Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated:
1
00:00:08,876 --> 00:00:10,243
Where are we going?
2
00:00:10,244 --> 00:00:11,745
We're going down this way.
3
00:00:29,296 --> 00:00:29,999
Got a drink?
4
00:00:30,000 --> 00:00:30,897
Got a drink?
5
00:00:30,898 --> 00:00:32,899
Yes.
6
00:00:32,900 --> 00:00:33,799
Can you get me a Coca-Cola
7
00:00:33,800 --> 00:00:34,500
for Mr. bowie, please?
8
00:00:34,501 --> 00:00:36,402
I'm only using rock 'n' roll
9
00:00:36,403 --> 00:00:37,303
as a medium.
10
00:00:37,304 --> 00:00:39,272
I don't think it had been really
11
00:00:39,273 --> 00:00:40,540
voiced before then.
12
00:00:40,541 --> 00:00:42,475
I wanted to be the instigator of
13
00:00:42,476 --> 00:00:43,276
new ideas.
14
00:00:43,277 --> 00:00:44,744
I wanted to turn people on to
15
00:00:44,745 --> 00:00:46,345
new things and new perspectives.
16
00:00:46,346 --> 00:00:48,281
I always wanted to be that sort
17
00:00:48,282 --> 00:00:50,783
of catalystic kind of thing.
18
00:00:50,784 --> 00:00:51,784
♪ Fame ♪
19
00:00:51,785 --> 00:00:52,485
♪ Fame ♪
20
00:00:52,486 --> 00:00:53,419
♪ Makes a man
21
00:00:53,420 --> 00:00:56,622
take things over ♪
22
00:00:56,623 --> 00:00:58,224
I mean, the image you have is
23
00:00:58,225 --> 00:00:59,692
almost nothing to do with your
24
00:00:59,693 --> 00:01:00,000
real life.
25
00:01:00,000 --> 00:01:00,360
Real life.
26
00:01:00,361 --> 00:01:01,193
It depends which image you're
27
00:01:01,194 --> 00:01:01,727
talking about.
28
00:01:01,728 --> 00:01:03,362
There are so many because, of
29
00:01:03,363 --> 00:01:04,997
course, there will be so many.
30
00:01:04,998 --> 00:01:06,732
It's like looking at an actor's
31
00:01:06,733 --> 00:01:08,434
films and taking clippings from
32
00:01:08,435 --> 00:01:10,102
the films and saying, "here he
33
00:01:10,103 --> 00:01:10,537
is."
34
00:01:10,538 --> 00:01:11,237
Well, that's why you're
35
00:01:11,238 --> 00:01:12,071
different from most rock stars.
36
00:01:12,072 --> 00:01:13,272
Yeah, well, I'm not a rock
37
00:01:13,273 --> 00:01:13,940
star, you see?
38
00:01:13,941 --> 00:01:14,840
You've just said it.
39
00:01:14,841 --> 00:01:15,908
I'm not in rock 'n' roll.
40
00:01:15,909 --> 00:01:17,777
That's nice.
41
00:01:17,778 --> 00:01:18,744
♪ Fashion ♪
42
00:01:18,745 --> 00:01:19,946
♪ Turn to the left ♪
43
00:01:19,947 --> 00:01:20,813
♪ Fashion ♪
44
00:01:20,814 --> 00:01:22,448
♪ Turn to the right ♪
45
00:01:22,449 --> 00:01:24,383
♪ Ooh ♪
46
00:01:24,384 --> 00:01:26,652
♪ Fashion ♪
47
00:01:26,653 --> 00:01:28,254
♪ We are the goon squad,
48
00:01:28,255 --> 00:01:29,999
and we're coming to town ♪
49
00:01:30,000 --> 00:01:31,190
And we're coming to town ♪
50
00:01:31,191 --> 00:01:32,959
I've always found that I
51
00:01:32,960 --> 00:01:33,759
collect.
52
00:01:33,760 --> 00:01:35,027
I'm a collector.
53
00:01:35,028 --> 00:01:37,496
And I've always just seemed to
54
00:01:37,497 --> 00:01:39,865
collect personalities, ideas.
55
00:01:39,866 --> 00:01:42,768
♪ Let's dance ♪
56
00:01:42,769 --> 00:01:44,303
♪ Put on your red shoes
57
00:01:44,304 --> 00:01:46,806
and dance the blues ♪
58
00:01:46,807 --> 00:01:48,874
I'm a storyteller and a story
59
00:01:48,875 --> 00:01:50,910
writer, and I decided that I
60
00:01:50,911 --> 00:01:52,945
prefer to enact a lot of the
61
00:01:52,946 --> 00:01:55,014
material I was writing rather
62
00:01:55,015 --> 00:01:57,584
than perform it as myself.
63
00:02:00,554 --> 00:02:05,791
♪ Here's a starman
64
00:02:05,792 --> 00:02:08,729
waiting in the sky ♪
65
00:02:12,065 --> 00:02:16,936
♪ There's a starman
66
00:02:16,937 --> 00:02:19,105
waiting in the sky ♪
67
00:02:19,106 --> 00:02:20,840
I'm a fairly good social
68
00:02:20,841 --> 00:02:22,808
observer, and I think that I
69
00:02:22,809 --> 00:02:24,844
encapsulate areas maybe every
70
00:02:24,845 --> 00:02:25,811
year or so.
71
00:02:25,812 --> 00:02:27,613
I try and stamp that down
72
00:02:27,614 --> 00:02:29,081
somewhere, the quintessence of
73
00:02:29,082 --> 00:02:29,999
that year.
74
00:02:30,000 --> 00:02:32,551
That year.
75
00:02:32,552 --> 00:02:34,887
♪ Let me make it plain ♪
76
00:02:34,888 --> 00:02:35,921
♪ Gotta make way
77
00:02:35,922 --> 00:02:39,793
for the homo superior ♪
78
00:02:55,208 --> 00:02:59,999
♪ Ch-ch-ch-changes ♪
79
00:03:00,000 --> 00:03:00,980
♪ Ch-ch-ch-changes ♪
80
00:03:00,981 --> 00:03:03,349
♪ Learn to face the stranger ♪
81
00:03:03,350 --> 00:03:05,284
♪ Ch-ch-changes ♪
82
00:03:05,285 --> 00:03:06,919
♪ Don't want to have to be
83
00:03:06,920 --> 00:03:08,154
a richer man ♪
84
00:03:08,155 --> 00:03:10,122
♪ Ch-ch-ch-ch-changes ♪
85
00:03:10,123 --> 00:03:12,425
♪ Turn and face the stranger ♪
86
00:03:12,426 --> 00:03:14,260
♪ Ch-ch-changes ♪
87
00:03:14,261 --> 00:03:15,795
♪ I just wanted to be
88
00:03:15,796 --> 00:03:16,962
a better man ♪
89
00:03:16,963 --> 00:03:20,066
♪ But time may change me ♪
90
00:03:20,067 --> 00:03:23,569
♪ But I can't trace time ♪
91
00:03:23,570 --> 00:03:24,804
I got a call from David.
92
00:03:24,805 --> 00:03:26,105
He called me directly, and he
93
00:03:26,106 --> 00:03:27,506
said, "can you come over to the
94
00:03:27,507 --> 00:03:27,974
house?"
95
00:03:27,975 --> 00:03:29,975
And I sat there with him, and
96
00:03:29,976 --> 00:03:30,000
he took out this battered, old
97
00:03:30,001 --> 00:03:32,044
he took out this battered, old
98
00:03:32,045 --> 00:03:34,146
12-string guitar and said, "I'm
99
00:03:34,147 --> 00:03:36,215
going to play you some songs."
100
00:03:36,216 --> 00:03:38,617
And he played me these songs one
101
00:03:38,618 --> 00:03:40,454
after the other.
102
00:03:44,024 --> 00:03:45,825
♪ It's a god-awful,
103
00:03:45,826 --> 00:03:48,194
small affair ♪
104
00:03:48,195 --> 00:03:49,628
♪ To the girl
105
00:03:49,629 --> 00:03:52,598
with the mousy hair ♪
106
00:03:52,599 --> 00:03:53,733
♪ But her mommy
107
00:03:53,734 --> 00:03:56,035
is yelling "no" ♪
108
00:03:56,036 --> 00:03:57,703
♪ And her daddy
109
00:03:57,704 --> 00:03:59,999
has told her to go ♪
110
00:04:00,000 --> 00:04:00,307
Has told her to go ♪
111
00:04:00,308 --> 00:04:02,374
♪ But her friend is nowhere
112
00:04:02,375 --> 00:04:04,343
to be seen ♪
113
00:04:04,344 --> 00:04:05,511
♪ Now she walks
114
00:04:05,512 --> 00:04:07,780
through her sunken dream ♪
115
00:04:07,781 --> 00:04:09,281
"Life on Mars?" From
116
00:04:09,282 --> 00:04:11,383
"hunky dory" was certainly the
117
00:04:11,384 --> 00:04:13,452
stand-out song for me, but it
118
00:04:13,453 --> 00:04:15,321
was a challenge in certain
119
00:04:15,322 --> 00:04:16,622
areas, because of some of the
120
00:04:16,623 --> 00:04:17,890
chord structure, because he
121
00:04:17,891 --> 00:04:19,225
would lead you down the garden
122
00:04:19,226 --> 00:04:20,593
path with quite a bog-standard
123
00:04:20,594 --> 00:04:21,694
chord structure and then
124
00:04:21,695 --> 00:04:22,561
suddenly go awol.
125
00:04:22,562 --> 00:04:23,863
Now I've got to try and remember
126
00:04:23,864 --> 00:04:24,997
this, because it's 40 years
127
00:04:24,998 --> 00:04:27,567
since I've played it, but...
128
00:04:35,642 --> 00:04:43,482
♪ But her friend is nowhere
129
00:04:43,483 --> 00:04:45,718
to be seen ♪
130
00:04:45,719 --> 00:04:46,886
♪ Now she walks
131
00:04:46,887 --> 00:04:49,155
through her sunken dream ♪
132
00:04:49,156 --> 00:04:50,823
♪ To the seat
133
00:04:50,824 --> 00:04:56,362
with the clearest view ♪
134
00:04:56,363 --> 00:04:57,897
Now, this is a classic
135
00:04:57,898 --> 00:04:59,732
example of where he throws in a
136
00:04:59,733 --> 00:05:00,000
chord that you wouldn't expect.
137
00:05:00,001 --> 00:05:01,567
Chord that you wouldn't expect.
138
00:05:01,568 --> 00:05:02,502
Normally after...
139
00:05:04,638 --> 00:05:05,638
You would expect it to go back
140
00:05:05,639 --> 00:05:06,305
there, but he doesn't.
141
00:05:06,306 --> 00:05:06,806
He goes...
142
00:05:09,075 --> 00:05:10,576
But the thing that makes it
143
00:05:10,577 --> 00:05:12,044
really clever is he put an
144
00:05:12,045 --> 00:05:13,679
e-flat in the bass, which just
145
00:05:13,680 --> 00:05:17,416
gives it a bass part that you
146
00:05:17,417 --> 00:05:18,851
can start to move on.
147
00:05:18,852 --> 00:05:20,092
Really clever, so you've got...
148
00:05:22,823 --> 00:05:23,722
♪ But the film
149
00:05:23,723 --> 00:05:26,525
is a saddening bore ♪
150
00:05:26,526 --> 00:05:27,860
♪ For she's lived it
151
00:05:27,861 --> 00:05:29,999
ten times or more ♪
152
00:05:30,000 --> 00:05:31,131
Ten times or more ♪
153
00:05:36,937 --> 00:05:38,370
Now, after that chord, you would
154
00:05:38,371 --> 00:05:39,405
expect it to go to...
155
00:05:39,406 --> 00:05:44,210
But he doesn't.
156
00:05:44,211 --> 00:05:46,212
I mean, nobody -- only David
157
00:05:46,213 --> 00:05:49,049
would do something like that.
158
00:06:02,130 --> 00:06:04,129
It's a piano player's joy.
159
00:06:04,130 --> 00:06:05,064
In fact, I must go home and
160
00:06:05,065 --> 00:06:05,698
learn it.
161
00:06:05,699 --> 00:06:09,068
♪ Take a look at the lawman
162
00:06:09,069 --> 00:06:11,070
beating up the wrong guy ♪
163
00:06:11,071 --> 00:06:12,805
♪ Oh, man! ♪
164
00:06:12,806 --> 00:06:16,876
♪ Wonder if he'll ever know ♪
165
00:06:16,877 --> 00:06:18,344
♪ He's in the best-selling
166
00:06:18,345 --> 00:06:21,247
show-ow ♪
167
00:06:21,248 --> 00:06:29,248
♪ Is there life on ma-a-a-rs? ♪
168
00:06:29,389 --> 00:06:29,999
"Life on Mars?" Is sort of
169
00:06:30,000 --> 00:06:30,990
"life on Mars?" Is sort of
170
00:06:30,991 --> 00:06:32,558
magic realism, really, if you
171
00:06:32,559 --> 00:06:34,226
listen to it, that you recognize
172
00:06:34,227 --> 00:06:35,895
it as a song about britain.
173
00:06:35,896 --> 00:06:37,463
And there are references in it
174
00:06:37,464 --> 00:06:38,898
which anyone who grew up in
175
00:06:38,899 --> 00:06:40,299
suburbia would understand.
176
00:06:40,300 --> 00:06:42,134
Very mundane, and yet it's
177
00:06:42,135 --> 00:06:42,902
magical.
178
00:06:42,903 --> 00:06:44,536
You know, he's seen the cosmos
179
00:06:44,537 --> 00:06:45,237
in the bus stop.
