE BERLIN TRILOGY IS ACKNOWLEDGED

MIXED AT THE TIME, TODAY THE BERLIN TRILOGY IS ACKNOWLEDGED AS THE GODFATHER OF '80s SYNTH

BERLIN TRILOGY IS ACKNOWLEDGED AS THE GODFATHER OF '80s SYNTH POP, INFLUENCING EVERYONE FROM

AS THE GODFATHER OF '80s SYNTH POP, INFLUENCING EVERYONE FROM JOHNNY ROTTEN TO MADONNA TO U2.

POP, INFLUENCING EVERYONE FROM JOHNNY ROTTEN TO MADONNA TO U2. DAVID BOWIE NOT ONLY WORKED HIS

JOHNNY ROTTEN TO MADONNA TO U2. DAVID BOWIE NOT ONLY WORKED HIS WAY OUT OF ADDICTION, HE ONCE

DAVID BOWIE NOT ONLY WORKED HIS WAY OUT OF ADDICTION, HE ONCE AGAIN PROVED TO BE AHEAD OF THE

WAY OUT OF ADDICTION, HE ONCE AGAIN PROVED TO BE AHEAD OF THE CURVE.

AGAIN PROVED TO BE AHEAD OF THE CURVE. BUT EVEN THAT COULDN'T LAST.

CURVE. BUT EVEN THAT COULDN'T LAST. >> Collis: THERE'S GONNA COME A

BUT EVEN THAT COULDN'T LAST. >> Collis: THERE'S GONNA COME A POINT IN EVERYONE'S LIFE WHEN,

>> Collis: THERE'S GONNA COME A POINT IN EVERYONE'S LIFE WHEN, YOU KNOW, THEY'RE NOT ON THE

POINT IN EVERYONE'S LIFE WHEN, YOU KNOW, THEY'RE NOT ON THE CUTTING EDGE.

>> Narrator: IN 1980, THE COUPLE DIVORCED, AND DAVID RECEIVED CUSTODY OF HIS SON, WHO NOW

DIVORCED, AND DAVID RECEIVED CUSTODY OF HIS SON, WHO NOW CALLED HIMSELF JOEY.

CUSTODY OF HIS SON, WHO NOW CALLED HIMSELF JOEY. DAVID AGAIN DEALT WITH PERSONAL

CALLED HIMSELF JOEY. DAVID AGAIN DEALT WITH PERSONAL UPHEAVAL BY THROWING HIMSELF

DAVID AGAIN DEALT WITH PERSONAL UPHEAVAL BY THROWING HIMSELF INTO HIS WORK, RECORDING 1980'S

UPHEAVAL BY THROWING HIMSELF INTO HIS WORK, RECORDING 1980'S "SCARY MONSTERS" AND PRODUCING

INTO HIS WORK, RECORDING 1980'S "SCARY MONSTERS" AND PRODUCING THE VIDEO FOR "ASHES TO ASHES,"

"SCARY MONSTERS" AND PRODUCING THE VIDEO FOR "ASHES TO ASHES," AN EARLY MTV HIT THAT SET THE

THE VIDEO FOR "ASHES TO ASHES," AN EARLY MTV HIT THAT SET THE STANDARD FOR MUSIC VIDEOS.

>> Loder: THEY WERE PROMO VIDEOS. ALL THE ENGLISH ACTS HAD VIDEOS.

VIDEOS. ALL THE ENGLISH ACTS HAD VIDEOS. THEY WERE LITTLE FILMS.

ALL THE ENGLISH ACTS HAD VIDEOS. THEY WERE LITTLE FILMS. THEY WEREN'T CALLED VIDEOS, BUT

THEY WERE LITTLE FILMS. THEY WEREN'T CALLED VIDEOS, BUT THEY DID THIS FOR PROMOTION,

THEY WEREN'T CALLED VIDEOS, BUT THEY DID THIS FOR PROMOTION, AND THERE WERE LOTS OF THEM.

THEY DID THIS FOR PROMOTION, AND THERE WERE LOTS OF THEM. SO WHEN MTV STARTED, THERE WAS

AND THERE WERE LOTS OF THEM. SO WHEN MTV STARTED, THERE WAS NOTHING TO PLAY EXCEPT THIS

SO WHEN MTV STARTED, THERE WAS NOTHING TO PLAY EXCEPT THIS BRITISH STUFF, AND DAVID WAS IN

NOTHING TO PLAY EXCEPT THIS BRITISH STUFF, AND DAVID WAS IN THERE WITH THAT.

BRITISH STUFF, AND DAVID WAS IN THERE WITH THAT. HE WAS READY TO GO.

THERE WITH THAT. HE WAS READY TO GO. >> Collis: BOWIE WAS VERY MUCH

HE WAS READY TO GO. >> Collis: BOWIE WAS VERY MUCH IN A POSITION WHERE HE COULD

>> Collis: BOWIE WAS VERY MUCH IN A POSITION WHERE HE COULD TAKE ADVANTAGE OF MTV AND THE

IN A POSITION WHERE HE COULD TAKE ADVANTAGE OF MTV AND THE VIDEO BOOM.

TAKE ADVANTAGE OF MTV AND THE VIDEO BOOM. >> Levy: NOBODY FROM THE '60s

>> Levy: NOBODY FROM THE '60s AND '70s IS QUITE AS VISUALLY ORIENTED AS BOWIE, SO BOWIE IS

AND '70s IS QUITE AS VISUALLY ORIENTED AS BOWIE, SO BOWIE IS UNIQUELY QUALIFIED TO TAKE

ORIENTED AS BOWIE, SO BOWIE IS UNIQUELY QUALIFIED TO TAKE ADVANTAGE OF MTV WHEN IT COMES

UNIQUELY QUALIFIED TO TAKE ADVANTAGE OF MTV WHEN IT COMES ALONG, AND OF COURSE, THE OTHER

ADVANTAGE OF MTV WHEN IT COMES ALONG, AND OF COURSE, THE OTHER BRITISH ACTS, BANDS LIKE, I

ALONG, AND OF COURSE, THE OTHER BRITISH ACTS, BANDS LIKE, I DON'T KNOW, CULTURE CLUB, DURAN

BRITISH ACTS, BANDS LIKE, I DON'T KNOW, CULTURE CLUB, DURAN DURAN, ABC, NONE OF THESE ACTS

DON'T KNOW, CULTURE CLUB, DURAN DURAN, ABC, NONE OF THESE ACTS WOULD EXIST OR KNOW WHAT TO DO

DURAN, ABC, NONE OF THESE ACTS WOULD EXIST OR KNOW WHAT TO DO IN THEIR VIDEOS WITHOUT BOWIE.

WOULD EXIST OR KNOW WHAT TO DO IN THEIR VIDEOS WITHOUT BOWIE. >> Kandell: BOWIE BEAT THEM TO

IN THEIR VIDEOS WITHOUT BOWIE. >> Kandell: BOWIE BEAT THEM TO IT BY 10 YEARS.

>> Collis: I THINK WHAT'S INTERESTING IS IF YOU LOOK AT THE VIDEO FOR "ASHES TO ASHES,"

INTERESTING IS IF YOU LOOK AT THE VIDEO FOR "ASHES TO ASHES," THAT IS, AGAIN, ONE VERY UNUSUAL

THE VIDEO FOR "ASHES TO ASHES," THAT IS, AGAIN, ONE VERY UNUSUAL VIDEO.

VIDEO. I MEAN, THE SONG WAS A HUGE HIT, AND THE VIDEO WAS A HUGE HIT,

I MEAN, THE SONG WAS A HUGE HIT, AND THE VIDEO WAS A HUGE HIT, BUT THAT IS--I MEAN, THAT'S ONE

AND THE VIDEO WAS A HUGE HIT, BUT THAT IS--I MEAN, THAT'S ONE WEIRD VIDEO.

BUT THAT IS--I MEAN, THAT'S ONE WEIRD VIDEO. >> Narrator: "ASHES TO ASHES"

WEIRD VIDEO. >> Narrator: "ASHES TO ASHES" WAS IN HEAVY ROTATION ON MTV,

>> Narrator: "ASHES TO ASHES" WAS IN HEAVY ROTATION ON MTV, AND "SCARY MONSTERS" WON DAVID

WAS IN HEAVY ROTATION ON MTV, AND "SCARY MONSTERS" WON DAVID HIS BEST REVIEWS IN YEARS, BUT

AND "SCARY MONSTERS" WON DAVID HIS BEST REVIEWS IN YEARS, BUT THAT DIDN'T TRANSLATE TO ALBUM

HIS BEST REVIEWS IN YEARS, BUT THAT DIDN'T TRANSLATE TO ALBUM SALES.

