All language subtitles for David Bowie-Biography-2010

>> 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.