180
00:06:45,238 --> 00:06:46,839
♪ It's on America's
181
00:06:46,840 --> 00:06:49,341
tortured brow ♪
182
00:06:49,342 --> 00:06:51,377
♪ That Mickey mouse has grown up
183
00:06:51,378 --> 00:06:53,379
a cow ♪
184
00:06:53,380 --> 00:06:55,381
♪ Now the workers have struck
185
00:06:55,382 --> 00:06:57,283
for fame ♪
186
00:06:57,284 --> 00:06:59,251
♪ 'Cause Lennon's on sale
187
00:06:59,252 --> 00:06:59,999
again ♪
188
00:07:00,000 --> 00:07:01,220
Again ♪
189
00:07:01,221 --> 00:07:02,187
So, we'd finished
190
00:07:02,188 --> 00:07:03,522
"hunky dory," and a couple of
191
00:07:03,523 --> 00:07:04,823
weeks later I ran into David
192
00:07:04,824 --> 00:07:06,158
walking along the corridor of
193
00:07:06,159 --> 00:07:07,593
trident studios, and he comes up
194
00:07:07,594 --> 00:07:08,028
to me.
195
00:07:08,029 --> 00:07:09,428
He says, "we're going to record
196
00:07:09,429 --> 00:07:10,696
a new album, but you're not
197
00:07:10,697 --> 00:07:11,597
going to like it."
198
00:07:11,598 --> 00:07:12,665
I said, "why?"
199
00:07:12,666 --> 00:07:13,399
And he said, "well, this is
200
00:07:13,400 --> 00:07:15,968
much more rock 'n' roll."
201
00:07:15,969 --> 00:07:19,705
♪ I'm an alligator ♪
202
00:07:19,706 --> 00:07:21,106
♪ I'm a mama-papa
203
00:07:21,107 --> 00:07:24,044
coming for you ♪
204
00:07:32,118 --> 00:07:35,287
Bowie's always been brilliant
205
00:07:35,288 --> 00:07:36,855
at finding the right
206
00:07:36,856 --> 00:07:38,324
collaborators.
207
00:07:38,325 --> 00:07:40,559
He had the extraordinary
208
00:07:40,560 --> 00:07:43,162
Mick Ronson, who could strike
209
00:07:43,163 --> 00:07:45,798
amazing "guitar hero" poses and
210
00:07:45,799 --> 00:07:47,599
fill the hall with riffs in
211
00:07:47,600 --> 00:07:50,502
such a way that bowie shared the
212
00:07:50,503 --> 00:07:52,571
stage with Ronson in a way that
213
00:07:52,572 --> 00:07:54,606
he's never shared a stage with
214
00:07:54,607 --> 00:07:59,578
anybody else.
215
00:07:59,579 --> 00:08:00,000
♪ Freak out
216
00:08:00,001 --> 00:08:00,846
♪ freak out
217
00:08:00,847 --> 00:08:02,648
in a moonage daydream ♪
218
00:08:02,649 --> 00:08:06,086
♪ Oh, yeah ♪
219
00:08:08,555 --> 00:08:10,789
When I first heard him play,
220
00:08:10,790 --> 00:08:13,092
I thought, "that's my Jeff Beck.
221
00:08:13,093 --> 00:08:14,393
He is fantastic.
222
00:08:14,394 --> 00:08:15,894
This kid is great."
223
00:08:15,895 --> 00:08:16,996
And so I sort of hoodwinked him
224
00:08:16,997 --> 00:08:20,232
into working with me.
225
00:08:20,233 --> 00:08:21,700
I forget how it goes, but, I
226
00:08:21,701 --> 00:08:24,771
mean, that's basically...
227
00:08:30,510 --> 00:08:31,844
He is good at stealing.
228
00:08:31,845 --> 00:08:33,178
You've only got to look at
229
00:08:33,179 --> 00:08:34,013
Ziggy, really.
230
00:08:34,014 --> 00:08:35,314
I mean, there is a lot of
231
00:08:35,315 --> 00:08:36,682
Lou Reed in there, a lot of
232
00:08:36,683 --> 00:08:38,584
iggy pop in there, you know?
233
00:08:38,585 --> 00:08:40,686
A lot of all sorts of influences
234
00:08:40,687 --> 00:08:42,654
that he has got in there, you
235
00:08:42,655 --> 00:08:44,256
know.
236
00:08:44,257 --> 00:08:46,125
So, he would steal little bits.
237
00:08:46,126 --> 00:08:47,359
♪ Oh, don't lean on me, man ♪
238
00:08:47,360 --> 00:08:48,627
♪ 'Cause you can't afford
239
00:08:48,628 --> 00:08:49,595
the ticket ♪
240
00:08:49,596 --> 00:08:52,364
♪ I'm back on suffragette city ♪
241
00:08:52,365 --> 00:08:54,033
♪ Oh, don't lean on me, man ♪
242
00:08:54,034 --> 00:08:54,933
♪ 'Cause you can't afford
243
00:08:54,934 --> 00:08:56,402
to check it ♪
244
00:08:56,403 --> 00:08:58,837
♪ I'm back on suffragette city ♪
245
00:08:58,838 --> 00:08:59,999
♪ Is out of sight ♪
246
00:09:00,000 --> 00:09:02,808
♪ Is out of sight ♪
247
00:09:02,809 --> 00:09:04,443
It just seemed a perfectly
248
00:09:04,444 --> 00:09:06,111
natural thing for me at the
249
00:09:06,112 --> 00:09:08,013
time, to put together all these
250
00:09:08,014 --> 00:09:09,948
odds and ends of art and culture
251
00:09:09,949 --> 00:09:11,383
that I really adored.
252
00:09:11,384 --> 00:09:13,152
It was just sort of creating
253
00:09:13,153 --> 00:09:15,187
something thoroughly artificial,
254
00:09:15,188 --> 00:09:16,588
but something that worked in
255
00:09:16,589 --> 00:09:18,791
the confines of rock 'n' roll.
256
00:09:18,792 --> 00:09:20,159
♪ There's only room for one,
257
00:09:20,160 --> 00:09:20,893
and here she comes ♪
258
00:09:20,894 --> 00:09:23,529
♪ Here she comes ♪
259
00:09:23,530 --> 00:09:25,464
What Ziggy stardust does is
260
00:09:25,465 --> 00:09:27,433
it projects him as a rock star.
261
00:09:27,434 --> 00:09:29,201
He sings about the imagined
262
00:09:29,202 --> 00:09:29,999
experience of being a rock star,
263
00:09:30,000 --> 00:09:30,903
experience of being a rock star,
264
00:09:30,904 --> 00:09:32,171
and in doing that becomes a
265
00:09:32,172 --> 00:09:32,738
rock star.
266
00:09:32,739 --> 00:09:34,106
And there is a story about his
267
00:09:34,107 --> 00:09:35,474
wife, Angie, in the front row,
268
00:09:35,475 --> 00:09:36,909
screaming at him as if he was a
269
00:09:36,910 --> 00:09:38,343
rock star, despite the fact that
270
00:09:38,344 --> 00:09:41,647
two men and a dog were there.
271
00:09:41,648 --> 00:09:43,082
What happens, then, really, is
272
00:09:43,083 --> 00:09:44,416
that the world fulfills his
273
00:09:44,417 --> 00:09:44,950
fantasy.
274
00:09:44,951 --> 00:09:46,351
It aligns itself with what he
275
00:09:46,352 --> 00:09:47,719
wants to be, which I think is
276
00:09:47,720 --> 00:09:48,887
what psychologists call
277
00:09:48,888 --> 00:09:49,988
"self-actualization."
278
00:09:49,989 --> 00:09:51,256
Not many people can do it, but
279
00:09:51,257 --> 00:09:54,094
he did.
280
00:09:58,565 --> 00:09:59,999
♪ Ziggy played guitar ♪
281
00:10:00,000 --> 00:10:02,000
♪ Ziggy played guitar ♪
282
00:10:02,001 --> 00:10:02,768
♪ Jamming good
283
00:10:02,769 --> 00:10:04,970
with weird and gilly
284
00:10:04,971 --> 00:10:08,107
and the spiders from Mars ♪
285
00:10:08,108 --> 00:10:11,176
♪ And he played it left-hand ♪
286
00:10:11,177 --> 00:10:13,712
♪ But he made it too fa-a-r ♪
287
00:10:13,713 --> 00:10:15,614
I'd found my character.
288
00:10:15,615 --> 00:10:17,282
One man against the world,
289
00:10:17,283 --> 00:10:18,684
things like -- really
290
00:10:18,685 --> 00:10:20,252
reverberated in my mind.
291
00:10:20,253 --> 00:10:22,054
It was something that I really,
292
00:10:22,055 --> 00:10:24,823
kind of, honed in on.
293
00:10:24,824 --> 00:10:25,757
♪ Screwed-up eyes
294
00:10:25,758 --> 00:10:29,394
and screwed-down hairdo,
295
00:10:29,395 --> 00:10:29,999
like some cat from Japan ♪
296
00:10:30,000 --> 00:10:32,197
Like some cat from Japan ♪
297
00:10:32,198 --> 00:10:33,398
♪ Oh, he could kill 'em
298
00:10:33,399 --> 00:10:35,200
by smiling ♪
299
00:10:35,201 --> 00:10:36,902
Ziggy was this kind of
300
00:10:36,903 --> 00:10:38,871
mythological priest figure.
301
00:10:38,872 --> 00:10:40,038
And I only say that in
302
00:10:40,039 --> 00:10:41,406
retrospect because I didn't
303
00:10:41,407 --> 00:10:42,841
quite know what he was then.
304
00:10:42,842 --> 00:10:44,576
But it does occur to me now
305
00:10:44,577 --> 00:10:46,445
that the androgyny of some of
306
00:10:46,446 --> 00:10:48,280
the tribal priests throughout
307
00:10:48,281 --> 00:10:50,182
history have been transvestite
308
00:10:50,183 --> 00:10:51,550
in nature.
309
00:10:51,551 --> 00:10:53,018
I only know this because I read
310
00:10:53,019 --> 00:10:57,222
Camille paglia on the subject.
311
00:10:57,223 --> 00:10:59,024
Ziggy stardust is, to me, a
312
00:10:59,025 --> 00:10:59,999
kind of colossus that marks a
313
00:11:00,000 --> 00:11:00,759
kind of colossus that marks a
314
00:11:00,760 --> 00:11:03,428
tremendous transition between
315
00:11:03,429 --> 00:11:04,930
the 1960s and the 1970s.
316
00:11:04,931 --> 00:11:06,565
♪ ...about his fans ♪
317
00:11:06,566 --> 00:11:08,033
♪ And should we crush
318
00:11:08,034 --> 00:11:11,203
his sweet hands? ♪
319
00:11:11,204 --> 00:11:14,506
The 1970s were a dark era,
320
00:11:14,507 --> 00:11:16,842
where sexual promiscuity for its
321
00:11:16,843 --> 00:11:18,977
own sake was pursued in a way
322
00:11:18,978 --> 00:11:23,348
that had never been so universal
323
00:11:23,349 --> 00:11:25,617
since probably the Roman empire.
324
00:11:25,618 --> 00:11:27,386
Sex without consequence,
325
00:11:27,387 --> 00:11:29,588
anonymous sex, pick-ups in dark
326
00:11:29,589 --> 00:11:30,000
clubs.
327
00:11:30,001 --> 00:11:31,056
Clubs.
328
00:11:31,057 --> 00:11:33,592
So, Ziggy stardust, when he
329
00:11:33,593 --> 00:11:35,827
appeared, was a kind of
330
00:11:35,828 --> 00:11:38,363
prefiguration, almost like the
331
00:11:38,364 --> 00:11:40,132
book of revelations, a
332
00:11:40,133 --> 00:11:42,768
hallucination of an apocalypse
333
00:11:42,769 --> 00:11:47,139
about to occur.
334
00:11:47,140 --> 00:11:53,178
♪ Making love with his ego ♪
335
00:11:53,179 --> 00:11:59,451
♪ Ziggy sucked up into his mind
336
00:11:59,452 --> 00:11:59,999
like a leper Messiah ♪
337
00:12:00,000 --> 00:12:03,922
Like a leper Messiah ♪
338
00:12:03,923 --> 00:12:05,457
♪ When the kids
339
00:12:05,458 --> 00:12:07,259
had killed the man,
340
00:12:07,260 --> 00:12:10,196
I had to break up the band ♪
341
00:12:18,271 --> 00:12:19,087
♪ Oh, yeah ♪
342
00:12:33,119 --> 00:12:40,727
♪ And Ziggy played guitar ♪
343
00:12:48,801 --> 00:12:56,142
At that particular time,
344
00:13:18,398 --> 00:13:19,931
I was chopping and changing
345
00:13:19,932 --> 00:13:21,366
really quite drastically.
346
00:13:21,367 --> 00:13:23,035
The music that I was listening
347
00:13:23,036 --> 00:13:24,803
to was definitely the soul music
348
00:13:24,804 --> 00:13:27,005
that was really, really big in
349
00:13:27,006 --> 00:13:29,074
the clubs in America at that
350
00:13:29,075 --> 00:13:29,999
particular time.
351
00:13:30,000 --> 00:13:30,410
Particular time.
352
00:13:30,411 --> 00:13:32,944
♪ Oh-ho ho ♪
353
00:13:32,945 --> 00:13:34,846
So, I kind of tried to do my
354
00:13:34,847 --> 00:13:36,715
own version of that kind of
355
00:13:36,716 --> 00:13:39,951
music, which was the basis of
356
00:13:39,952 --> 00:13:43,121
the "young Americans" album.
357
00:13:43,122 --> 00:13:46,892
♪ Whoa-oh-oh-oh, hoo-ooh-ooh ♪
358
00:13:46,893 --> 00:13:49,961
I'd become soul man.
359
00:13:49,962 --> 00:13:51,563
When David really decided
360
00:13:51,564 --> 00:13:53,332
that he wanted to be a soul man,
361
00:13:53,333 --> 00:13:55,701
he said to me, "so, how shall we
362
00:13:55,702 --> 00:13:56,401
do it?