THAT DIDN'T TRANSLATE TO ALBUM SALES. THE TRUTH WAS DAVID WAS A HUGE

SALES. THE TRUTH WAS DAVID WAS A HUGE ROCK STAR, BUT HE DIDN'T QUITE

THE TRUTH WAS DAVID WAS A HUGE ROCK STAR, BUT HE DIDN'T QUITE HAVE ROCK-STAR MONEY.

>> Levy: BOWIE AT THIS POINT IN HIS CAREER, THE TAIL END OF THE '70s, THE BEGINNING OF THE

HIS CAREER, THE TAIL END OF THE '70s, THE BEGINNING OF THE '80s--AN ART ROCKER.

'70s, THE BEGINNING OF THE '80s--AN ART ROCKER. WAS HE MAKING GOOD RECORDS? YES.

'80s--AN ART ROCKER. WAS HE MAKING GOOD RECORDS? YES. DID THOSE RECORDS HAVE A

WAS HE MAKING GOOD RECORDS? YES. DID THOSE RECORDS HAVE A COMMERCIAL IMPACT? NO.

DID THOSE RECORDS HAVE A COMMERCIAL IMPACT? NO. HE MIGHT AS WELL HAVE BEEN A

HE MIGHT AS WELL HAVE BEEN A MINOR GALLERY ARTIST SHOWING HIS WORK TO THOSE WHO WERE

MINOR GALLERY ARTIST SHOWING HIS WORK TO THOSE WHO WERE INTERESTED, GETTING REVIEWED IN

WORK TO THOSE WHO WERE INTERESTED, GETTING REVIEWED IN ESTEEMED JOURNALS, DRAWING GOOD

INTERESTED, GETTING REVIEWED IN ESTEEMED JOURNALS, DRAWING GOOD NOTICES, NOT SELLING.

ESTEEMED JOURNALS, DRAWING GOOD NOTICES, NOT SELLING. >> Farber: WHEN YOU'RE A POP

NOTICES, NOT SELLING. >> Farber: WHEN YOU'RE A POP STAR, AT LEAST IN THE OLD

>> Farber: WHEN YOU'RE A POP STAR, AT LEAST IN THE OLD SYSTEM, YOU WERE IN DEBT TO THE

STAR, AT LEAST IN THE OLD SYSTEM, YOU WERE IN DEBT TO THE RECORD COMPANY.

SYSTEM, YOU WERE IN DEBT TO THE RECORD COMPANY. YOU'VE GOT TO PAY ALL THAT MONEY

RECORD COMPANY. YOU'VE GOT TO PAY ALL THAT MONEY BACK OUT OF YOUR SMALL

YOU'VE GOT TO PAY ALL THAT MONEY BACK OUT OF YOUR SMALL ROYALTIES, AND I DON'T THINK HE

BACK OUT OF YOUR SMALL ROYALTIES, AND I DON'T THINK HE DID VERY WELL FINANCIALLY IN THE

ROYALTIES, AND I DON'T THINK HE DID VERY WELL FINANCIALLY IN THE '70s.

DID VERY WELL FINANCIALLY IN THE '70s. >> Narrator: IN 1983, BOWIE SET

'70s. >> Narrator: IN 1983, BOWIE SET OUT TO MAKE A STRAIGHTFORWARD

>> Narrator: IN 1983, BOWIE SET OUT TO MAKE A STRAIGHTFORWARD GOOD-TIME RECORD, STRIVING FOR A

OUT TO MAKE A STRAIGHTFORWARD GOOD-TIME RECORD, STRIVING FOR A MORE POLISHED, DANCE-FRIENDLY

GOOD-TIME RECORD, STRIVING FOR A MORE POLISHED, DANCE-FRIENDLY SOUND.

MORE POLISHED, DANCE-FRIENDLY SOUND. THE RESULT WAS "LET'S DANCE," A

SOUND. THE RESULT WAS "LET'S DANCE," A SMASH HIT ON BOTH SIDES OF THE

THE RESULT WAS "LET'S DANCE," A SMASH HIT ON BOTH SIDES OF THE ATLANTIC THAT INTRODUCED A NEW

SMASH HIT ON BOTH SIDES OF THE ATLANTIC THAT INTRODUCED A NEW GENERATION OF MUSIC FANS TO

ATLANTIC THAT INTRODUCED A NEW GENERATION OF MUSIC FANS TO BOWIE.

GENERATION OF MUSIC FANS TO BOWIE. IT WAS THE BEST-SELLING RECORD

BOWIE. IT WAS THE BEST-SELLING RECORD OF DAVID'S CAREER, BUT IT CAME

IT WAS THE BEST-SELLING RECORD OF DAVID'S CAREER, BUT IT CAME AT A PRICE AS MANY OF DAVID'S

OF DAVID'S CAREER, BUT IT CAME AT A PRICE AS MANY OF DAVID'S LONG-TIME FANS FELT ABANDONED

AT A PRICE AS MANY OF DAVID'S LONG-TIME FANS FELT ABANDONED AND ACCUSED DAVID OF SELLING

LONG-TIME FANS FELT ABANDONED AND ACCUSED DAVID OF SELLING OUT.

AND ACCUSED DAVID OF SELLING OUT. >> Bowie: I'VE ONLY REALLY

OUT. >> Bowie: I'VE ONLY REALLY EXPERIENCED COMMERCIAL SUCCESS

>> Bowie: I'VE ONLY REALLY EXPERIENCED COMMERCIAL SUCCESS WITH "LET'S DANCE," AND THAT

EXPERIENCED COMMERCIAL SUCCESS WITH "LET'S DANCE," AND THAT CAME RIGHT OUT OF THE BLUE.

WITH "LET'S DANCE," AND THAT CAME RIGHT OUT OF THE BLUE. I DON'T BEGRUDGE ANY ARTIST FOR

CAME RIGHT OUT OF THE BLUE. I DON'T BEGRUDGE ANY ARTIST FOR GETTING AN AUDIENCE.

I DON'T BEGRUDGE ANY ARTIST FOR GETTING AN AUDIENCE. I'M SORRY, I NEVER FOUND THAT

GETTING AN AUDIENCE. I'M SORRY, I NEVER FOUND THAT POVERTY MEANT PURITY.

I'M SORRY, I NEVER FOUND THAT POVERTY MEANT PURITY. THAT'S RUBBISH.

>> Kandell: I'M SURE THERE WERE PURISTS WHO WERE, LIKE, "OKAY, WELL, HE'S SELLING OUT NOW."

PURISTS WHO WERE, LIKE, "OKAY, WELL, HE'S SELLING OUT NOW." BUT I THINK WHEN EVERY OTHER

WELL, HE'S SELLING OUT NOW." BUT I THINK WHEN EVERY OTHER PERSON ON MTV IS WEARING A TON

BUT I THINK WHEN EVERY OTHER PERSON ON MTV IS WEARING A TON OF ROUGE AND MASCARA AND DRESSES

PERSON ON MTV IS WEARING A TON OF ROUGE AND MASCARA AND DRESSES AND HE COMES OUT WEARING, LIKE,

OF ROUGE AND MASCARA AND DRESSES AND HE COMES OUT WEARING, LIKE, A YELLOW SUIT WITH, YOU KNOW,

A YELLOW SUIT WITH, YOU KNOW, THE UNDONE POLKA-DOT BOWTIE, IN ITS OWN SENSE, THAT'S KIND OF

THE UNDONE POLKA-DOT BOWTIE, IN ITS OWN SENSE, THAT'S KIND OF PUNK ROCK, TOO, BECAUSE HE'S

ITS OWN SENSE, THAT'S KIND OF PUNK ROCK, TOO, BECAUSE HE'S SORT OF, AGAIN--AGAIN IS ZIGGING

PUNK ROCK, TOO, BECAUSE HE'S SORT OF, AGAIN--AGAIN IS ZIGGING WHERE EVERYONE ZAGS.

SORT OF, AGAIN--AGAIN IS ZIGGING WHERE EVERYONE ZAGS. >> Narrator: TO CAPITALIZE ON

WHERE EVERYONE ZAGS. >> Narrator: TO CAPITALIZE ON THE MOMENT, BOWIE HIT THE ROAD

>> Narrator: TO CAPITALIZE ON THE MOMENT, BOWIE HIT THE ROAD WITH THE SERIOUS MOONLIGHT TOUR,

THE MOMENT, BOWIE HIT THE ROAD WITH THE SERIOUS MOONLIGHT TOUR, A TOP-GROSSING SHOW THAT SOLD

WITH THE SERIOUS MOONLIGHT TOUR, A TOP-GROSSING SHOW THAT SOLD OUT ARENAS COAST TO COAST.

A TOP-GROSSING SHOW THAT SOLD OUT ARENAS COAST TO COAST. SADLY, IT WAS THE HIGH POINT OF

OUT ARENAS COAST TO COAST. SADLY, IT WAS THE HIGH POINT OF THE DECADE, AS THE REST OF THE

SADLY, IT WAS THE HIGH POINT OF THE DECADE, AS THE REST OF THE '80s FOUND BOWIE LACKING AN

THE DECADE, AS THE REST OF THE '80s FOUND BOWIE LACKING AN ARTISTIC DIRECTION.

'80s FOUND BOWIE LACKING AN ARTISTIC DIRECTION. >> Farber: WELL, YOU KNOW, IT

ARTISTIC DIRECTION. >> Farber: WELL, YOU KNOW, IT WASN'T SUCH A GREAT PERIOD,

>> Farber: WELL, YOU KNOW, IT WASN'T SUCH A GREAT PERIOD, TO BE HONEST.

WASN'T SUCH A GREAT PERIOD, TO BE HONEST. IT WAS A VERY COMMERCIAL PERIOD,

TO BE HONEST. IT WAS A VERY COMMERCIAL PERIOD, VERY, VERY SLICK, COMMERCIAL

IT WAS A VERY COMMERCIAL PERIOD, VERY, VERY SLICK, COMMERCIAL MTV WORLD.

VERY, VERY SLICK, COMMERCIAL MTV WORLD. A LOT OF THESE ARTISTS,

MTV WORLD. A LOT OF THESE ARTISTS, PARTICULARLY THE ONES FROM THE--

A LOT OF THESE ARTISTS, PARTICULARLY THE ONES FROM THE-- FROM THE '60s, I THINK THEY

PARTICULARLY THE ONES FROM THE-- FROM THE '60s, I THINK THEY DIDN'T REALLY KNOW QUITE HOW TO

FROM THE '60s, I THINK THEY DIDN'T REALLY KNOW QUITE HOW TO FIND THEIR WAY IN THAT.

DIDN'T REALLY KNOW QUITE HOW TO FIND THEIR WAY IN THAT. >> Collis: IT WAS PRETTY GRIM.

FIND THEIR WAY IN THAT. >> Collis: IT WAS PRETTY GRIM. I MEAN, AROUND THE WHOLE TIME,

>> Collis: IT WAS PRETTY GRIM. I MEAN, AROUND THE WHOLE TIME, YOU REALLY HAVE THE SENSE OF

I MEAN, AROUND THE WHOLE TIME, YOU REALLY HAVE THE SENSE OF BOWIE KIND OF, YOU KNOW,

YOU REALLY HAVE THE SENSE OF BOWIE KIND OF, YOU KNOW, FLAILING AROUND.

BOWIE KIND OF, YOU KNOW, FLAILING AROUND. I MEAN, THE GUY HAD BEEN, YOU

FLAILING AROUND. I MEAN, THE GUY HAD BEEN, YOU KNOW, ON THE CUTTING EDGE FOR

I MEAN, THE GUY HAD BEEN, YOU KNOW, ON THE CUTTING EDGE FOR 20 YEARS.

KNOW, ON THE CUTTING EDGE FOR 20 YEARS. SO THERE'S GONNA COME A POINT IN

20 YEARS. SO THERE'S GONNA COME A POINT IN EVERYONE'S LIFE WHEN, YOU KNOW,

SO THERE'S GONNA COME A POINT IN EVERYONE'S LIFE WHEN, YOU KNOW, THEY'RE NOT ON THE CUTTING EDGE.

EVERYONE'S LIFE WHEN, YOU KNOW, THEY'RE NOT ON THE CUTTING EDGE. >> Narrator: IN AN EFFORT TO

THEY'RE NOT ON THE CUTTING EDGE. >> Narrator: IN AN EFFORT TO REDISCOVER HIS MUSE, DAVID

>> Narrator: IN AN EFFORT TO REDISCOVER HIS MUSE, DAVID WORKED ON SOME SOUNDTRACKS AND

REDISCOVER HIS MUSE, DAVID WORKED ON SOME SOUNDTRACKS AND APPEARED IN SEVERAL FILMS,

WORKED ON SOME SOUNDTRACKS AND APPEARED IN SEVERAL FILMS, INCLUDING MARTIN SCORSESE'S

APPEARED IN SEVERAL FILMS, INCLUDING MARTIN SCORSESE'S "THE LAST TEMPTATION OF CHRIST."

INCLUDING MARTIN SCORSESE'S "THE LAST TEMPTATION OF CHRIST." >> KILLING OR LOVING, IT'S ALL

"THE LAST TEMPTATION OF CHRIST." >> KILLING OR LOVING, IT'S ALL THE SAME.

>> KILLING OR LOVING, IT'S ALL THE SAME. IT SIMPLY DOESN'T MATTER HOW YOU

THE SAME. IT SIMPLY DOESN'T MATTER HOW YOU WANT TO CHANGE THINGS.

IT SIMPLY DOESN'T MATTER HOW YOU WANT TO CHANGE THINGS. WE DON'T WANT THEM CHANGED.

WANT TO CHANGE THINGS. WE DON'T WANT THEM CHANGED. >> Narrator: HE ALSO APPEARED IN

WE DON'T WANT THEM CHANGED. >> Narrator: HE ALSO APPEARED IN JIM HENSON'S "LABYRINTH."

>> Narrator: HE ALSO APPEARED IN JIM HENSON'S "LABYRINTH." >> AND SHE'LL SOON GIVE UP WHEN

JIM HENSON'S "LABYRINTH." >> AND SHE'LL SOON GIVE UP WHEN SHE REALIZES SHE HAS TO START

>> AND SHE'LL SOON GIVE UP WHEN SHE REALIZES SHE HAS TO START ALL OVER AGAIN.

SHE REALIZES SHE HAS TO START ALL OVER AGAIN. (laughs)

ALL OVER AGAIN. (laughs) WELL? LAUGH.

(laughs) WELL? LAUGH. (laughter)

WELL? LAUGH. (laughter) >> Narrator: IN A DESPERATE

(laughter) >> Narrator: IN A DESPERATE ATTEMPT TO SHAKE HIMSELF OUT OF

>> Narrator: IN A DESPERATE ATTEMPT TO SHAKE HIMSELF OUT OF HIS FUNK, IN 1989, DAVID PUT

ATTEMPT TO SHAKE HIMSELF OUT OF HIS FUNK, IN 1989, DAVID PUT TOGETHER A BAND CALLED TIN

HIS FUNK, IN 1989, DAVID PUT TOGETHER A BAND CALLED TIN MACHINE, A COLLABORATIVE EFFORT

TOGETHER A BAND CALLED TIN MACHINE, A COLLABORATIVE EFFORT DESIGNED TO TAKE THE PRESSURE

MACHINE, A COLLABORATIVE EFFORT DESIGNED TO TAKE THE PRESSURE OFF BOWIE THE ROCK STAR.

DESIGNED TO TAKE THE PRESSURE OFF BOWIE THE ROCK STAR. >> Kandell: HE DID EVERYTHING HE

OFF BOWIE THE ROCK STAR. >> Kandell: HE DID EVERYTHING HE COULD TO TAKE HIMSELF OUT OF THE

>> Kandell: HE DID EVERYTHING HE COULD TO TAKE HIMSELF OUT OF THE SPOTLIGHT AND JUST BE ONE OF

COULD TO TAKE HIMSELF OUT OF THE SPOTLIGHT AND JUST BE ONE OF THE BOYS.

SPOTLIGHT AND JUST BE ONE OF THE BOYS. PEOPLE HATED THOSE RECORDS.

THE BOYS. PEOPLE HATED THOSE RECORDS. PEOPLE I THINK THOUGHT THAT,

PEOPLE HATED THOSE RECORDS. PEOPLE I THINK THOUGHT THAT, LIKE, YOU'RE THE MOST

PEOPLE I THINK THOUGHT THAT, LIKE, YOU'RE THE MOST CHARISMATIC GUY IN THE WORLD.

LIKE, YOU'RE THE MOST CHARISMATIC GUY IN THE WORLD. LIKE, WHY DO YOU JUST WANT TO BE

CHARISMATIC GUY IN THE WORLD. LIKE, WHY DO YOU JUST WANT TO BE ONE OF THE DUDES?