363
00:13:56,402 --> 00:13:57,936
Where shall we go?"
364
00:13:57,937 --> 00:13:59,371
You know, to get the people, the
365
00:13:59,372 --> 00:13:59,999
singers and the band and all
366
00:14:00,000 --> 00:14:00,672
singers and the band and all
367
00:14:00,673 --> 00:14:01,074
that.
368
00:14:01,075 --> 00:14:02,374
And I said, "we should go to.
369
00:14:02,375 --> 00:14:03,742
New York, to Harlem, and go to
370
00:14:03,743 --> 00:14:05,110
the Apollo.
371
00:14:05,111 --> 00:14:06,611
So, he was like, "okay."
372
00:14:06,612 --> 00:14:09,748
So, we went backstage, and he
373
00:14:09,749 --> 00:14:11,383
met everyone.
374
00:14:11,384 --> 00:14:13,318
I didn't know who David bowie
375
00:14:13,319 --> 00:14:15,053
was, but I did know this was
376
00:14:15,054 --> 00:14:16,922
the whitest man I've ever seen.
377
00:14:16,923 --> 00:14:18,423
I'm not talking about white,
378
00:14:18,424 --> 00:14:19,091
like pink.
379
00:14:19,092 --> 00:14:20,692
I'm talking about translucent
380
00:14:20,693 --> 00:14:21,426
white.
381
00:14:21,427 --> 00:14:23,562
And then he had orange hair.
382
00:14:23,563 --> 00:14:25,997
I'm not talking about your
383
00:14:25,998 --> 00:14:27,566
momma's orange.
384
00:14:27,567 --> 00:14:29,768
I'm talking about an orange,
385
00:14:29,769 --> 00:14:30,000
orange!
386
00:14:30,001 --> 00:14:30,602
Orange!
387
00:14:30,603 --> 00:14:32,804
And he was about 98 pounds.
388
00:14:32,805 --> 00:14:35,006
I'm talking about thin, thin.
389
00:14:35,007 --> 00:14:36,108
I mean, he was freaky.
390
00:14:36,109 --> 00:14:37,142
At one point I told him,
391
00:14:37,143 --> 00:14:38,276
"man" -- and you'll have to
392
00:14:38,277 --> 00:14:39,444
excuse the language -- "you
393
00:14:39,445 --> 00:14:40,312
look like shit, man.
394
00:14:40,313 --> 00:14:41,179
You need some food.
395
00:14:41,180 --> 00:14:43,416
You need to come to my house."
396
00:14:45,017 --> 00:14:46,084
Come forward.
397
00:14:46,085 --> 00:14:48,019
Yeah, that's great.
398
00:14:48,020 --> 00:14:49,254
Carlos had been able to
399
00:14:49,255 --> 00:14:50,555
introduce me to a lot of
400
00:14:50,556 --> 00:14:51,990
fantastic new musicians, one
401
00:14:51,991 --> 00:14:53,592
of whom was Luther vandross, of
402
00:14:53,593 --> 00:14:56,728
course.
403
00:14:56,729 --> 00:14:58,497
So, you have this amazing
404
00:14:58,498 --> 00:14:59,999
collaboration between bowie and
405
00:15:00,000 --> 00:15:00,433
collaboration between bowie and
406
00:15:00,434 --> 00:15:02,300
soon to be one of the greatest
407
00:15:02,301 --> 00:15:03,902
soul singers of all time,
408
00:15:03,903 --> 00:15:05,904
Luther vandross, along with some
409
00:15:05,905 --> 00:15:07,172
of the other background singers
410
00:15:07,173 --> 00:15:11,943
who would sing with Luther.
411
00:15:11,944 --> 00:15:13,245
♪ Taking it all
412
00:15:13,246 --> 00:15:14,913
the right way ♪
413
00:15:14,914 --> 00:15:17,682
♪ Keeping it in the back ♪
414
00:15:17,683 --> 00:15:20,752
♪ Taking it all the right way ♪
415
00:15:20,753 --> 00:15:23,822
♪ Never no turning back ♪
416
00:15:23,823 --> 00:15:29,561
♪ No, never no turning back ♪
417
00:15:29,562 --> 00:15:30,000
♪ Taking it all the right way ♪
418
00:15:30,001 --> 00:15:32,330
♪ Taking it all the right way ♪
419
00:15:32,331 --> 00:15:34,966
♪ Keeping it in the back ♪
420
00:15:34,967 --> 00:15:37,869
♪ Taking it all the right way ♪
421
00:15:37,870 --> 00:15:39,738
♪ Never no turning back ♪
422
00:15:39,739 --> 00:15:40,672
♪ Never need ♪
423
00:15:40,673 --> 00:15:43,475
♪ No, never no turning back ♪
424
00:15:43,476 --> 00:15:44,810
"Right," from the
425
00:15:44,811 --> 00:15:46,678
"young Americans" album, was a
426
00:15:46,679 --> 00:15:48,547
difficult song, but Luther put
427
00:15:48,548 --> 00:15:50,215
it all together for him.
428
00:15:50,216 --> 00:15:51,650
We had...
429
00:15:51,651 --> 00:15:53,318
♪ Taking it all the right way ♪
430
00:15:53,319 --> 00:15:55,287
♪ Keeping it in the back ♪
431
00:15:55,288 --> 00:15:56,721
♪ Taking it all the right way ♪
432
00:15:56,722 --> 00:15:58,023
♪ Never no turning back ♪
433
00:15:58,024 --> 00:15:59,999
♪ Never need no... ♪
434
00:16:00,000 --> 00:16:00,193
♪ Never need no... ♪
435
00:16:00,194 --> 00:16:02,661
And then that section comes in.
436
00:16:02,662 --> 00:16:05,330
♪ Wishing, wishing, sometime
437
00:16:05,331 --> 00:16:06,264
doing it
438
00:16:06,265 --> 00:16:07,499
up there ♪
439
00:16:07,500 --> 00:16:08,433
♪ Nobody ♪
440
00:16:08,434 --> 00:16:10,936
♪ Nobody doing it, getting up ♪
441
00:16:10,937 --> 00:16:13,338
That was so hard.
442
00:16:13,339 --> 00:16:14,406
♪ Time ♪
443
00:16:14,407 --> 00:16:15,841
♪ Doing it ♪
444
00:16:15,842 --> 00:16:17,342
♪ Giving it ♪
445
00:16:17,343 --> 00:16:18,777
♪ Keeping it back ♪
446
00:16:18,778 --> 00:16:20,378
That's cool. That's cool.
447
00:16:20,379 --> 00:16:21,179
Next one.
448
00:16:21,180 --> 00:16:25,150
David had, like, a puzzle.
449
00:16:25,151 --> 00:16:26,451
Just the last line.
450
00:16:26,452 --> 00:16:27,686
He brought this paper to us,
451
00:16:27,687 --> 00:16:28,987
and he said, "this is how I want
452
00:16:28,988 --> 00:16:29,999
you to sing this."
453
00:16:30,000 --> 00:16:30,122
You to sing this."
454
00:16:30,123 --> 00:16:31,590
Oh, sorry, man, I wasn't with
455
00:16:31,591 --> 00:16:31,958
you.
456
00:16:31,959 --> 00:16:33,358
It wasn't a straight, "just
457
00:16:33,359 --> 00:16:34,359
sing it linearly and
458
00:16:34,360 --> 00:16:35,427
melodically."
459
00:16:35,428 --> 00:16:36,428
♪ Doing it ♪
460
00:16:36,429 --> 00:16:37,329
Oh, I see, you count from...
461
00:16:37,330 --> 00:16:37,896
Yeah, yeah, yeah.
462
00:16:37,897 --> 00:16:38,630
I thought you were doing an
463
00:16:38,631 --> 00:16:38,998
intro.
464
00:16:38,999 --> 00:16:40,165
Right. Three...
465
00:16:40,166 --> 00:16:42,067
Right. One, two...
466
00:16:42,068 --> 00:16:43,902
It was, "I want it to jump in
467
00:16:43,903 --> 00:16:45,704
here, and I want you to jump out
468
00:16:45,705 --> 00:16:47,606
there, and jump back in here."
469
00:16:47,607 --> 00:16:48,840
♪ Keeping it back ♪
470
00:16:48,841 --> 00:16:50,342
Right, that's fine. Okay.
471
00:16:50,343 --> 00:16:51,309
So, we got that.
472
00:16:51,310 --> 00:16:52,477
That one's all right.
473
00:16:52,478 --> 00:16:54,346
That, too, was the first time
474
00:16:54,347 --> 00:16:56,081
I ever seen anything like that
475
00:16:56,082 --> 00:16:57,215
in my life.
476
00:16:57,216 --> 00:16:59,584
But it was brilliant, because
477
00:16:59,585 --> 00:17:00,000
he knew exactly what he wanted.
478
00:17:00,001 --> 00:17:02,053
He knew exactly what he wanted.
479
00:17:02,054 --> 00:17:03,555
Right, okay, and last
480
00:17:03,556 --> 00:17:06,892
section.
481
00:17:06,893 --> 00:17:09,928
♪ Gimme, gimme, yeah ♪
482
00:17:09,929 --> 00:17:10,562
♪ Doing it ♪
483
00:17:10,563 --> 00:17:12,765
Oh, lord, it was too much.
484
00:17:13,966 --> 00:17:15,834
It was like, "man, I'll be glad
485
00:17:15,835 --> 00:17:17,702
when we finish with this song."
486
00:17:17,703 --> 00:17:19,804
♪ Wishing ♪
487
00:17:19,805 --> 00:17:21,072
♪ That sometimes ♪
488
00:17:21,073 --> 00:17:22,107
♪ Sometimes ♪
489
00:17:22,108 --> 00:17:23,308
♪ Doing it, doing it right ♪
490
00:17:23,309 --> 00:17:24,676
♪ Doing it ♪
491
00:17:24,677 --> 00:17:26,244
♪ One time ♪
492
00:17:26,245 --> 00:17:27,078
♪ One time ♪
493
00:17:27,079 --> 00:17:28,647
There was no point in doing a
494
00:17:28,648 --> 00:17:29,814
straightforward take on
495
00:17:29,815 --> 00:17:30,000
American soul music, because
496
00:17:30,001 --> 00:17:31,216
American soul music, because
497
00:17:31,217 --> 00:17:32,484
that's been done already.
498
00:17:32,485 --> 00:17:33,919
So, I just wanted to put this
499
00:17:33,920 --> 00:17:34,920
spin on it.
500
00:17:34,921 --> 00:17:38,590
♪ Pushing it sometimes, yeah ♪
501
00:17:38,591 --> 00:17:40,225
Eventually, of course, when the
502
00:17:40,226 --> 00:17:41,660
album came out, it was very
503
00:17:41,661 --> 00:17:42,694
well-received, and
504
00:17:42,695 --> 00:17:44,329
"young Americans" became a very
505
00:17:44,330 --> 00:17:45,330
big album for me.
506
00:17:45,331 --> 00:17:46,932
I mean, I really sort of
507
00:17:46,933 --> 00:17:48,099
advanced myself.
508
00:17:48,100 --> 00:17:49,834
I sort of was tumbling over
509
00:17:49,835 --> 00:17:52,837
myself with ideas.
510
00:17:52,838 --> 00:17:54,639
♪ Sometimes ♪
511
00:17:54,640 --> 00:17:55,840
In terms of the
512
00:17:55,841 --> 00:17:57,676
"young Americans" stuff, it was
513
00:17:57,677 --> 00:17:59,444
a chance that he grabbed to be
514
00:17:59,445 --> 00:17:59,999
able to do something he had
515
00:18:00,000 --> 00:18:00,745
able to do something he had
516
00:18:00,746 --> 00:18:02,147
wanted to do since he was 12.
517
00:18:02,148 --> 00:18:04,082
And he may have thought, "I
518
00:18:04,083 --> 00:18:05,951
won't have a 40-something,
519
00:18:05,952 --> 00:18:08,119
50-year-old career," and he may
520
00:18:08,120 --> 00:18:10,221
have thought, "well, I'm going
521
00:18:10,222 --> 00:18:13,725
to get this in while I can."
522
00:18:13,726 --> 00:18:14,993
♪ He pulls her down
523
00:18:14,994 --> 00:18:16,127
behind the bridge ♪
524
00:18:16,128 --> 00:18:17,896
♪ He lays her down ♪
525
00:18:17,897 --> 00:18:18,964
♪ She frowns ♪
526
00:18:18,965 --> 00:18:21,466
♪ "Gee my life's a funny thing ♪
527
00:18:21,467 --> 00:18:24,502
♪ Am I still too young?" ♪
528
00:18:24,503 --> 00:18:26,504
♪ He takes her hand and there ♪
529
00:18:26,505 --> 00:18:27,639
♪ She takes his ring,
530
00:18:27,640 --> 00:18:29,574
takes his babies ♪
531
00:18:29,575 --> 00:18:30,000
♪ Takes him minutes ♪
532
00:18:30,001 --> 00:18:31,009
♪ Takes him minutes ♪
533
00:18:31,010 --> 00:18:32,210
♪ Takes her nowhere ♪
534
00:18:32,211 --> 00:18:33,345
♪ Heaven knows,
535
00:18:33,346 --> 00:18:35,380
she'd have taken anything ♪
536
00:18:35,381 --> 00:18:38,483
♪ All night ♪
537
00:18:38,484 --> 00:18:39,150
♪ All night ♪
538
00:18:39,151 --> 00:18:41,252
♪ She wants the young American ♪
539
00:18:41,253 --> 00:18:42,287
♪ Young American,
540
00:18:42,288 --> 00:18:44,089
young American ♪
541
00:18:44,090 --> 00:18:45,890
♪ She wants the young American ♪
542
00:18:45,891 --> 00:18:48,026
♪ All right ♪
543
00:18:48,027 --> 00:18:49,160
After we finished
544
00:18:49,161 --> 00:18:50,795
"young Americans," he called me
545
00:18:50,796 --> 00:18:52,330
down to electric lady studio.