LIKE, WHY DO YOU JUST WANT TO BE ONE OF THE DUDES? >> Levy: I SUPPOSE AT THE MOMENT

ONE OF THE DUDES? >> Levy: I SUPPOSE AT THE MOMENT IN THE '80s WHEN BOWIE RECORDS

>> Levy: I SUPPOSE AT THE MOMENT IN THE '80s WHEN BOWIE RECORDS THE TIN MACHINE RECORDS, THERE'S

IN THE '80s WHEN BOWIE RECORDS THE TIN MACHINE RECORDS, THERE'S A SLIGHT SIMILARITY TO THAT

THE TIN MACHINE RECORDS, THERE'S A SLIGHT SIMILARITY TO THAT MOMENT IN THE '70s WHEN BOWIE

A SLIGHT SIMILARITY TO THAT MOMENT IN THE '70s WHEN BOWIE KILLS OFF THE ZIGGY STARDUST

MOMENT IN THE '70s WHEN BOWIE KILLS OFF THE ZIGGY STARDUST CHARACTER, ONLY THE CHARACTER

KILLS OFF THE ZIGGY STARDUST CHARACTER, ONLY THE CHARACTER HE'S KILLING OFF THIS TIME IS

CHARACTER, ONLY THE CHARACTER HE'S KILLING OFF THIS TIME IS DAVID BOWIE, AND WEIRDLY ENOUGH,

HE'S KILLING OFF THIS TIME IS DAVID BOWIE, AND WEIRDLY ENOUGH, THAT'S THE CHARACTER THAT'S RUN

DAVID BOWIE, AND WEIRDLY ENOUGH, THAT'S THE CHARACTER THAT'S RUN ITS COURSE.

THAT'S THE CHARACTER THAT'S RUN ITS COURSE. YOU KNOW, LIKE EVERYBODY ELSE

ITS COURSE. YOU KNOW, LIKE EVERYBODY ELSE IN THE '80s, BOWIE GOT LOST.

YOU KNOW, LIKE EVERYBODY ELSE IN THE '80s, BOWIE GOT LOST. >> Narrator: AT THE DAWN OF THE

IN THE '80s, BOWIE GOT LOST. >> Narrator: AT THE DAWN OF THE 1990s, DAVID ANNOUNCED THE SOUND

>> Narrator: AT THE DAWN OF THE 1990s, DAVID ANNOUNCED THE SOUND AND VISION WORLD TOUR, A SHOW

1990s, DAVID ANNOUNCED THE SOUND AND VISION WORLD TOUR, A SHOW BILLED AS THE VERY LAST TIME

AND VISION WORLD TOUR, A SHOW BILLED AS THE VERY LAST TIME BOWIE WOULD PLAY HIS OLD SONGS

BILLED AS THE VERY LAST TIME BOWIE WOULD PLAY HIS OLD SONGS LIVE.

BOWIE WOULD PLAY HIS OLD SONGS LIVE. FOUR DECADES INTO HIS CAREER,

LIVE. FOUR DECADES INTO HIS CAREER, BOWIE FELT THE ONLY WAY TO MOVE

FOUR DECADES INTO HIS CAREER, BOWIE FELT THE ONLY WAY TO MOVE FORWARD WAS TO COMPLETELY BREAK

BOWIE FELT THE ONLY WAY TO MOVE FORWARD WAS TO COMPLETELY BREAK WITH HIS PAST.

>> Narrator: AFTER STARTING THE DECADE OFF WITH "LET'S DANCE," THE BIGGEST SUCCESS OF HIS

DECADE OFF WITH "LET'S DANCE," THE BIGGEST SUCCESS OF HIS CAREER, DAVID BOWIE SPENT THE

THE BIGGEST SUCCESS OF HIS CAREER, DAVID BOWIE SPENT THE REST OF THE 1980s IN A CREATIVE

CAREER, DAVID BOWIE SPENT THE REST OF THE 1980s IN A CREATIVE WILDERNESS.

REST OF THE 1980s IN A CREATIVE WILDERNESS. THE TIN MACHINE EXPERIMENT WAS

WILDERNESS. THE TIN MACHINE EXPERIMENT WAS MORE FIZZLE THAN POP, AND THE

THE TIN MACHINE EXPERIMENT WAS MORE FIZZLE THAN POP, AND THE BAND BROKE UP IN 1992.

MORE FIZZLE THAN POP, AND THE BAND BROKE UP IN 1992. AROUND THE SAME TIME, BOWIE

BAND BROKE UP IN 1992. AROUND THE SAME TIME, BOWIE RECEIVED AN UNEXPECTED SHOT IN

AROUND THE SAME TIME, BOWIE RECEIVED AN UNEXPECTED SHOT IN THE ARM WHEN A MUTUAL FRIEND

RECEIVED AN UNEXPECTED SHOT IN THE ARM WHEN A MUTUAL FRIEND INTRODUCED HIM TO SOMALIAN

THE ARM WHEN A MUTUAL FRIEND INTRODUCED HIM TO SOMALIAN SUPERMODEL IMAN.

INTRODUCED HIM TO SOMALIAN SUPERMODEL IMAN. THE TWO HIT IT OFF IMMEDIATELY

SUPERMODEL IMAN. THE TWO HIT IT OFF IMMEDIATELY AND WERE MARRIED ON APRIL 24,

THE TWO HIT IT OFF IMMEDIATELY AND WERE MARRIED ON APRIL 24, 1992.

AND WERE MARRIED ON APRIL 24, 1992. >> Bowie: THERE'S NOTHING ABOUT

1992. >> Bowie: THERE'S NOTHING ABOUT HER I DON'T LOVE.

>> Bowie: THERE'S NOTHING ABOUT HER I DON'T LOVE. SHE'S LOVING.

HER I DON'T LOVE. SHE'S LOVING. SHE'S SENSITIVE.

SHE'S LOVING. SHE'S SENSITIVE. SHE'S SEXY AS HELL.

SHE'S SENSITIVE. SHE'S SEXY AS HELL. I DON'T KNOW, YOU KNOW, I LOVE

SHE'S SEXY AS HELL. I DON'T KNOW, YOU KNOW, I LOVE HER.

I DON'T KNOW, YOU KNOW, I LOVE HER. >> Narrator: FANS MAY NOT HAVE

HER. >> Narrator: FANS MAY NOT HAVE RECOGNIZED IT, BUT MANY CLOSE

>> Narrator: FANS MAY NOT HAVE RECOGNIZED IT, BUT MANY CLOSE TO DAVID CREDITED IMAN AS THE

RECOGNIZED IT, BUT MANY CLOSE TO DAVID CREDITED IMAN AS THE STABILIZING FORCE HE NEEDED TO

TO DAVID CREDITED IMAN AS THE STABILIZING FORCE HE NEEDED TO GET BACK ON COURSE.

>> Drew: DAVID BOWIE HAS REALLY RELAXED AFTER HE MARRIED IMAN. IN THAT TIME FRAME, HE'S PUT OUT

RELAXED AFTER HE MARRIED IMAN. IN THAT TIME FRAME, HE'S PUT OUT SOME MUSIC.

IN THAT TIME FRAME, HE'S PUT OUT SOME MUSIC. HE'S DONE SOME THINGS, BUT HE'S

SOME MUSIC. HE'S DONE SOME THINGS, BUT HE'S NOT AS MUCH OF ON A TIME CRUNCH.

HE'S DONE SOME THINGS, BUT HE'S NOT AS MUCH OF ON A TIME CRUNCH. HE'S SORT OF BURNED THROUGH

NOT AS MUCH OF ON A TIME CRUNCH. HE'S SORT OF BURNED THROUGH EVERYTHING.

HE'S SORT OF BURNED THROUGH EVERYTHING. THERE'S REALLY NOWHERE ELSE HE

EVERYTHING. THERE'S REALLY NOWHERE ELSE HE CAN TURN, AND A LOT OF WHAT HE'S

THERE'S REALLY NOWHERE ELSE HE CAN TURN, AND A LOT OF WHAT HE'S DOING NOW ARE BUSINESS

CAN TURN, AND A LOT OF WHAT HE'S DOING NOW ARE BUSINESS DECISIONS.