546
00:18:52,331 --> 00:18:53,632
"Okay, let's get to work."
547
00:18:53,633 --> 00:18:55,266
And I started laying down ideas
548
00:18:55,267 --> 00:18:56,468
and laying down ideas.
549
00:18:56,469 --> 00:18:58,603
Let me show you.
550
00:18:58,604 --> 00:18:59,999
I'm going to play the first
551
00:19:00,000 --> 00:19:00,072
I'm going to play the first
552
00:19:00,073 --> 00:19:01,606
thing that we did and how we
553
00:19:01,607 --> 00:19:03,274
layered it so you can hear what
554
00:19:03,275 --> 00:19:03,976
happens.
555
00:19:14,387 --> 00:19:14,987
First part, add a little bass.
556
00:19:15,021 --> 00:19:17,089
Doesn't that sound like "fame"?
557
00:19:31,404 --> 00:19:32,704
David comes in.
558
00:19:32,705 --> 00:19:35,508
He goes, "oh, I hear this line."
559
00:19:43,582 --> 00:19:46,351
What happened is that
560
00:19:46,352 --> 00:19:47,752
John Lennon came to the session.
561
00:19:47,753 --> 00:19:49,020
We sort of said, "let's take
562
00:19:49,021 --> 00:19:50,121
that riff and then write
563
00:19:50,122 --> 00:19:51,289
something over it."
564
00:19:51,290 --> 00:19:56,127
It was Carlos' riff.
565
00:19:56,128 --> 00:19:59,065
"Fame."
566
00:20:01,233 --> 00:20:03,134
John was playing, and he kept
567
00:20:03,135 --> 00:20:05,336
on coming up with, "ame! Ame!"
568
00:20:05,337 --> 00:20:07,305
And I put an "f" in front of it,
569
00:20:07,306 --> 00:20:10,742
and that was it, really.
570
00:20:10,743 --> 00:20:11,509
♪ Fame ♪
571
00:20:11,510 --> 00:20:12,377
♪ Fame ♪
572
00:20:12,378 --> 00:20:13,545
♪ Makes a man
573
00:20:13,546 --> 00:20:15,914
take things over ♪
574
00:20:15,915 --> 00:20:16,614
♪ Fame ♪
575
00:20:16,615 --> 00:20:17,415
♪ Fame ♪
576
00:20:17,416 --> 00:20:18,383
♪ Lets him loose,
577
00:20:18,384 --> 00:20:21,019
hard to swallow ♪
578
00:20:21,020 --> 00:20:21,853
♪ Fame ♪
579
00:20:21,854 --> 00:20:22,420
♪ Fame ♪
580
00:20:22,421 --> 00:20:23,154
♪ Puts you there,
581
00:20:23,155 --> 00:20:25,657
where things are hollow ♪
582
00:20:25,658 --> 00:20:26,725
♪ Fame ♪
583
00:20:26,726 --> 00:20:29,999
♪ Fame ♪
584
00:20:30,000 --> 00:20:30,895
♪ Fame ♪
585
00:20:30,896 --> 00:20:31,529
♪ Fame ♪
586
00:20:31,530 --> 00:20:32,764
♪ Not your brain ♪
587
00:20:32,765 --> 00:20:33,832
♪ It's just the flame
588
00:20:33,833 --> 00:20:34,666
that burns your change
589
00:20:34,667 --> 00:20:36,701
to keep you insane ♪
590
00:20:36,702 --> 00:20:40,705
♪ Sane ♪
591
00:20:40,706 --> 00:20:41,806
♪ Fame ♪
592
00:20:41,807 --> 00:20:42,707
♪ Fame ♪
593
00:20:42,708 --> 00:20:43,575
Now, you've got an
594
00:20:43,576 --> 00:20:44,809
announcement to make to us all,
595
00:20:44,810 --> 00:20:45,610
David, haven't you?
596
00:20:45,611 --> 00:20:46,778
You're changing your plans for
597
00:20:46,779 --> 00:20:47,512
the future.
598
00:20:47,513 --> 00:20:49,114
You haven't planned a figure.
599
00:20:49,115 --> 00:20:50,882
You haven't planned an image,
600
00:20:50,883 --> 00:20:53,051
whatever that may mean.
601
00:20:53,052 --> 00:20:56,121
I think the image I may
602
00:20:56,122 --> 00:20:58,723
adopt may well be me.
603
00:20:58,724 --> 00:20:59,999
I'm sort of inventing me at the
604
00:21:00,000 --> 00:21:02,694
I'm sort of inventing me at the
605
00:21:02,695 --> 00:21:04,095
moment.
606
00:21:04,096 --> 00:21:06,331
I gather that at your end,
607
00:21:06,332 --> 00:21:08,566
you have some music with you.
608
00:21:08,567 --> 00:21:10,101
The song is called "the shape of
609
00:21:10,102 --> 00:21:10,969
things to come."
610
00:21:10,970 --> 00:21:11,836
No, it isn't.
611
00:21:11,837 --> 00:21:13,104
No, of course it isn't.
612
00:21:13,105 --> 00:21:14,339
We're having a preview of
613
00:21:14,340 --> 00:21:15,740
the shape of things to come.
614
00:21:15,741 --> 00:21:16,641
The song is called
615
00:21:16,642 --> 00:21:17,408
"golden tears."
616
00:21:17,409 --> 00:21:18,409
Mr. David bowie, we'll --
617
00:21:18,410 --> 00:21:19,010
"years."
618
00:21:19,011 --> 00:21:20,879
You did get it wrong.
619
00:21:20,880 --> 00:21:22,013
It's years.
620
00:21:22,014 --> 00:21:22,881
Years.
621
00:21:22,882 --> 00:21:24,015
Years.
622
00:21:24,016 --> 00:21:25,216
Why don't you introduce it
623
00:21:25,217 --> 00:21:25,985
from that end?
624
00:21:27,419 --> 00:21:29,621
This is David bowie singing
625
00:21:29,622 --> 00:21:30,000
"golden years," from his
626
00:21:30,001 --> 00:21:31,523
"golden years," from his
627
00:21:31,524 --> 00:21:33,057
forthcoming album,
628
00:21:33,058 --> 00:21:34,759
"station to station."
629
00:21:34,760 --> 00:21:37,195
♪ Golden years,
630
00:21:37,196 --> 00:21:37,740
♪ gold ♪
631
00:21:41,667 --> 00:21:43,802
♪ Golden years ♪
632
00:21:43,803 --> 00:21:46,304
♪ Gold ♪
633
00:21:46,305 --> 00:21:48,306
♪ Don't let me hear you say
634
00:21:48,307 --> 00:21:50,842
life's taking you nowhere ♪
635
00:21:50,843 --> 00:21:52,911
♪ Angel ♪
636
00:21:52,912 --> 00:21:55,113
♪ Come, get up, my baby ♪
637
00:21:55,114 --> 00:21:56,114
♪ Look at that sky ♪
638
00:21:56,115 --> 00:21:57,115
♪ Life's begun ♪
639
00:21:57,116 --> 00:21:57,782
♪ Nights are warm,
640
00:21:57,783 --> 00:21:59,999
and the days are young ♪
641
00:22:00,000 --> 00:22:01,452
And the days are young ♪
642
00:22:01,453 --> 00:22:03,521
♪ Come, get up, my baby ♪
643
00:22:03,522 --> 00:22:05,056
♪ There's my baby lost ♪
644
00:22:05,057 --> 00:22:06,157
♪ That's all ♪
645
00:22:06,158 --> 00:22:06,825
♪ Once I'm begging
646
00:22:06,826 --> 00:22:10,261
you save her little soul ♪
647
00:22:10,262 --> 00:22:13,298
♪ Gold ♪
648
00:22:13,299 --> 00:22:15,133
It was kind of a very weird
649
00:22:15,134 --> 00:22:16,935
time, and it was L.A., and it
650
00:22:16,936 --> 00:22:21,372
was the '70s, and it was coke,
651
00:22:21,373 --> 00:22:23,074
and it was weird people hanging
652
00:22:23,075 --> 00:22:24,609
around and people who didn't
653
00:22:24,610 --> 00:22:25,944
speak and just whistled.
654
00:22:25,945 --> 00:22:28,079
And stuff
655
00:22:28,080 --> 00:22:28,713
like that.
656
00:22:28,714 --> 00:22:29,999
"You know, man, Heavy."
657
00:22:30,000 --> 00:22:30,382
"You know, man, Heavy."
658
00:22:30,383 --> 00:22:31,983
It was like being on another
659
00:22:31,984 --> 00:22:32,984
planet, yeah.
660
00:22:32,985 --> 00:22:35,019
♪ Run for the shadows ♪
661
00:22:35,020 --> 00:22:36,354
♪ Run for the shadows
662
00:22:36,355 --> 00:22:39,624
in these golden years ♪
663
00:22:39,625 --> 00:22:41,826
I was probably fairly
664
00:22:41,827 --> 00:22:43,962
psychically damaged.
665
00:22:43,963 --> 00:22:45,597
Not probably -- I was
666
00:22:45,598 --> 00:22:47,165
psychically damaged.
667
00:22:47,166 --> 00:22:49,334
I guess trying to get what I was
668
00:22:49,335 --> 00:22:51,135
understanding expressed in
669
00:22:51,136 --> 00:22:54,873
musical form.
670
00:22:54,874 --> 00:22:56,474
Everybody was on drugs.
671
00:22:56,475 --> 00:22:58,109
At that period of time, we were
672
00:22:58,110 --> 00:22:59,210
all well out there.
673
00:22:59,211 --> 00:22:59,999
But not so out there that we
674
00:23:00,000 --> 00:23:00,578
but not so out there that we
675
00:23:00,579 --> 00:23:01,913
didn't make a great record.
676
00:23:01,914 --> 00:23:02,981
So, I mean, you know.
677
00:23:02,982 --> 00:23:05,016
Or maybe our view of being out
678
00:23:05,017 --> 00:23:07,018
there and people's views of
679
00:23:07,019 --> 00:23:08,820
being out there doesn't
680
00:23:08,821 --> 00:23:10,121
necessarily correlate with the
681
00:23:10,122 --> 00:23:11,389
fact that we were incapable of
682
00:23:11,390 --> 00:23:12,590
making a record.
683
00:23:12,591 --> 00:23:14,058
So, whatever "out there" was,
684
00:23:14,059 --> 00:23:16,294
"out there" worked.
685
00:23:16,295 --> 00:23:18,196
I think the biggest influence
686
00:23:18,197 --> 00:23:19,964
on that album was the work of
687
00:23:19,965 --> 00:23:21,666
kraftwerk and the new German
688
00:23:21,667 --> 00:23:22,267
sound.
689
00:23:22,268 --> 00:23:23,968
I tried to apply some of the
690
00:23:23,969 --> 00:23:25,670
randomness, and I utilized a
691
00:23:25,671 --> 00:23:27,138
lot of that feeling for
692
00:23:27,139 --> 00:23:28,806
especially the title track,
693
00:23:28,807 --> 00:23:29,999
"station to station."
694
00:23:30,000 --> 00:23:30,175
"Station to station."
695
00:23:30,176 --> 00:23:31,943
The feedback intro at the
696
00:23:31,944 --> 00:23:32,844
beginning of
697
00:23:32,845 --> 00:23:34,812
"station to station" was an idea
698
00:23:34,813 --> 00:23:35,880
that David had.
699
00:23:35,881 --> 00:23:37,715
So, we had a few Marshall stacks
700
00:23:37,716 --> 00:23:39,384
on the back wall, and we just
701
00:23:39,385 --> 00:23:40,919
did the feedback together,
702
00:23:40,920 --> 00:23:42,788
something like...
703
00:23:46,392 --> 00:23:48,726
Earl slick was asked to do
704
00:23:48,727 --> 00:23:50,795
something that was unnatural and
705
00:23:50,796 --> 00:23:52,864
that was, "I want you to sustain
706
00:23:52,865 --> 00:23:54,700
a note for, like, 15 years."
707
00:24:00,472 --> 00:24:01,406
Boom!
708
00:24:01,407 --> 00:24:02,974
I mean, and you're waiting for
709
00:24:02,975 --> 00:24:04,342
your part, but you can't.
710
00:24:04,343 --> 00:24:05,410
You got to hold it.
711
00:24:05,411 --> 00:24:06,110
Don't play.
712
00:24:06,111 --> 00:24:06,844
Don't play.
713
00:24:06,845 --> 00:24:07,545
Just hold it.
714
00:24:07,546 --> 00:24:08,846
Finally, you get to play one
715
00:24:08,847 --> 00:24:10,148
little thing.
716
00:24:10,149 --> 00:24:12,417
"Station to station," I
717
00:24:12,418 --> 00:24:15,119
really can't put a title on what
718
00:24:15,120 --> 00:24:16,487
it is he does.
719
00:24:16,488 --> 00:24:18,222
I mean, I can put a title on
720
00:24:18,223 --> 00:24:19,624
"young Americans," but
721
00:24:19,625 --> 00:24:21,459
everything after that, I don't
722
00:24:21,460 --> 00:24:24,129
have a title for it.
723
00:24:32,204 --> 00:24:35,440
It was supposed to be deadly
724
00:24:35,441 --> 00:24:38,443
and just brutal, just this hard,
725
00:24:38,444 --> 00:24:42,613
hard, heavy, dark, dark texture
726
00:24:42,614 --> 00:24:45,183
that just laid down.
727
00:24:45,184 --> 00:24:49,988
Just bog it down, bog it down.
728
00:24:49,989 --> 00:24:51,622
♪ The return
729
00:24:51,623 --> 00:24:54,292
of the thin white Duke ♪
730
00:24:54,293 --> 00:24:55,760
♪ Throwing darts
731
00:24:55,761 --> 00:24:59,964
in lovers' eyes ♪
732
00:24:59,965 --> 00:25:00,000
♪ Here am I ♪
733
00:25:00,001 --> 00:25:02,967
♪ Here am I ♪
734
00:25:02,968 --> 00:25:05,003
♪ One magical movement ♪
735
00:25:05,004 --> 00:25:06,571
♪ Such is the stuff
736
00:25:06,572 --> 00:25:10,274
from where dreams are woven ♪
737
00:25:10,275 --> 00:25:11,843
"Station to station" dealt with
738
00:25:11,844 --> 00:25:13,244
a character called the thin
739
00:25:13,245 --> 00:25:14,779
white Duke, who was a European
740
00:25:14,780 --> 00:25:16,414
living in America, who wanted to
741
00:25:16,415 --> 00:25:17,715
get back to Europe again.
742
00:25:17,716 --> 00:25:20,685
♪ Bending sound ♪
743
00:25:20,686 --> 00:25:23,287
♪ Dredging the ocean,
744
00:25:23,288 --> 00:25:26,824
lost in my circle ♪
745
00:25:26,825 --> 00:25:27,558
You know what I think?
746
00:25:27,559 --> 00:25:29,961
I think a lot of really nasty
747
00:25:29,962 --> 00:25:30,000
shit happened, business-wise,
748
00:25:30,001 --> 00:25:32,397
shit happened, business-wise,
749
00:25:32,398 --> 00:25:34,665
and with hangers-on and all
750
00:25:34,666 --> 00:25:37,001
these useless fucks that you
751
00:25:37,002 --> 00:25:38,803
accumulate.
752
00:25:38,804 --> 00:25:40,738
♪ It's not the side effects
753
00:25:40,739 --> 00:25:42,740
of the cocaine ♪
754
00:25:42,741 --> 00:25:43,641
♪ I'm thinking
755
00:25:43,642 --> 00:25:46,611
that it must be love ♪
756
00:25:46,612 --> 00:25:49,781
♪ It's too late to be grateful ♪
757
00:25:49,782 --> 00:25:51,616
♪ It's too late
758
00:25:51,617 --> 00:25:53,518
to be late again ♪
759
00:25:53,519 --> 00:25:57,321
♪ It's too late to be hateful ♪
760
00:25:57,322 --> 00:25:59,857
♪ The European Cannon is here ♪
761
00:25:59,858 --> 00:26:00,000
And I started really getting
762
00:26:00,001 --> 00:26:01,559
and I started really getting
763
00:26:01,560 --> 00:26:03,428
very, very worried for my life.
764
00:26:03,429 --> 00:26:05,229
I just had to get myself out of
765
00:26:05,230 --> 00:26:06,230
that situation.
766
00:26:06,231 --> 00:26:08,866
It wasn't surprising at all
767
00:26:08,867 --> 00:26:11,436
that he wanted away from L.A.
768
00:26:11,437 --> 00:26:13,671
He hated L.A. towards the end.
769
00:26:13,672 --> 00:26:15,940
L.A. at that point was a very,
770
00:26:15,941 --> 00:26:17,442
very alien society.
771
00:26:17,443 --> 00:26:19,377
It was kind of unreal with
772
00:26:19,378 --> 00:26:22,580
unreal people.
773
00:26:22,581 --> 00:26:24,382
I just did too much, and I
774
00:26:24,383 --> 00:26:26,084
came close several times to
775
00:26:26,085 --> 00:26:26,918
overdosing.
776
00:26:26,919 --> 00:26:28,286
It was like being in a car,
777
00:26:28,287 --> 00:26:29,854
where the steering had gone out
778
00:26:29,855 --> 00:26:30,000
of control, and you were going
779
00:26:30,001 --> 00:26:31,355
of control, and you were going
780
00:26:31,356 --> 00:26:32,790
towards the edge of a cliff.
781
00:26:32,791 --> 00:26:34,358
I'd almost resigned myself to
782
00:26:34,359 --> 00:26:35,726
the fact that I'm going over the
783
00:26:35,727 --> 00:26:36,095
edge.
784
00:26:36,096 --> 00:26:36,894
You know, I'm not going to be
785
00:26:36,895 --> 00:26:37,395
able to stop.
786
00:26:37,396 --> 00:26:40,332
♪ Too late to be hateful ♪
787
00:27:00,919 --> 00:27:03,588
I was tiring of the method I was
788
00:27:03,589 --> 00:27:04,455
writing.
789
00:27:04,456 --> 00:27:05,823
I wanted to develop a new
790
00:27:05,824 --> 00:27:07,492
language, and so I knew that my
791
00:27:07,493 --> 00:27:08,960
next move was to have to do
792
00:27:08,961 --> 00:27:09,461
that.
793
00:27:09,462 --> 00:27:11,229
I discarded for the time being
794
00:27:11,230 --> 00:27:12,897
characters and environments.
795
00:27:12,898 --> 00:27:14,432
I couldn't look at myself
796
00:27:14,433 --> 00:27:15,933
properly at the time.
797
00:27:15,934 --> 00:27:17,768
I needed some help and who
798
00:27:17,769 --> 00:27:19,871
better to work with, I thought,
799
00:27:19,872 --> 00:27:20,638
than eno.
800
00:27:20,639 --> 00:27:22,540
And, of course, I found what I
801
00:27:22,541 --> 00:27:25,910
consider a soul mate there.
802
00:27:25,911 --> 00:27:28,379
Well, he's a constantly
803
00:27:28,380 --> 00:27:29,514
changing person.
804
00:27:29,515 --> 00:27:30,000
I knew he was sort of getting
805
00:27:30,001 --> 00:27:31,349
I knew he was sort of getting
806
00:27:31,350 --> 00:27:32,483
tired with the way he'd been
807
00:27:32,484 --> 00:27:33,151
working.
808
00:27:33,152 --> 00:27:34,785
I knew also that he liked a
809
00:27:34,786 --> 00:27:36,687
particular album that I had made
810
00:27:36,688 --> 00:27:37,688
very much.
811
00:27:37,689 --> 00:27:40,024
It was "discreet music," which
812
00:27:40,025 --> 00:27:42,493
is my longest, slowest, quietest
813
00:27:42,494 --> 00:27:45,430
album.
814
00:27:58,812 --> 00:27:59,999
The fact that he liked that sort
815
00:28:00,000 --> 00:28:00,811
the fact that he liked that sort
816
00:28:00,812 --> 00:28:02,547
of alerted me to the idea that
817
00:28:02,548 --> 00:28:04,315
he was wanting to go somewhere
818
00:28:04,316 --> 00:28:05,716
else in his own music.
819
00:28:05,717 --> 00:28:07,652
We would get in the studio.
820
00:28:07,653 --> 00:28:09,253
It was really wide open.
821
00:28:09,254 --> 00:28:10,788
That's why I like doing
822
00:28:10,789 --> 00:28:12,723
recordings with him because it
823
00:28:12,724 --> 00:28:14,725
was, like, real easy, you know?
824
00:28:14,726 --> 00:28:16,828
Until Brian eno came along.
825
00:28:18,263 --> 00:28:19,063
That Brian eno, he was a
826
00:28:19,064 --> 00:28:19,498
character.
827
00:28:19,499 --> 00:28:21,365
The problem actually I had at
828
00:28:21,366 --> 00:28:23,000
that time was that I didn't
829
00:28:23,001 --> 00:28:24,569
really understand how good
830
00:28:24,570 --> 00:28:25,870
musicians worked.
831
00:28:25,871 --> 00:28:28,606
I'm not a musician myself in
832
00:28:28,607 --> 00:28:29,941
that sense.
833
00:28:29,942 --> 00:28:30,000
Brian eno had a blackboard,
834
00:28:30,001 --> 00:28:32,310
Brian eno had a blackboard,
835
00:28:32,311 --> 00:28:34,345
you know, like elementary
836
00:28:34,346 --> 00:28:35,846
school, you know?
837
00:28:35,847 --> 00:28:37,748
I'm like, "you've got a
838
00:28:37,749 --> 00:28:38,816
blackboard.
839
00:28:38,817 --> 00:28:39,383
So?"
840
00:28:39,384 --> 00:28:41,519
So, we started coming up with
841
00:28:41,520 --> 00:28:43,354
these ideas for different
842
00:28:43,355 --> 00:28:43,755
chords.
843
00:28:43,756 --> 00:28:45,690
"E," "c," "g," "b," and so
844
00:28:45,691 --> 00:28:47,792
he'd go, "okay, so, I'm going to
845
00:28:47,793 --> 00:28:49,660
point to that chord, and you
846
00:28:49,661 --> 00:28:51,629
play that chord, and then I'll
847
00:28:51,630 --> 00:28:52,930
point to another."
848
00:28:52,931 --> 00:28:55,867
So, I'm playing "d."
849
00:28:59,738 --> 00:29:00,000
When you're working with
850
00:29:00,001 --> 00:29:01,505
when you're working with
851
00:29:01,506 --> 00:29:03,207
really great players, like
852
00:29:03,208 --> 00:29:05,776
Carlos and Dennis, you have to
853
00:29:05,777 --> 00:29:07,345
accept that they have a way of
854
00:29:07,346 --> 00:29:09,113
processing information that is
855
00:29:09,114 --> 00:29:11,115
beyond intellectual.
856
00:29:11,116 --> 00:29:12,283
"Dude, man.
857
00:29:12,284 --> 00:29:13,618
Hey, Brian, look?
858
00:29:13,619 --> 00:29:14,852
What are you...
859
00:29:14,853 --> 00:29:15,786
This is...
860
00:29:15,787 --> 00:29:17,688
This isn't working for me,
861
00:29:17,689 --> 00:29:18,289
man."
862
00:29:18,290 --> 00:29:20,691
But with their incredibly
863
00:29:20,692 --> 00:29:23,160
natural musicianship, the two
864
00:29:23,161 --> 00:29:26,397
together produce something that,
865
00:29:26,398 --> 00:29:28,499
again, one wouldn't have had
866
00:29:28,500 --> 00:29:29,900
with either on their own.
867
00:29:29,901 --> 00:29:30,000
I mean, some of it worked.
868
00:29:30,001 --> 00:29:31,402
I mean, some of it worked.
869
00:29:31,403 --> 00:29:32,436
Some of it didn't.
870
00:29:32,437 --> 00:29:34,071
But, quite honestly, it did take
871
00:29:34,072 --> 00:29:35,606
me out of my comfort zone, and
872
00:29:35,607 --> 00:29:36,841
it did make me leave my
873
00:29:36,842 --> 00:29:39,677
frustration at what I was doing
874
00:29:39,678 --> 00:29:40,878
and totally look at it from
875
00:29:40,879 --> 00:29:42,280
another different point of view.
876
00:29:42,281 --> 00:29:43,614
And although I didn't like the
877
00:29:43,615 --> 00:29:45,016
point of view, when I came back,
878
00:29:45,017 --> 00:29:47,953
I was fresh.
879
00:29:56,061 --> 00:29:58,929
I think eno opened up new
880
00:29:58,930 --> 00:29:59,999
doors of perception.
881
00:30:00,000 --> 00:30:00,165
Doors of perception.
882
00:30:00,166 --> 00:30:02,133
In terms of the use of the
883
00:30:02,134 --> 00:30:04,435
studio, I'd never used a studio
884
00:30:04,436 --> 00:30:06,537
in quite the way that Brian was
885
00:30:06,538 --> 00:30:08,506
using it.
886
00:30:08,507 --> 00:30:10,574
I received a phone call from
887
00:30:10,575 --> 00:30:12,543
David and Brian eno, and they
888
00:30:12,544 --> 00:30:14,578
said, "what could you bring to
889
00:30:14,579 --> 00:30:15,513
the table?"
890
00:30:15,514 --> 00:30:17,348
I said, "well, I've got this new
891
00:30:17,349 --> 00:30:18,949
thing called a harmonizer."
892
00:30:18,950 --> 00:30:20,718
And they said, "what does this
893
00:30:20,719 --> 00:30:21,452
thing do?"
894
00:30:21,453 --> 00:30:23,688
And I thought, and I said, "it
895
00:30:23,689 --> 00:30:25,923
fucks with the fabric of time.
896
00:30:25,924 --> 00:30:27,725
This is science fiction."
897
00:30:27,726 --> 00:30:29,927
And I could hear the two of them
898
00:30:29,928 --> 00:30:30,000
whooping on the other end.
899
00:30:30,001 --> 00:30:31,762
Whooping on the other end.
900
00:30:31,763 --> 00:30:33,531
They just went, like, "whoa!
901
00:30:33,532 --> 00:30:34,098
Whoo!"
902
00:30:34,099 --> 00:30:35,933
Something like that, you know.
903
00:30:35,934 --> 00:30:37,668
It was very exciting because
904
00:30:37,669 --> 00:30:39,270
it enabled you to change the
905
00:30:39,271 --> 00:30:40,304
pitch of things.
906
00:30:40,305 --> 00:30:42,473
So, what we did with Dennis'
907
00:30:42,474 --> 00:30:44,375
snare drum was we fed it
908
00:30:44,376 --> 00:30:46,410
through the harmonizer, dropped
909
00:30:46,411 --> 00:30:48,245
its pitch, and then fed that
910
00:30:48,246 --> 00:30:49,613
back through again.
911
00:30:49,614 --> 00:30:50,981
So it goes...
912
00:30:50,982 --> 00:30:52,883
But faster.
913
00:30:52,884 --> 00:30:54,418
♪ Baby ♪
914
00:30:54,419 --> 00:30:57,455
♪ I've been ♪
915
00:30:57,456 --> 00:30:59,590
♪ Breaking glass
916
00:30:59,591 --> 00:31:00,000
in your room again ♪
917
00:31:00,001 --> 00:31:02,259
In your room again ♪
918
00:31:02,260 --> 00:31:03,361
♪ Listen ♪
919
00:31:03,362 --> 00:31:04,995
It just needed a positive
920
00:31:04,996 --> 00:31:06,764
decision to only do what I want
921
00:31:06,765 --> 00:31:08,332
to do and not do things for
922
00:31:08,333 --> 00:31:09,633
the sake of what, either
923
00:31:09,634 --> 00:31:11,135
David bowie or whoever I was
924
00:31:11,136 --> 00:31:12,169
playing last time,
925
00:31:12,170 --> 00:31:13,704
thin white Duke or something,
926
00:31:13,705 --> 00:31:17,441
was expected to do.