DOING NOW ARE BUSINESS DECISIONS. >> Levy: WHAT HAPPENS TO BOWIE

DECISIONS. >> Levy: WHAT HAPPENS TO BOWIE IN THE '90s IS HE BECOMES AT

>> Levy: WHAT HAPPENS TO BOWIE IN THE '90s IS HE BECOMES AT LEAST AS INTERESTED, IF NOT

IN THE '90s IS HE BECOMES AT LEAST AS INTERESTED, IF NOT MORE, IN THE FINANCIAL ASPECTS

LEAST AS INTERESTED, IF NOT MORE, IN THE FINANCIAL ASPECTS OF WHAT HE'S DOING AS THE

MORE, IN THE FINANCIAL ASPECTS OF WHAT HE'S DOING AS THE ARTISTIC ASPECTS BUT, WEIRDLY,

OF WHAT HE'S DOING AS THE ARTISTIC ASPECTS BUT, WEIRDLY, MAKES AN ART OUT OF IT.

ARTISTIC ASPECTS BUT, WEIRDLY, MAKES AN ART OUT OF IT. >> Narrator: REALIZING THAT HIS

>> Narrator: REALIZING THAT HIS 30 YEARS' OF WORK WAS WORTH A MINT, DAVID RETRACTED HIS VOW

30 YEARS' OF WORK WAS WORTH A MINT, DAVID RETRACTED HIS VOW TO RETIRE HIS OLD SONGS AND

MINT, DAVID RETRACTED HIS VOW TO RETIRE HIS OLD SONGS AND INSTEAD MADE A MOVE TO

TO RETIRE HIS OLD SONGS AND INSTEAD MADE A MOVE TO CAPITALIZE ON THEM IN AN

INSTEAD MADE A MOVE TO CAPITALIZE ON THEM IN AN UNREPRESENTED GAMBLE.

CAPITALIZE ON THEM IN AN UNREPRESENTED GAMBLE. IN ADDITION TO PERFORMING HIS

UNREPRESENTED GAMBLE. IN ADDITION TO PERFORMING HIS CLASSICS AGAIN, IN 1995, HE

IN ADDITION TO PERFORMING HIS CLASSICS AGAIN, IN 1995, HE INTRODUCED BOWIE BONDS, A WAY OF

CLASSICS AGAIN, IN 1995, HE INTRODUCED BOWIE BONDS, A WAY OF SELLING A STAKE IN FUTURE

INTRODUCED BOWIE BONDS, A WAY OF SELLING A STAKE IN FUTURE EARNINGS ON HIS BACK-CATALOG CD

SELLING A STAKE IN FUTURE EARNINGS ON HIS BACK-CATALOG CD SALES.

EARNINGS ON HIS BACK-CATALOG CD SALES. IN OTHER WORDS, WALL STREET

SALES. IN OTHER WORDS, WALL STREET INVESTORS COULD OWN A PIECE OF

IN OTHER WORDS, WALL STREET INVESTORS COULD OWN A PIECE OF ZIGGY STARDUST.

INVESTORS COULD OWN A PIECE OF ZIGGY STARDUST. >> Levy: APPARENTLY, THEY PAY

ZIGGY STARDUST. >> Levy: APPARENTLY, THEY PAY DIVIDENDS ON FUTURE EARNINGS OF

>> Levy: APPARENTLY, THEY PAY DIVIDENDS ON FUTURE EARNINGS OF PUBLISHING ROYALTIES OR

DIVIDENDS ON FUTURE EARNINGS OF PUBLISHING ROYALTIES OR SOMETHING, BUT HE RAISES AN

PUBLISHING ROYALTIES OR SOMETHING, BUT HE RAISES AN AWFUL LOT OF CAPITAL DOING IT

SOMETHING, BUT HE RAISES AN AWFUL LOT OF CAPITAL DOING IT AND BECOMES THE FIRST ARTIST TO

AWFUL LOT OF CAPITAL DOING IT AND BECOMES THE FIRST ARTIST TO ISSUE HIS OWN FINANCIAL

AND BECOMES THE FIRST ARTIST TO ISSUE HIS OWN FINANCIAL INSTRUMENT.

ISSUE HIS OWN FINANCIAL INSTRUMENT. THERE IS A LITTLE BIT OF

INSTRUMENT. THERE IS A LITTLE BIT OF PERFORMANCE ART TO THAT,

THERE IS A LITTLE BIT OF PERFORMANCE ART TO THAT, LITERALLY TURNING HIMSELF INTO

PERFORMANCE ART TO THAT, LITERALLY TURNING HIMSELF INTO MONEY.

LITERALLY TURNING HIMSELF INTO MONEY. >> Narrator: AT THE TURN OF THE

MONEY. >> Narrator: AT THE TURN OF THE CENTURY, DAVID WAS COMING TO

>> Narrator: AT THE TURN OF THE CENTURY, DAVID WAS COMING TO TERMS WITH HIS PAST AND LOOKING

CENTURY, DAVID WAS COMING TO TERMS WITH HIS PAST AND LOOKING TO THE FUTURE.

TERMS WITH HIS PAST AND LOOKING TO THE FUTURE. IN 2000, AFTER YEARS OF TRYING,

TO THE FUTURE. IN 2000, AFTER YEARS OF TRYING, DAVID AND IMAN BECAME PROUD

IN 2000, AFTER YEARS OF TRYING, DAVID AND IMAN BECAME PROUD PARENTS OF ALEXANDRA ZAHRA

DAVID AND IMAN BECAME PROUD PARENTS OF ALEXANDRA ZAHRA BOWIE.

PARENTS OF ALEXANDRA ZAHRA BOWIE. THE 53-YEAR-OLD FATHER VOWED TO

BOWIE. THE 53-YEAR-OLD FATHER VOWED TO BE INVOLVED IN HIS DAUGHTER'S

THE 53-YEAR-OLD FATHER VOWED TO BE INVOLVED IN HIS DAUGHTER'S LIFE IN A WAY HE COULDN'T BE FOR

BE INVOLVED IN HIS DAUGHTER'S LIFE IN A WAY HE COULDN'T BE FOR HIS SON, JOEY.

LIFE IN A WAY HE COULDN'T BE FOR HIS SON, JOEY. >> Drew: DAVID HAS REALLY

HIS SON, JOEY. >> Drew: DAVID HAS REALLY DECIDED TO CHERISH, AS HIS

>> Drew: DAVID HAS REALLY DECIDED TO CHERISH, AS HIS LATEST ACT, BEING A HOUSE

DECIDED TO CHERISH, AS HIS LATEST ACT, BEING A HOUSE HUSBAND AND BEING A FATHER,

LATEST ACT, BEING A HOUSE HUSBAND AND BEING A FATHER, WHICH HE DIDN'T GET TO DO IN THE

HUSBAND AND BEING A FATHER, WHICH HE DIDN'T GET TO DO IN THE '70s WHEN HE WAS AT HIS PRIME.

WHICH HE DIDN'T GET TO DO IN THE '70s WHEN HE WAS AT HIS PRIME. HE WAS AT--THE BIGGEST THING IN

'70s WHEN HE WAS AT HIS PRIME. HE WAS AT--THE BIGGEST THING IN THE WORLD.

HE WAS AT--THE BIGGEST THING IN THE WORLD. HE WAS TOURING EVERYWHERE.

THE WORLD. HE WAS TOURING EVERYWHERE. NOW HE ACTUALLY CAN REFLECT

HE WAS TOURING EVERYWHERE. NOW HE ACTUALLY CAN REFLECT HAVING DONE IT ALL, AND IT'S

NOW HE ACTUALLY CAN REFLECT HAVING DONE IT ALL, AND IT'S ALLOWED HIM TO PLAY THE ROLE OF

HAVING DONE IT ALL, AND IT'S ALLOWED HIM TO PLAY THE ROLE OF THE FATHER.

ALLOWED HIM TO PLAY THE ROLE OF THE FATHER. IT'S ALLOWED HIM TO PLAY THE

THE FATHER. IT'S ALLOWED HIM TO PLAY THE ROLE OF THE DOTING HUSBAND.

>> Collis: I THINK, ODDLY, THE IMAGE OF DAVID BOWIE TODAY IS-- IS THAT OF AN ORDINARY GUY OR

IMAGE OF DAVID BOWIE TODAY IS-- IS THAT OF AN ORDINARY GUY OR AS ORDINARY A GUY AS SOMEONE

IS THAT OF AN ORDINARY GUY OR AS ORDINARY A GUY AS SOMEONE LIKE DAVID BOWIE'S EVER GONNA

AS ORDINARY A GUY AS SOMEONE LIKE DAVID BOWIE'S EVER GONNA BE.

LIKE DAVID BOWIE'S EVER GONNA BE. HE'S MARRIED.

HE'S MARRIED. HE HAS KIDS. I MEAN, HE'S GOT MORE MONEY THAN

HE HAS KIDS. I MEAN, HE'S GOT MORE MONEY THAN GOD, BUT HE, YOU KNOW, LIVES--

I MEAN, HE'S GOT MORE MONEY THAN GOD, BUT HE, YOU KNOW, LIVES-- SEEMS TO LIVE AS ORDINARY A LIFE

GOD, BUT HE, YOU KNOW, LIVES-- SEEMS TO LIVE AS ORDINARY A LIFE AS, YOU KNOW, YOU COULD IMAGINE.

SEEMS TO LIVE AS ORDINARY A LIFE AS, YOU KNOW, YOU COULD IMAGINE. >> Narrator: BY 2001, THE GLAM

AS, YOU KNOW, YOU COULD IMAGINE. >> Narrator: BY 2001, THE GLAM GOD OF ROCK HAD FINALLY SETTLED

>> Narrator: BY 2001, THE GLAM GOD OF ROCK HAD FINALLY SETTLED DOWN WITH HIS FAMILY IN NEW YORK

GOD OF ROCK HAD FINALLY SETTLED DOWN WITH HIS FAMILY IN NEW YORK CITY.

DOWN WITH HIS FAMILY IN NEW YORK CITY. >> Drew: BOWIE ADOPTED LIVING IN

CITY. >> Drew: BOWIE ADOPTED LIVING IN NEW YORK CITY.

>> Drew: BOWIE ADOPTED LIVING IN NEW YORK CITY. NEW YORK CITY ADOPTED HIM.

NEW YORK CITY. NEW YORK CITY ADOPTED HIM. WHEREAS MOST PEOPLE HAVE THESE

NEW YORK CITY ADOPTED HIM. WHEREAS MOST PEOPLE HAVE THESE ELABORATE HOMES EVERYWHERE ELSE

WHEREAS MOST PEOPLE HAVE THESE ELABORATE HOMES EVERYWHERE ELSE AND ARE CONSTANTLY TRAVELING TO

ELABORATE HOMES EVERYWHERE ELSE AND ARE CONSTANTLY TRAVELING TO TRY TO GET AWAY, NEW YORK REALLY

AND ARE CONSTANTLY TRAVELING TO TRY TO GET AWAY, NEW YORK REALLY SEEMS TO BE A HOME BASE FOR HIM.

TRY TO GET AWAY, NEW YORK REALLY SEEMS TO BE A HOME BASE FOR HIM. (explosion)

SEEMS TO BE A HOME BASE FOR HIM. (explosion) (siren wailing)

>> Narrator: WHEN NEW YORK CITY WAS ATTACKED ON SEPTEMBER 11, 2001, IT DEEPLY AFFECTED BOWIE.

WAS ATTACKED ON SEPTEMBER 11, 2001, IT DEEPLY AFFECTED BOWIE. ALMOST IMMEDIATELY, HE SIGNED ON

2001, IT DEEPLY AFFECTED BOWIE. ALMOST IMMEDIATELY, HE SIGNED ON TO A 9/11 BENEFIT CONCERT.

ALMOST IMMEDIATELY, HE SIGNED ON TO A 9/11 BENEFIT CONCERT. AFTER A CAREER OF OVER-THE-TOP

TO A 9/11 BENEFIT CONCERT. AFTER A CAREER OF OVER-THE-TOP THEATRICS AND BOUNDARY-PUSHING

AFTER A CAREER OF OVER-THE-TOP THEATRICS AND BOUNDARY-PUSHING PERSONAS, FANS FELT THEY KNEW

THEATRICS AND BOUNDARY-PUSHING PERSONAS, FANS FELT THEY KNEW WHAT TO EXPECT FROM A BOWIE

PERSONAS, FANS FELT THEY KNEW WHAT TO EXPECT FROM A BOWIE PERFORMANCE.

WHAT TO EXPECT FROM A BOWIE PERFORMANCE. HOWEVER, AS THE BENEFIT KICKED

PERFORMANCE. HOWEVER, AS THE BENEFIT KICKED OFF, AUDIENCES WERE SHOCKED TO

HOWEVER, AS THE BENEFIT KICKED OFF, AUDIENCES WERE SHOCKED TO SEE BOWIE ALONE ON STAGE

OFF, AUDIENCES WERE SHOCKED TO SEE BOWIE ALONE ON STAGE UNMASKED AND VULNERABLE.

>> Drew: WHEN HE DID THE CONCERT FOR 9/11, WE SUDDENLY SAW A RAW, STRIPPED-DOWN BOWIE AT A TIME

FOR 9/11, WE SUDDENLY SAW A RAW, STRIPPED-DOWN BOWIE AT A TIME WHEN THE COUNTRY WAS THE MOST

STRIPPED-DOWN BOWIE AT A TIME WHEN THE COUNTRY WAS THE MOST VULNERABLE.

WHEN THE COUNTRY WAS THE MOST VULNERABLE. WE SAW VULNERABLE BOWIE, AND HE

WE SAW VULNERABLE BOWIE, AND HE REALLY MIRRORED ALL OF US. >> Levy: THE CONCERT FOR NEW

REALLY MIRRORED ALL OF US. >> Levy: THE CONCERT FOR NEW YORK, BOWIE HAS A GROUNDED, "I

>> Levy: THE CONCERT FOR NEW YORK, BOWIE HAS A GROUNDED, "I AM A MAN, I AM HERE" QUALITY

YORK, BOWIE HAS A GROUNDED, "I AM A MAN, I AM HERE" QUALITY WITHOUT SPECTACLE, WHICH HE'D

AM A MAN, I AM HERE" QUALITY WITHOUT SPECTACLE, WHICH HE'D MADE SO MUCH A PART OF HIS LIFE.

>> Kandell: I THINK WHAT THAT READS TO ME--IT'S CITIZEN BOWIE. YOU KNOW, IT IS HIM SORT OF

READS TO ME--IT'S CITIZEN BOWIE. YOU KNOW, IT IS HIM SORT OF WITHOUT THE TRAPPINGS AND IT

YOU KNOW, IT IS HIM SORT OF WITHOUT THE TRAPPINGS AND IT BEING ABOUT THE CITY HE LIVED

WITHOUT THE TRAPPINGS AND IT BEING ABOUT THE CITY HE LIVED IN.

BEING ABOUT THE CITY HE LIVED IN. MAYBE THAT'S WHY IT RESONATED.

MAYBE THAT'S WHY IT RESONATED. IT WAS SORT OF THE MOST INTERESTING SKIN HE COULD PUT ON

IT WAS SORT OF THE MOST INTERESTING SKIN HE COULD PUT ON NEXT WAS JUST BEING ONE OF US.

INTERESTING SKIN HE COULD PUT ON NEXT WAS JUST BEING ONE OF US. >> Narrator: AFTER A CAREER OF

NEXT WAS JUST BEING ONE OF US. >> Narrator: AFTER A CAREER OF HIDING IN THE OPEN, THE ALIEN

>> Narrator: AFTER A CAREER OF HIDING IN THE OPEN, THE ALIEN ROCK STAR FELL TO EARTH.

HIDING IN THE OPEN, THE ALIEN ROCK STAR FELL TO EARTH. WITH HIS MASK FINALLY REMOVED,

ROCK STAR FELL TO EARTH. WITH HIS MASK FINALLY REMOVED, DAVID SHOWED HE WAS HUMAN AFTER

WITH HIS MASK FINALLY REMOVED, DAVID SHOWED HE WAS HUMAN AFTER ALL.

>> O'Brien: BOWIE HAS, AT TIMES, YOU KNOW, KIND OF LET PEOPLE BEHIND THE--BEHIND THE MASK TO

YOU KNOW, KIND OF LET PEOPLE BEHIND THE--BEHIND THE MASK TO SEE THE REAL--YOU KNOW, THE REAL

BEHIND THE--BEHIND THE MASK TO SEE THE REAL--YOU KNOW, THE REAL GUY, BUT AGAIN, THAT'S ONE OF

SEE THE REAL--YOU KNOW, THE REAL GUY, BUT AGAIN, THAT'S ONE OF MANY CHARACTERS, I THINK.

GUY, BUT AGAIN, THAT'S ONE OF MANY CHARACTERS, I THINK. >> Narrator: RE-ENERGIZED, BOWIE

>> Narrator: RE-ENERGIZED, BOWIE BEGAN TOURING AND RELEASED TWO RECORDS, BOTH HAILED AS HIS BEST

BEGAN TOURING AND RELEASED TWO RECORDS, BOTH HAILED AS HIS BEST SINCE THE EARLY 1980s.