927
00:31:17,442 --> 00:31:20,411
♪ I drew something awful
928
00:31:20,412 --> 00:31:22,413
on it ♪
929
00:31:22,414 --> 00:31:24,548
What I think excites both of
930
00:31:24,549 --> 00:31:26,550
us is the idea of going where
931
00:31:26,551 --> 00:31:28,686
nobody's been before and trying
932
00:31:28,687 --> 00:31:29,999
to find out what you could do
933
00:31:30,000 --> 00:31:31,856
to find out what you could do
934
00:31:31,857 --> 00:31:32,790
there, you know.
935
00:31:32,791 --> 00:31:34,725
David, I think, was really
936
00:31:34,726 --> 00:31:36,727
interested in new moods and
937
00:31:36,728 --> 00:31:38,362
landscapes and textures that
938
00:31:38,363 --> 00:31:39,864
you could get with electronics,
939
00:31:39,865 --> 00:31:42,700
and he didn't feel a compulsion
940
00:31:42,701 --> 00:31:45,637
to turn everything into a song.
941
00:31:53,712 --> 00:31:58,149
On "warszawa," he was using
942
00:31:58,150 --> 00:31:59,784
sort of non-language.
943
00:31:59,785 --> 00:32:00,000
So, they still weren't songs in
944
00:32:00,001 --> 00:32:02,052
so, they still weren't songs in
945
00:32:02,053 --> 00:32:03,421
the conventional sense.
946
00:32:03,422 --> 00:32:04,822
Such a bold experiment for
947
00:32:04,823 --> 00:32:06,390
somebody like him to make, you
948
00:32:06,391 --> 00:32:07,024
know?
949
00:32:07,025 --> 00:32:14,865
♪ Sula vie milejo ♪
950
00:32:14,866 --> 00:32:20,237
♪ Sula vie milejo ♪
951
00:32:20,238 --> 00:32:20,782
♪ Mejo ♪
952
00:32:26,878 --> 00:32:29,180
The music to me sounds really
953
00:32:29,181 --> 00:32:29,999
a little a bit alienated, so
954
00:32:30,000 --> 00:32:31,215
a little a bit alienated, so
955
00:32:31,216 --> 00:32:32,817
I'm very surprised --
956
00:32:32,818 --> 00:32:34,552
alienated from what?
957
00:32:34,553 --> 00:32:36,253
From... From... From...
958
00:32:36,254 --> 00:32:37,688
Okay, from my world.
959
00:32:37,689 --> 00:32:39,089
From your world?
960
00:32:39,090 --> 00:32:40,157
Uh-huh, okay.
961
00:32:40,158 --> 00:32:41,525
Can you understand it, or is
962
00:32:41,526 --> 00:32:41,893
it...
963
00:32:41,894 --> 00:32:45,329
Yes, I can because it's new
964
00:32:45,330 --> 00:32:48,266
language.
965
00:33:00,702 --> 00:33:03,047
I went naked in Berlin.
966
00:33:03,048 --> 00:33:05,516
I really did try and strip down
967
00:33:05,517 --> 00:33:08,052
my life to what I believed to be
968
00:33:08,053 --> 00:33:09,954
absolute basic essentials so I
969
00:33:09,955 --> 00:33:11,355
could build up again.
970
00:33:11,356 --> 00:33:12,990
I virtually gave a lot of
971
00:33:12,991 --> 00:33:14,592
possessions away, and my
972
00:33:14,593 --> 00:33:16,527
wardrobe really was just jeans
973
00:33:16,528 --> 00:33:18,329
and checked shirts, and that's
974
00:33:18,330 --> 00:33:20,197
how I walked about, and I had a
975
00:33:20,198 --> 00:33:21,732
bicycle, and that was it.
976
00:33:21,733 --> 00:33:23,667
I think it was the first freedom
977
00:33:23,668 --> 00:33:25,569
I'd had from all those so-called
978
00:33:25,570 --> 00:33:28,540
trappings of celebrity.
979
00:33:36,615 --> 00:33:42,586
David and I were talking.
980
00:33:42,587 --> 00:33:44,655
We had a number of pieces in
981
00:33:44,656 --> 00:33:46,524
progress, and David said,
982
00:33:46,525 --> 00:33:48,425
"well, what do you think?
983
00:33:48,426 --> 00:33:50,160
What should we do next?
984
00:33:50,161 --> 00:33:52,229
How should we work on them?"
985
00:33:52,230 --> 00:33:54,064
I said, "well, why don't we call
986
00:33:54,065 --> 00:33:55,666
fripp and see what he would
987
00:33:55,667 --> 00:33:57,968
offer?"
988
00:33:57,969 --> 00:33:59,999
The voice came on and said,
989
00:34:00,000 --> 00:34:00,305
the voice came on and said,
990
00:34:00,306 --> 00:34:01,539
"it's Brian. Hello!
991
00:34:01,540 --> 00:34:02,840
I'm here with David.
992
00:34:02,841 --> 00:34:03,941
We're in Berlin.
993
00:34:03,942 --> 00:34:04,642
"Hang on.
994
00:34:04,643 --> 00:34:05,943
I'll pass you over."
995
00:34:05,944 --> 00:34:08,145
So, eno passed the phone over to
996
00:34:08,146 --> 00:34:10,214
David, and David said, "hello.
997
00:34:10,215 --> 00:34:11,282
We're here in...
998
00:34:11,283 --> 00:34:12,816
Do you think you can play some
999
00:34:12,817 --> 00:34:15,452
hairy rock 'n' roll guitar?"
1000
00:34:15,453 --> 00:34:18,355
What is hairy rock 'n' roll?
1001
00:34:18,356 --> 00:34:20,024
It has danger.
1002
00:34:20,025 --> 00:34:22,459
What is the difference between
1003
00:34:22,460 --> 00:34:29,700
pop and rock 'n' roll?
1004
00:34:29,701 --> 00:34:30,000
You might get fucked.
1005
00:34:30,001 --> 00:34:32,269
You might get fucked.
1006
00:34:32,270 --> 00:34:35,372
Can you put that, or should I
1007
00:34:35,373 --> 00:34:37,041
express it in alternative
1008
00:34:37,042 --> 00:34:38,676
terminology?
1009
00:34:38,677 --> 00:34:40,978
It was a collaboration, a
1010
00:34:40,979 --> 00:34:43,581
highly successful collaboration,
1011
00:34:43,582 --> 00:34:45,282
the new one, and with the
1012
00:34:45,283 --> 00:34:47,318
addition of fripp as middleman,
1013
00:34:47,319 --> 00:34:49,186
I think that helped an awful
1014
00:34:49,187 --> 00:34:52,222
lot, as well.
1015
00:34:52,223 --> 00:34:53,457
[ Introduction to "heroes"
1016
00:34:53,458 --> 00:34:55,393
[ plays ]
1017
00:34:59,564 --> 00:35:00,000
♪ I ♪
1018
00:35:00,001 --> 00:35:02,800
♪ I ♪
1019
00:35:02,801 --> 00:35:04,935
♪ I wish you could swim ♪
1020
00:35:04,936 --> 00:35:07,338
Fripp's plaintive guitar cry
1021
00:35:07,339 --> 00:35:09,006
really triggered off something
1022
00:35:09,007 --> 00:35:10,774
emotive in me, and it was a song
1023
00:35:10,775 --> 00:35:12,343
of triumph, and it was like,
1024
00:35:12,344 --> 00:35:14,211
"I've been a real idiot some of
1025
00:35:14,212 --> 00:35:15,746
my life and put myself in
1026
00:35:15,747 --> 00:35:17,147
ridiculously dangerous
1027
00:35:17,148 --> 00:35:18,949
situations, and I seem to have
1028
00:35:18,950 --> 00:35:20,551
been getting through it."
1029
00:35:20,552 --> 00:35:22,319
And that became part and parcel
1030
00:35:22,320 --> 00:35:23,153
of that song.
1031
00:35:23,154 --> 00:35:24,855
You can overcome some incredible
1032
00:35:24,856 --> 00:35:25,256
odds.
1033
00:35:25,257 --> 00:35:28,959
♪ We can beat them ♪
1034
00:35:28,960 --> 00:35:29,999
♪ Forever and ever ♪
1035
00:35:30,000 --> 00:35:32,529
♪ Forever and ever ♪
1036
00:35:32,530 --> 00:35:37,201
♪ Oh, we can be heroes ♪
1037
00:35:37,202 --> 00:35:39,870
♪ Just for one day ♪
1038
00:35:39,871 --> 00:35:42,272
Fripp did three takes on it,
1039
00:35:42,273 --> 00:35:44,108
and we used all three.
1040
00:35:44,109 --> 00:35:46,443
This is Tony Visconti's genius
1041
00:35:46,444 --> 00:35:48,145
that he can do that without it
1042
00:35:48,146 --> 00:35:53,684
sounding a mess.
1043
00:35:53,685 --> 00:35:56,120
David sat down in the control
1044
00:35:56,121 --> 00:35:58,322
room, and he said, "could you
1045
00:35:58,323 --> 00:35:59,857
just take a walk?"
1046
00:35:59,858 --> 00:36:00,000
He goes, "I'm writing, and I
1047
00:36:00,001 --> 00:36:01,992
he goes, "I'm writing, and I
1048
00:36:01,993 --> 00:36:04,228
just want to be to myself and
1049
00:36:04,229 --> 00:36:06,597
I want to finish these lyrics."
1050
00:36:06,598 --> 00:36:08,966
So, I was having a little
1051
00:36:08,967 --> 00:36:11,702
flirtation, shall we say, with
1052
00:36:11,703 --> 00:36:14,038
the singer antonia maass.
1053
00:36:14,039 --> 00:36:16,106
She was the female vocalist on
1054
00:36:16,107 --> 00:36:18,542
the album.
1055
00:36:18,543 --> 00:36:21,245
We walked outside the studio
1056
00:36:21,246 --> 00:36:22,579
where, from the control room,
1057
00:36:22,580 --> 00:36:24,348
you could see the Berlin wall,
1058
00:36:24,349 --> 00:36:26,216
and you could see a lot of
1059
00:36:26,217 --> 00:36:28,252
rubble, and you could see the
1060
00:36:28,253 --> 00:36:29,999
guards and the gun turrets.
1061
00:36:30,000 --> 00:36:30,155
Guards and the gun turrets.
1062
00:36:30,156 --> 00:36:33,157
And right beneath the window, we
1063
00:36:33,158 --> 00:36:35,192
had a little snog.
1064
00:36:35,193 --> 00:36:37,561
And David saw that and he said,
1065
00:36:37,562 --> 00:36:39,264
"that's the second verse!"
1066
00:36:42,667 --> 00:36:45,069
♪ And we kissed
1067
00:36:45,070 --> 00:36:48,205
as though nothing could fall ♪
1068
00:36:48,206 --> 00:36:49,540
The thing that was most
1069
00:36:49,541 --> 00:36:51,108
exciting about it all is that I
1070
00:36:51,109 --> 00:36:52,609
found that without drugs I was
1071
00:36:52,610 --> 00:36:54,011
still writing very well, you
1072
00:36:54,012 --> 00:36:55,579
know, and that was probably the
1073
00:36:55,580 --> 00:36:57,414
most rejuvenating aspect of it
1074
00:36:57,415 --> 00:36:58,782
all is that you don't need to
1075
00:36:58,783 --> 00:36:59,999
get stoned out of your gourd to
1076
00:37:00,000 --> 00:37:00,251
get stoned out of your gourd to
1077
00:37:00,252 --> 00:37:01,285
write well, you know?
1078
00:37:01,286 --> 00:37:02,720
I think that was, you know, an
1079
00:37:02,721 --> 00:37:04,154
incredibly important period for
1080
00:37:04,155 --> 00:37:05,222
me.
1081
00:37:05,223 --> 00:37:06,957
Not very fast, are you?
1082
00:37:06,958 --> 00:37:08,525
I can't say it was like night
1083
00:37:08,526 --> 00:37:10,027
and day that suddenly I was
1084
00:37:10,028 --> 00:37:11,261
this different person.
1085
00:37:11,262 --> 00:37:11,962
It wasn't.
1086
00:37:11,963 --> 00:37:13,397
It took quite a long time.
1087
00:37:13,398 --> 00:37:15,132
But I think, you know, I did see
1088
00:37:15,133 --> 00:37:16,800
light at the end of the tunnel,
1089
00:37:16,801 --> 00:37:18,169
and it wasn't a train.
1090
00:37:43,597 --> 00:37:45,596
♪ Do you remember a guy
1091
00:37:45,597 --> 00:37:47,097
that's been
1092
00:37:47,098 --> 00:37:51,602
in such an early song?
1093
00:37:51,603 --> 00:37:52,536
♪ I heard a rumor
1094
00:37:52,537 --> 00:37:54,605
from ground control ♪
1095
00:37:54,606 --> 00:37:57,608
♪ Oh, no, don't say it's true ♪
1096
00:37:57,609 --> 00:37:59,999
It is very interesting that
1097
00:38:00,000 --> 00:38:00,111
it is very interesting that
1098
00:38:00,112 --> 00:38:02,679
at the end of the '70s, he goes
1099
00:38:02,680 --> 00:38:05,315
back to his first key character.
1100
00:38:05,316 --> 00:38:06,950
Major tom returns.