RECORDS, BOTH HAILED AS HIS BEST SINCE THE EARLY 1980s. HOWEVER, BOWIE'S CAREER

SINCE THE EARLY 1980s. HOWEVER, BOWIE'S CAREER RESURGENCE WAS SUDDENLY

HOWEVER, BOWIE'S CAREER RESURGENCE WAS SUDDENLY INTERRUPTED IN JUNE OF 2004 WHEN

RESURGENCE WAS SUDDENLY INTERRUPTED IN JUNE OF 2004 WHEN THE 57-YEAR-OLD SUFFERED A HEART

INTERRUPTED IN JUNE OF 2004 WHEN THE 57-YEAR-OLD SUFFERED A HEART ATTACK BACKSTAGE AT A SHOW IN

THE 57-YEAR-OLD SUFFERED A HEART ATTACK BACKSTAGE AT A SHOW IN GERMANY.

ATTACK BACKSTAGE AT A SHOW IN GERMANY. HE WAS RUSHED TO A HOSPITAL,

GERMANY. HE WAS RUSHED TO A HOSPITAL, WHERE HE UNDERWENT LIFE-SAVING

HE WAS RUSHED TO A HOSPITAL, WHERE HE UNDERWENT LIFE-SAVING SURGERY.

WHERE HE UNDERWENT LIFE-SAVING SURGERY. (siren wails)

SURGERY. (siren wails) >> Levy: TALK ABOUT GIVING IT UP

(siren wails) >> Levy: TALK ABOUT GIVING IT UP FOR THE ART, BOWIE HAD HAD A

>> Levy: TALK ABOUT GIVING IT UP FOR THE ART, BOWIE HAD HAD A MAJOR HEALTH EPISODE WHILE ON

FOR THE ART, BOWIE HAD HAD A MAJOR HEALTH EPISODE WHILE ON TOUR, FAR MORE MAJOR THAN HE LET

MAJOR HEALTH EPISODE WHILE ON TOUR, FAR MORE MAJOR THAN HE LET ON AT THE TIME.

TOUR, FAR MORE MAJOR THAN HE LET ON AT THE TIME. YOU SUFFER A MAJOR HEALTH

ON AT THE TIME. YOU SUFFER A MAJOR HEALTH EPISODE OUT ON THE ROAD, YOUR

YOU SUFFER A MAJOR HEALTH EPISODE OUT ON THE ROAD, YOUR FAMILY STARTS TO MEAN A LOT MORE

EPISODE OUT ON THE ROAD, YOUR FAMILY STARTS TO MEAN A LOT MORE RIGHT QUICK.

FAMILY STARTS TO MEAN A LOT MORE RIGHT QUICK. >> Narrator: DAVID HAD LONG AGO

RIGHT QUICK. >> Narrator: DAVID HAD LONG AGO QUIT DRUGS AND SIX MONTHS PRIOR

>> Narrator: DAVID HAD LONG AGO QUIT DRUGS AND SIX MONTHS PRIOR HAD DROPPED HIS 60-CIGARETTE-A-

QUIT DRUGS AND SIX MONTHS PRIOR HAD DROPPED HIS 60-CIGARETTE-A- DAY HABIT.

HAD DROPPED HIS 60-CIGARETTE-A- DAY HABIT. AFTER HIS HEART ATTACK, IMAN

DAY HABIT. AFTER HIS HEART ATTACK, IMAN FORCED HIM TO REFINE HIS DIET,

AFTER HIS HEART ATTACK, IMAN FORCED HIM TO REFINE HIS DIET, WHICH CONTRIBUTED TO HIS FULL

FORCED HIM TO REFINE HIS DIET, WHICH CONTRIBUTED TO HIS FULL RECOVERY.

WHICH CONTRIBUTED TO HIS FULL RECOVERY. WITH A NEW LEASE ON LIFE, BOWIE

RECOVERY. WITH A NEW LEASE ON LIFE, BOWIE BEGAN TO TAKE IT EASY AND HAVE

WITH A NEW LEASE ON LIFE, BOWIE BEGAN TO TAKE IT EASY AND HAVE A LAUGH, EVEN MAKING A CAMEO ON

BEGAN TO TAKE IT EASY AND HAVE A LAUGH, EVEN MAKING A CAMEO ON THE HBO HIT COMEDY "EXTRAS."

A LAUGH, EVEN MAKING A CAMEO ON THE HBO HIT COMEDY "EXTRAS." >> Collis: SO ON "EXTRAS," RICKY

THE HBO HIT COMEDY "EXTRAS." >> Collis: SO ON "EXTRAS," RICKY GERVAIS PLAYS THIS BRITISH GUY

>> Collis: SO ON "EXTRAS," RICKY GERVAIS PLAYS THIS BRITISH GUY WHO'S GOT A SUCCESSFUL SITCOM

GERVAIS PLAYS THIS BRITISH GUY WHO'S GOT A SUCCESSFUL SITCOM AND ENDS UP IN SOME, LIKE,

WHO'S GOT A SUCCESSFUL SITCOM AND ENDS UP IN SOME, LIKE, CELEBRITY-TYPE BAR, AND THERE'S

AND ENDS UP IN SOME, LIKE, CELEBRITY-TYPE BAR, AND THERE'S DAVID BOWIE WHO'S ONE OF, YOU

CELEBRITY-TYPE BAR, AND THERE'S DAVID BOWIE WHO'S ONE OF, YOU KNOW, RICKY GERVAIS' CHARACTER'S

DAVID BOWIE WHO'S ONE OF, YOU KNOW, RICKY GERVAIS' CHARACTER'S HEROES.

KNOW, RICKY GERVAIS' CHARACTER'S HEROES. >> WE WERE JUST SAYING THAT I'M

HEROES. >> WE WERE JUST SAYING THAT I'M AN ENTERTAINER, TOO.

>> WE WERE JUST SAYING THAT I'M AN ENTERTAINER, TOO. >> OH, YEAH?

AN ENTERTAINER, TOO. >> OH, YEAH? UM, WHAT DO YOU DO?

>> OH, YEAH? UM, WHAT DO YOU DO? >> I'M IN A SITCOM.

UM, WHAT DO YOU DO? >> I'M IN A SITCOM. >> IT'S CALLED "WHEN THE WHISTLE

>> I'M IN A SITCOM. >> IT'S CALLED "WHEN THE WHISTLE BLOWS."

>> IT'S CALLED "WHEN THE WHISTLE BLOWS." HAVE YOU SEEN IT?

BLOWS." HAVE YOU SEEN IT? >> I HAVEN'T, NO.

HAVE YOU SEEN IT? >> I HAVEN'T, NO. IS IT ANY GOOD?

>> I HAVEN'T, NO. IS IT ANY GOOD? >> NO, IT'S...!

IS IT ANY GOOD? >> NO, IT'S...! >> OH...

>> NO, IT'S...! >> OH... >> Collis: IN "EXTRAS" HE'S

>> OH... >> Collis: IN "EXTRAS" HE'S VERY, VERY FUNNY WHILE PLAYING

>> Collis: IN "EXTRAS" HE'S VERY, VERY FUNNY WHILE PLAYING DAVID BOWIE.

VERY, VERY FUNNY WHILE PLAYING DAVID BOWIE. WHAT'S GREAT THESE DAYS, I

DAVID BOWIE. WHAT'S GREAT THESE DAYS, I THINK, IS THAT DAVID BOWIE DOES

WHAT'S GREAT THESE DAYS, I THINK, IS THAT DAVID BOWIE DOES MAKE FUN OF HIMSELF.

>> Farber: ONLY HIS SHRINK KNOWS FOR SURE, BUT IT DOES SEEM LIKE HE'S MORE COMFORTABLE WITH

FOR SURE, BUT IT DOES SEEM LIKE HE'S MORE COMFORTABLE WITH HIMSELF.

HE'S MORE COMFORTABLE WITH HIMSELF. HE'S ABLE TO USE THE ROLES AS

HIMSELF. HE'S ABLE TO USE THE ROLES AS OPPOSED TO HIDING BEHIND THEM.

HE'S ABLE TO USE THE ROLES AS OPPOSED TO HIDING BEHIND THEM. HE CAN PLAY WITH THEM.

HE CAN PLAY WITH THEM. HE CAN TAKE OWNERSHIP OF THEM, PROBABLY, IN A WAY THAT HE NEVER

HE CAN TAKE OWNERSHIP OF THEM, PROBABLY, IN A WAY THAT HE NEVER COULD HAVE WHEN HE WAS YOUNGER.