1101
00:38:06,951 --> 00:38:09,353
But then he takes the character
1102
00:38:09,354 --> 00:38:11,655
of major tom, puts it in a new
1103
00:38:11,656 --> 00:38:13,991
song, and does very interesting
1104
00:38:13,992 --> 00:38:14,525
things with it.
1105
00:38:14,526 --> 00:38:15,793
So, major tom becomes a much
1106
00:38:15,794 --> 00:38:16,960
more sort of discomfiting,
1107
00:38:16,961 --> 00:38:18,428
sinister figure.
1108
00:38:18,429 --> 00:38:20,097
♪ Pictures of jap girls
1109
00:38:20,098 --> 00:38:21,465
in synthesis,
1110
00:38:21,466 --> 00:38:24,168
and I ain't got no money,
1111
00:38:24,169 --> 00:38:25,369
and I ain't got no hair ♪
1112
00:38:25,370 --> 00:38:26,270
David rang me.
1113
00:38:26,271 --> 00:38:27,704
"Could we make a video for this
1114
00:38:27,705 --> 00:38:28,572
new single?"
1115
00:38:28,573 --> 00:38:29,740
And he said, "I want to be a
1116
00:38:29,741 --> 00:38:30,000
clown on a beach."
1117
00:38:30,001 --> 00:38:30,541
Clown on a beach."
1118
00:38:30,542 --> 00:38:32,309
I said, "oh, whoopee, I've just
1119
00:38:32,310 --> 00:38:34,044
done something on a beach, and
1120
00:38:34,045 --> 00:38:35,746
by accident I found this great
1121
00:38:35,747 --> 00:38:37,481
effect of making the sky black
1122
00:38:37,482 --> 00:38:38,782
and everybody have a halo.
1123
00:38:38,783 --> 00:38:42,252
Then he wanted a digge
1124
00:38:42,253 --> 00:38:43,954
♪ we know major tom's
1125
00:38:43,955 --> 00:38:45,656
a junkie ♪
1126
00:38:45,657 --> 00:38:47,958
David allows me lots and lots
1127
00:38:47,959 --> 00:38:50,227
of freedom to do very much what
1128
00:38:50,228 --> 00:38:52,162
I want, the ways I want it
1129
00:38:52,163 --> 00:38:52,896
edited.
1130
00:38:52,897 --> 00:38:54,464
I storyboard it for him, show
1131
00:38:54,465 --> 00:38:56,066
him exactly what frames I want
1132
00:38:56,067 --> 00:38:59,003
done.
1133
00:39:06,978 --> 00:39:08,812
And then he puts his input in,
1134
00:39:08,813 --> 00:39:09,346
as well.
1135
00:39:09,347 --> 00:39:10,280
And, especially on
1136
00:39:10,281 --> 00:39:11,315
"ashes to ashes," the
1137
00:39:11,316 --> 00:39:12,583
combination has been very
1138
00:39:12,584 --> 00:39:14,818
successful.
1139
00:39:14,819 --> 00:39:16,553
The people round the bonfire
1140
00:39:16,554 --> 00:39:18,355
on the beach in "ashes to ashes"
1141
00:39:18,356 --> 00:39:20,157
were people from blitz, which is
1142
00:39:20,158 --> 00:39:21,658
a London club, which was the
1143
00:39:21,659 --> 00:39:23,327
precursor of the modern romantic
1144
00:39:23,328 --> 00:39:23,994
movement.
1145
00:39:23,995 --> 00:39:25,796
And David managed to clock the
1146
00:39:25,797 --> 00:39:27,631
whole modern romantic movement
1147
00:39:27,632 --> 00:39:29,566
way before anybody else.
1148
00:39:29,567 --> 00:39:30,000
♪ Major tom ♪
1149
00:39:30,001 --> 00:39:32,536
♪ Major tom ♪
1150
00:39:32,537 --> 00:39:35,172
It showed him co-opting a new
1151
00:39:35,173 --> 00:39:37,608
phase of youth culture, which
1152
00:39:37,609 --> 00:39:39,910
he'd been the key figure in
1153
00:39:39,911 --> 00:39:41,778
inspiring in the first place.
1154
00:39:41,779 --> 00:39:43,680
So, some might say he was
1155
00:39:43,681 --> 00:39:45,515
imitating his imitators.
1156
00:39:45,516 --> 00:39:47,885
Others were saying he was buying
1157
00:39:47,886 --> 00:39:49,953
them off and getting them
1158
00:39:49,954 --> 00:39:52,856
on board.
1159
00:39:52,857 --> 00:39:54,625
It's certainly one of the
1160
00:39:54,626 --> 00:39:56,560
better songs I've ever written,
1161
00:39:56,561 --> 00:39:58,395
in terms of familiarity and a
1162
00:39:58,396 --> 00:39:59,999
song that really kind of hooks
1163
00:40:00,000 --> 00:40:00,265
song that really kind of hooks
1164
00:40:00,265 --> 00:40:00,698
in.
1165
00:40:00,699 --> 00:40:02,432
I felt very positive about the
1166
00:40:02,433 --> 00:40:04,201
future, and I think I just got
1167
00:40:04,202 --> 00:40:05,636
down to writing a really
1168
00:40:05,637 --> 00:40:07,237
comprehensive and well-crafted
1169
00:40:07,238 --> 00:40:10,407
album.
1170
00:40:10,408 --> 00:40:12,442
David came into the studio
1171
00:40:12,443 --> 00:40:14,311
with a lot of ideas, and I
1172
00:40:14,312 --> 00:40:16,313
remember he had his demos on
1173
00:40:16,314 --> 00:40:18,348
this new contraption called a
1174
00:40:18,349 --> 00:40:19,449
walkman.
1175
00:40:19,450 --> 00:40:21,485
Carlos alomar flipped when he
1176
00:40:21,486 --> 00:40:23,020
saw it and heard it.
1177
00:40:23,021 --> 00:40:24,288
"Fashion" for the
1178
00:40:24,289 --> 00:40:25,989
"scary monsters" album, David
1179
00:40:25,990 --> 00:40:27,758
had this need to kind of maybe
1180
00:40:27,759 --> 00:40:29,526
even reproduce a little bit of
1181
00:40:29,527 --> 00:40:30,000
the "fame" feeling, and so he
1182
00:40:30,001 --> 00:40:31,228
the "fame" feeling, and so he
1183
00:40:31,229 --> 00:40:33,030
wanted to keep everything up so
1184
00:40:33,031 --> 00:40:34,898
as to kind of give him a secure,
1185
00:40:34,899 --> 00:40:37,000
commercially viable album that
1186
00:40:37,001 --> 00:40:38,435
he could work with.
1187
00:40:38,436 --> 00:40:41,305
And so "fashion" started just
1188
00:40:41,306 --> 00:40:44,441
with this very, very funky beat.
1189
00:40:44,442 --> 00:40:46,176
Then it grew it into a monster.
1190
00:40:46,177 --> 00:40:47,711
People started over-dubbing
1191
00:40:47,712 --> 00:40:48,512
stuff on it.
1192
00:40:48,513 --> 00:40:50,948
Fripp started overdubbing
1193
00:40:50,949 --> 00:40:56,820
this crazy guitar to it.
1194
00:40:56,821 --> 00:40:59,456
It was just evolving into a
1195
00:40:59,457 --> 00:40:59,999
fantastic track.
1196
00:41:00,000 --> 00:41:03,193
Fantastic track.
1197
00:41:03,194 --> 00:41:05,329
I don't believe you'll find
1198
00:41:05,330 --> 00:41:07,597
another guitarist who would have
1199
00:41:07,598 --> 00:41:09,132
played that to that.
1200
00:41:09,133 --> 00:41:11,268
It's very out.
1201
00:41:11,269 --> 00:41:13,837
From a point of view of making a
1202
00:41:13,838 --> 00:41:16,273
contribution to the work of an
1203
00:41:16,274 --> 00:41:18,742
artist with their producer, the
1204
00:41:18,743 --> 00:41:21,111
opportunity to do that and be
1205
00:41:21,112 --> 00:41:23,447
supported and encouraged in
1206
00:41:23,448 --> 00:41:26,249
it...
1207
00:41:26,250 --> 00:41:28,085
It's out.
1208
00:41:28,086 --> 00:41:29,999
It's out.
1209
00:41:30,000 --> 00:41:31,054
It's out.
1210
00:41:31,055 --> 00:41:33,757
♪ There's a brand-new dance,
1211
00:41:33,758 --> 00:41:40,530
but I don't know its name ♪
1212
00:41:40,531 --> 00:41:42,666
♪ That people from bad homes
1213
00:41:42,667 --> 00:41:44,301
do again and again ♪
1214
00:41:44,302 --> 00:41:46,169
It was kind of a little wary of
1215
00:41:46,170 --> 00:41:47,938
the lemming-like quality that
1216
00:41:47,939 --> 00:41:49,773
people were slaves to fashion.
1217
00:41:49,774 --> 00:41:51,641
♪ It's big and it's bland,
1218
00:41:51,642 --> 00:41:54,611
full of tension and fear ♪
1219
00:41:54,612 --> 00:41:56,413
It was dictatorial authority
1220
00:41:56,414 --> 00:41:58,281
that the thing seems to grasp
1221
00:41:58,282 --> 00:41:59,449
people.
1222
00:41:59,450 --> 00:41:59,999
It was a lightweight, throwaway
1223
00:42:00,000 --> 00:42:01,018
it was a lightweight, throwaway
1224
00:42:01,019 --> 00:42:03,120
song, I think, as important as
1225
00:42:03,121 --> 00:42:04,288
fashion.
1226
00:42:07,792 --> 00:42:09,659
♪ Fashion, turn to the left ♪
1227
00:42:09,660 --> 00:42:12,129
♪ Fashion, turn to the right ♪
1228
00:42:12,130 --> 00:42:16,433
♪ Oooh, fashion ♪
1229
00:42:16,434 --> 00:42:18,235
♪ We are the goon squad,
1230
00:42:18,236 --> 00:42:20,437
and we're coming to town,
1231
00:42:20,438 --> 00:42:21,271
beep-beep ♪
1232
00:42:21,272 --> 00:42:22,773
"We are the goon squad, and
1233
00:42:22,774 --> 00:42:23,907
we're coming to town,
1234
00:42:23,908 --> 00:42:25,742
beep-beep."
1235
00:42:25,743 --> 00:42:28,578
Now, ain't that a line which
1236
00:42:28,579 --> 00:42:29,999
sticks in the mind?
1237
00:42:30,000 --> 00:42:34,284
Sticks in the mind?
1238
00:42:34,285 --> 00:42:35,285
♪ Listen to me ♪
1239
00:42:35,286 --> 00:42:36,353
♪ Don't listen to me ♪
1240
00:42:36,354 --> 00:42:37,387
♪ Talk to me ♪
1241
00:42:37,388 --> 00:42:38,688
♪ Don't talk to me ♪
1242
00:42:38,689 --> 00:42:39,556
♪ Dance with me ♪
1243
00:42:39,557 --> 00:42:41,024
♪ Don't dance with me ♪
1244
00:42:41,025 --> 00:42:42,659
♪ No ♪
1245
00:42:42,660 --> 00:42:47,130
♪ Beep-beep ♪
1246
00:42:47,131 --> 00:42:49,567
♪ Beep-beep ♪
1247
00:43:11,056 --> 00:43:12,055
I think I wanted to re-evaluate
1248
00:43:12,056 --> 00:43:13,690
what I wanted to do, musically.
1249
00:43:13,691 --> 00:43:15,292
I did a hell of a lot in a short
1250
00:43:15,293 --> 00:43:16,927
period, and I needed to get some
1251
00:43:16,928 --> 00:43:18,395
space away from writing music
1252
00:43:18,396 --> 00:43:20,330
because it was becoming,
1253
00:43:20,331 --> 00:43:22,265
possibly, too much of an
1254
00:43:22,266 --> 00:43:24,301
exercise, and the enthusiasm had
1255
00:43:24,302 --> 00:43:24,868
gone.
1256
00:43:24,869 --> 00:43:26,269
But now it seems to be back
1257
00:43:26,270 --> 00:43:28,840
again.
1258
00:43:43,910 --> 00:43:45,388
Emi are celebrating.
1259
00:43:45,389 --> 00:43:47,624
Against serious opposition and
1260
00:43:47,625 --> 00:43:49,926
for very serious money, they've
1261
00:43:49,927 --> 00:43:52,496
just signed a real superstar.
1262
00:43:52,497 --> 00:43:53,230
Ladies and gentleman,
1263
00:43:53,231 --> 00:43:56,566
Mr. David bowie.
1264
00:43:56,567 --> 00:43:58,135
Emi don't give lavish
1265
00:43:58,136 --> 00:43:59,999
receptions like this very often.
1266
00:44:00,000 --> 00:44:00,171
Receptions like this very often.
1267
00:44:00,172 --> 00:44:02,105
They won't say how much they
1268
00:44:02,106 --> 00:44:03,940
paid for bowie, but rumors
1269
00:44:03,941 --> 00:44:05,709
range from £10 million to
1270
00:44:05,710 --> 00:44:07,611
£17 million for a five-year
1271
00:44:07,612 --> 00:44:10,515
contract.
1272
00:44:13,050 --> 00:44:14,618
Reportedly so, yes.
1273
00:44:14,619 --> 00:44:16,888
I'm overwhelmed that I've...
1274
00:44:17,989 --> 00:44:18,755
Is that anywhere near
1275
00:44:18,756 --> 00:44:19,190
accurate?
1276
00:44:19,191 --> 00:44:20,223
It's absolutely nowhere near
1277
00:44:20,224 --> 00:44:20,824
accurate.
1278
00:44:20,825 --> 00:44:22,092
Can you give us a more
1279
00:44:22,093 --> 00:44:22,959
accurate figure?
1280
00:44:22,960 --> 00:44:23,894
Of course not!
1281
00:44:23,895 --> 00:44:25,795
Thank you very much and good
1282
00:44:25,796 --> 00:44:28,431
afternoon, ladies and gentlemen.