PROBABLY, IN A WAY THAT HE NEVER COULD HAVE WHEN HE WAS YOUNGER. >> Narrator: IN HIS 60s, BOWIE

COULD HAVE WHEN HE WAS YOUNGER. >> Narrator: IN HIS 60s, BOWIE COMFORTABLY FILLED THE ROLE OF

>> Narrator: IN HIS 60s, BOWIE COMFORTABLY FILLED THE ROLE OF ELDER STATESMAN OF ROCK, A TRUE

COMFORTABLY FILLED THE ROLE OF ELDER STATESMAN OF ROCK, A TRUE ICON RESPECTED AND EMULATED BY

ELDER STATESMAN OF ROCK, A TRUE ICON RESPECTED AND EMULATED BY COUNTLESS PERFORMERS WHO HAVE

ICON RESPECTED AND EMULATED BY COUNTLESS PERFORMERS WHO HAVE FOLLOWED.

>> Loder: IT'S INTERESTING THAT WE LIVE IN A TIME WHEN ALL MUSIC IS AVAILABLE TO YOU ALL AT ONCE,

WE LIVE IN A TIME WHEN ALL MUSIC IS AVAILABLE TO YOU ALL AT ONCE, AND SO THIS IS A GREAT TIME TO

IS AVAILABLE TO YOU ALL AT ONCE, AND SO THIS IS A GREAT TIME TO BE 15 YEARS OLD.

AND SO THIS IS A GREAT TIME TO BE 15 YEARS OLD. EVERYTHING IS THERE.

EVERYTHING IS THERE. SO THERE ARE KIDS WHO ARE JUST NOW DISCOVERING THE ZIGGY

SO THERE ARE KIDS WHO ARE JUST NOW DISCOVERING THE ZIGGY STARDUST ALBUM, SAYING, "WHOA,

NOW DISCOVERING THE ZIGGY STARDUST ALBUM, SAYING, "WHOA, WHAT'S THIS?" YOU KNOW, 'CAUSE

STARDUST ALBUM, SAYING, "WHOA, WHAT'S THIS?" YOU KNOW, 'CAUSE IT STILL SOUNDS GREAT.

WHAT'S THIS?" YOU KNOW, 'CAUSE IT STILL SOUNDS GREAT. ZIGGY WILL ALWAYS BE FRESH AND

IT STILL SOUNDS GREAT. ZIGGY WILL ALWAYS BE FRESH AND ALIVE.

ZIGGY WILL ALWAYS BE FRESH AND ALIVE. HE'LL ALWAYS BE THERE.

ALIVE. HE'LL ALWAYS BE THERE. >> Narrator: IN LATE 2009, THE

HE'LL ALWAYS BE THERE. >> Narrator: IN LATE 2009, THE 40th-ANNIVERSARY EDITION OF THE

>> Narrator: IN LATE 2009, THE 40th-ANNIVERSARY EDITION OF THE "SPACE ODDITY" ALBUM WAS

40th-ANNIVERSARY EDITION OF THE "SPACE ODDITY" ALBUM WAS RELEASED, COMMEMORATING THE HITS

"SPACE ODDITY" ALBUM WAS RELEASED, COMMEMORATING THE HITS THAT FIRST EARNED DAVID

RELEASED, COMMEMORATING THE HITS THAT FIRST EARNED DAVID RECOGNITION AS A STAR.

THAT FIRST EARNED DAVID RECOGNITION AS A STAR. >> Loder: HIS MUSIC WILL LIVE ON

RECOGNITION AS A STAR. >> Loder: HIS MUSIC WILL LIVE ON FOR A LONG, LONG TIME.

>> Loder: HIS MUSIC WILL LIVE ON FOR A LONG, LONG TIME. AS LONG AS THERE ARE RECORDS OR

FOR A LONG, LONG TIME. AS LONG AS THERE ARE RECORDS OR DOWNLOADS, HE'LL BE AROUND.

AS LONG AS THERE ARE RECORDS OR DOWNLOADS, HE'LL BE AROUND. >> Narrator: THE CONSTANT

DOWNLOADS, HE'LL BE AROUND. >> Narrator: THE CONSTANT EVOLUTION OF DAVID'S PUBLIC

>> Narrator: THE CONSTANT EVOLUTION OF DAVID'S PUBLIC PERSONA HAS LEAD TO A PERCEPTION

EVOLUTION OF DAVID'S PUBLIC PERSONA HAS LEAD TO A PERCEPTION THAT HE'S A CHAMELEON, BUT WHEN

PERSONA HAS LEAD TO A PERCEPTION THAT HE'S A CHAMELEON, BUT WHEN CONSIDERING THE IMPORTANCE OF

THAT HE'S A CHAMELEON, BUT WHEN CONSIDERING THE IMPORTANCE OF BOWIE'S CONTRIBUTION TO

CONSIDERING THE IMPORTANCE OF BOWIE'S CONTRIBUTION TO 20th-CENTURY POP CULTURE, THE

BOWIE'S CONTRIBUTION TO 20th-CENTURY POP CULTURE, THE CLICHé FAILS SHORT AND RINGS

20th-CENTURY POP CULTURE, THE CLICHé FAILS SHORT AND RINGS HOLLOW.

CLICHé FAILS SHORT AND RINGS HOLLOW. >> Kandell: CHAMELEONS TEND TO

HOLLOW. >> Kandell: CHAMELEONS TEND TO CHANGE COLORS TO BLEND INTO THE

>> Kandell: CHAMELEONS TEND TO CHANGE COLORS TO BLEND INTO THE BACKGROUND, LIKE, OUT OF

CHANGE COLORS TO BLEND INTO THE BACKGROUND, LIKE, OUT OF SELF-DEFENSE, AND IT ALWAYS

BACKGROUND, LIKE, OUT OF SELF-DEFENSE, AND IT ALWAYS SEEMS LIKE WHAT HE DOES IS THE

SELF-DEFENSE, AND IT ALWAYS SEEMS LIKE WHAT HE DOES IS THE EXACT OPPOSITE OF THAT.

SEEMS LIKE WHAT HE DOES IS THE EXACT OPPOSITE OF THAT. HE FINDS THINGS THAT--THAT SORT

EXACT OPPOSITE OF THAT. HE FINDS THINGS THAT--THAT SORT OF--AND HE PULLS THEM OUT TO

HE FINDS THINGS THAT--THAT SORT OF--AND HE PULLS THEM OUT TO MAKE HIMSELF STAND OUT MORE.

OF--AND HE PULLS THEM OUT TO MAKE HIMSELF STAND OUT MORE. >> Levy: TECHNICALLY, A

MAKE HIMSELF STAND OUT MORE. >> Levy: TECHNICALLY, A CHAMELEON IS THE GUY WHO COMES

>> Levy: TECHNICALLY, A CHAMELEON IS THE GUY WHO COMES ALONG AND LOOKS EXACTLY LIKE

CHAMELEON IS THE GUY WHO COMES ALONG AND LOOKS EXACTLY LIKE DAVID BOWIE AFTER DAVID BOWIE

ALONG AND LOOKS EXACTLY LIKE DAVID BOWIE AFTER DAVID BOWIE GOT THERE AND SET THE SCENE.

DAVID BOWIE AFTER DAVID BOWIE GOT THERE AND SET THE SCENE. YES, HE CHANGED HIS LOOK, BUT

GOT THERE AND SET THE SCENE. YES, HE CHANGED HIS LOOK, BUT THE WAY IN WHICH HE CHANGED HIS

YES, HE CHANGED HIS LOOK, BUT THE WAY IN WHICH HE CHANGED HIS LOOK IS CLOSE TO THE CORE OF

THE WAY IN WHICH HE CHANGED HIS LOOK IS CLOSE TO THE CORE OF HIS IDENTITY.

WHAT HE DOES IS CHANGE THE SURROUNDINGS AROUND HIM RATHER THAN CHANGE WITH HIS

SURROUNDINGS AROUND HIM RATHER THAN CHANGE WITH HIS SURROUNDINGS.

THAN CHANGE WITH HIS SURROUNDINGS. >> O'Brien: HE'S AN ARTIST.

SURROUNDINGS. >> O'Brien: HE'S AN ARTIST. I THINK ANYBODY LIKE BOWIE,

>> O'Brien: HE'S AN ARTIST. I THINK ANYBODY LIKE BOWIE, THEY--THEY LET YOU SEE WHAT THEY

I THINK ANYBODY LIKE BOWIE, THEY--THEY LET YOU SEE WHAT THEY WANT YOU TO SEE, AND IT'S

THEY--THEY LET YOU SEE WHAT THEY WANT YOU TO SEE, AND IT'S PROBABLY FOR THE BEST.