1283
00:44:28,432 --> 00:44:29,999
Bowie's attitude to himself
1284
00:44:30,000 --> 00:44:30,001
bowie's attitude to himself
1285
00:44:30,002 --> 00:44:31,401
and his music seems to have
1286
00:44:31,402 --> 00:44:32,969
changed, and with that comes a
1287
00:44:32,970 --> 00:44:34,004
change of producer.
1288
00:44:34,005 --> 00:44:35,572
So out goes Tony Visconti, who
1289
00:44:35,573 --> 00:44:37,040
one associates with the more
1290
00:44:37,041 --> 00:44:38,408
sort of art for art's sake
1291
00:44:38,409 --> 00:44:38,909
period.
1292
00:44:38,910 --> 00:44:40,644
And in comes nile Rodgers.
1293
00:44:40,645 --> 00:44:42,579
He's just had that huge run of
1294
00:44:42,580 --> 00:44:43,847
hits with chic and
1295
00:44:43,848 --> 00:44:44,915
sister sledge.
1296
00:44:44,916 --> 00:44:46,483
He's gone on to produce
1297
00:44:46,484 --> 00:44:47,350
Diana Ross.
1298
00:44:47,351 --> 00:44:49,252
But it just doesn't seem like
1299
00:44:49,253 --> 00:44:50,487
what one would have expected
1300
00:44:50,488 --> 00:44:51,488
from the David bowie of the
1301
00:44:51,489 --> 00:44:52,489
'70s and the first part of the
1302
00:44:52,490 --> 00:44:52,857
'80s.
1303
00:44:52,858 --> 00:44:53,924
It seems somewhat
1304
00:44:53,925 --> 00:44:56,827
uncharacteristic.
1305
00:44:59,964 --> 00:45:00,000
When we met originally, it
1306
00:45:00,001 --> 00:45:01,765
when we met originally, it
1307
00:45:01,766 --> 00:45:03,567
was completely by chance, and
1308
00:45:03,568 --> 00:45:06,269
he was sitting alone, back of
1309
00:45:06,270 --> 00:45:08,104
this nightclub, and I spotted
1310
00:45:08,105 --> 00:45:09,306
him right away.
1311
00:45:09,307 --> 00:45:10,874
I walked in with Billy idol,
1312
00:45:10,875 --> 00:45:12,509
and Billy walked in and went,
1313
00:45:12,510 --> 00:45:15,111
"bloody hell, that's
1314
00:45:15,112 --> 00:45:17,113
David bow-ee!"
1315
00:45:17,114 --> 00:45:18,148
And when he said "bow-ee" --
1316
00:45:18,149 --> 00:45:19,216
'cause he called him bow-ee.
1317
00:45:19,217 --> 00:45:20,684
We called him Bo-ee.
1318
00:45:20,685 --> 00:45:22,686
And when he said "bow-ee," he
1319
00:45:22,687 --> 00:45:23,420
vomited.
1320
00:45:23,421 --> 00:45:25,121
He barfed after saying it.
1321
00:45:25,122 --> 00:45:26,856
It was, like, hysterical.
1322
00:45:26,857 --> 00:45:28,124
By that time, I was already
1323
00:45:28,125 --> 00:45:29,999
chatting him up.
1324
00:45:30,000 --> 00:45:31,061
Chatting him up.
1325
00:45:31,062 --> 00:45:33,763
Later, David said to me that he
1326
00:45:33,764 --> 00:45:36,566
wanted me to do what I did best.
1327
00:45:36,567 --> 00:45:38,635
So, when I asked David what he
1328
00:45:38,636 --> 00:45:40,804
thought I did best, he looked at
1329
00:45:40,805 --> 00:45:45,375
me and he says, "you make hits."
1330
00:45:45,376 --> 00:45:46,843
I was charged with the
1331
00:45:46,844 --> 00:45:48,812
responsibility of doing such.
1332
00:45:48,813 --> 00:45:51,681
So, one morning in Switzerland,
1333
00:45:51,682 --> 00:45:55,852
he walks into my bedroom.
1334
00:45:55,853 --> 00:45:57,821
And he says something to the
1335
00:45:57,822 --> 00:45:59,789
effect of, "nile, darling, I
1336
00:45:59,790 --> 00:46:00,000
think I have a song that feels
1337
00:46:00,001 --> 00:46:01,891
think I have a song that feels
1338
00:46:01,892 --> 00:46:05,195
like it's a hit."
1339
00:46:05,196 --> 00:46:06,796
And he comes in with this
1340
00:46:06,797 --> 00:46:08,698
12-string guitar that only has
1341
00:46:08,699 --> 00:46:13,570
six strings on it.
1342
00:46:13,571 --> 00:46:15,538
When you see a 12-string guitar,
1343
00:46:15,539 --> 00:46:17,374
you're in folk city right away.
1344
00:46:17,375 --> 00:46:18,975
Something like that.
1345
00:46:18,976 --> 00:46:20,644
So, when I started fooling
1346
00:46:20,645 --> 00:46:22,545
around with it, I made it very
1347
00:46:22,546 --> 00:46:25,148
jazzy, very cool, but bowie is
1348
00:46:25,149 --> 00:46:26,683
a jazzy, cool guy, unbeknownst
1349
00:46:26,684 --> 00:46:27,584
to most people.
1350
00:46:27,585 --> 00:46:29,586
But I certainly knew that.
1351
00:46:29,587 --> 00:46:30,000
So...
1352
00:46:30,001 --> 00:46:30,654
So...
1353
00:46:30,655 --> 00:46:31,388
[ Plays riff
1354
00:46:31,389 --> 00:46:32,455
[ from "let's dance" ]
1355
00:46:32,456 --> 00:46:34,224
It was cool.
1356
00:46:34,225 --> 00:46:36,192
And it was ultra-cool.
1357
00:46:36,193 --> 00:46:38,561
And it was pretty normal cool.
1358
00:46:38,562 --> 00:46:39,296
And...
1359
00:46:39,297 --> 00:46:40,964
But you put in the delays, and
1360
00:46:40,965 --> 00:46:42,632
all of a sudden you get groove
1361
00:46:42,633 --> 00:46:44,301
and funk and rhythm all at the
1362
00:46:44,302 --> 00:46:45,235
same time.
1363
00:46:45,236 --> 00:46:46,069
[ Introduction to "let's dance"
1364
00:46:46,070 --> 00:46:49,006
[ plays ]
1365
00:47:01,282 --> 00:47:04,421
♪ Let's dance ♪
1366
00:47:04,422 --> 00:47:05,955
It has an intention of being
1367
00:47:05,956 --> 00:47:07,657
danceable but I think, in terms
1368
00:47:07,658 --> 00:47:09,326
of Lyric, I've tried to keep it
1369
00:47:09,327 --> 00:47:10,560
simple as anything that I've
1370
00:47:10,561 --> 00:47:12,162
ever written before.
1371
00:47:12,163 --> 00:47:13,396
I'm trying to write in a more
1372
00:47:13,397 --> 00:47:15,265
obvious and positive manner
1373
00:47:15,266 --> 00:47:16,599
than I've written in a long
1374
00:47:16,600 --> 00:47:18,168
time.
1375
00:47:18,169 --> 00:47:20,670
♪ Let's dance ♪
1376
00:47:20,671 --> 00:47:22,939
♪ Put on your red shoes
1377
00:47:22,940 --> 00:47:26,543
and dance the blues ♪
1378
00:47:26,544 --> 00:47:28,878
♪ Let's dance ♪
1379
00:47:28,879 --> 00:47:29,846
♪ To the song
1380
00:47:29,847 --> 00:47:30,000
they're playing on the radio ♪
1381
00:47:30,001 --> 00:47:34,984
They're playing on the radio ♪
1382
00:47:34,985 --> 00:47:37,053
♪ Let's sway ♪
1383
00:47:37,054 --> 00:47:38,254
"Let's dance" is an
1384
00:47:38,255 --> 00:47:39,789
interesting song because it's
1385
00:47:39,790 --> 00:47:41,458
basically kind of a funk groove,
1386
00:47:41,459 --> 00:47:42,693
an old funk...
1387
00:47:45,930 --> 00:47:47,731
♪ Sway through the crowd
1388
00:47:47,732 --> 00:47:49,299
to an empty space ♪
1389
00:47:49,300 --> 00:47:51,401
And nile just knew how to put
1390
00:47:51,402 --> 00:47:53,703
that into place and then put the
1391
00:47:53,704 --> 00:47:55,138
hook line behind it, and in the
1392
00:47:55,139 --> 00:47:56,606
shortest amount of time, you had
1393
00:47:56,607 --> 00:47:59,309
the song.
1394
00:47:59,310 --> 00:47:59,999
"Let's dance" is not a
1395
00:48:00,000 --> 00:48:00,677
"let's dance" is not a
1396
00:48:00,678 --> 00:48:02,312
traditional, what I would call,
1397
00:48:02,313 --> 00:48:03,847
dance record, but it's certainly
1398
00:48:03,848 --> 00:48:05,348
a record that does make you want
1399
00:48:05,349 --> 00:48:06,216
to dance.
1400
00:48:06,217 --> 00:48:08,284
And I just thought to myself,
1401
00:48:08,285 --> 00:48:10,453
"man, if I don't make a record
1402
00:48:10,454 --> 00:48:12,055
that makes people want to dance,
1403
00:48:12,056 --> 00:48:13,590
and we call the song
1404
00:48:13,591 --> 00:48:15,892
"let's dance," I'm going to have
1405
00:48:15,893 --> 00:48:18,361
to trade in my black union card,
1406
00:48:18,362 --> 00:48:20,630
'cause that just doesn't make
1407
00:48:20,631 --> 00:48:21,598
sense.
1408
00:48:21,599 --> 00:48:27,570
♪ Tremble like a flower ♪
1409
00:48:27,571 --> 00:48:28,872
This is something that can be
1410
00:48:28,873 --> 00:48:29,999
played in every mall in America.
1411
00:48:30,000 --> 00:48:30,141
Played in every mall in America.
1412
00:48:30,142 --> 00:48:31,808
It's a mainstream record by an
1413
00:48:31,809 --> 00:48:33,176
artist who already has a
1414
00:48:33,177 --> 00:48:34,411
pedigree.
1415
00:48:34,412 --> 00:48:36,312
Mick Jagger tried to do his own
1416
00:48:36,313 --> 00:48:38,281
"let's dance" a couple of times.
1417
00:48:38,282 --> 00:48:41,284
Never worked.
1418
00:48:41,285 --> 00:48:42,819
McCartney dabbled.
1419
00:48:42,820 --> 00:48:43,887
A lot of those guys, they
1420
00:48:43,888 --> 00:48:45,155
dabbled 'cause that was what was
1421
00:48:45,156 --> 00:48:45,656
going on.
1422
00:48:45,657 --> 00:48:46,856
None of them made a record as
1423
00:48:46,857 --> 00:48:50,994
good as what bowie made.
1424
00:48:50,995 --> 00:48:54,497
♪ Under the moonlight,
1425
00:48:54,498 --> 00:48:58,368
the serious moonlight ♪
1426
00:48:58,369 --> 00:48:59,999
I've tried to produce something
1427
00:49:00,000 --> 00:49:00,570
I've tried to produce something
1428
00:49:00,571 --> 00:49:02,205
that's warmer and more
1429
00:49:02,206 --> 00:49:04,741
humanistic than anything that
1430
00:49:04,742 --> 00:49:06,543
I've done for a long time.
1431
00:49:06,544 --> 00:49:10,113
Less emphasis on the nihilistic
1432
00:49:10,114 --> 00:49:12,849
kind of statement and the icy,
1433
00:49:12,850 --> 00:49:15,518
one-dimensional kind of thing
1434
00:49:15,519 --> 00:49:17,420
that I've been working with over
1435
00:49:17,421 --> 00:49:20,123
the last few years.
1436
00:49:20,124 --> 00:49:22,292
So, we had cut "let's dance,"
1437
00:49:22,293 --> 00:49:24,227
and at the end of the day he
1438
00:49:24,228 --> 00:49:26,329
gives me a copy of "China girl"
1439
00:49:26,330 --> 00:49:28,364
and says that he thinks it's a
1440
00:49:28,365 --> 00:49:29,999
hit.
1441
00:49:30,000 --> 00:49:31,301
Hit.
1442
00:49:31,302 --> 00:49:33,470
So, I wanted it to have a hook.
1443
00:49:33,471 --> 00:49:35,839
I thought, "man, maybe I'll key
1444
00:49:35,840 --> 00:49:37,942
off the word 'China.'"
1445
00:49:47,418 --> 00:49:49,285
And I said to myself, "either
1446
00:49:49,286 --> 00:49:51,254
David is going to hate this so
1447
00:49:51,255 --> 00:49:53,289
much that he's gonna fire me, or
1448
00:49:53,290 --> 00:49:55,225
he's gonna get the comedic value
1449
00:49:55,226 --> 00:49:57,560
of writing a silly, little,
1450
00:49:57,561 --> 00:49:58,895
poppy thing."
1451
00:49:58,896 --> 00:49:59,999
But I have to admit, I was
1452
00:50:00,000 --> 00:50:00,997
but I have to admit, I was
1453
00:50:00,998 --> 00:50:03,533
nervous as hell, and I played it
1454
00:50:03,534 --> 00:50:06,069
for him, and David went, "I love
1455
00:50:06,070 --> 00:50:06,570
it."
1456
00:50:10,307 --> 00:50:14,043
♪ Uh-oh-oh-oh-oh ♪
1457
00:50:14,044 --> 00:50:17,447
♪ Little China girl ♪
1458
00:50:17,448 --> 00:50:20,617
♪ Uh-oh-oh-oh-oh ♪
1459
00:50:20,618 --> 00:50:22,585
♪ Little China girl ♪
1460
00:50:22,586 --> 00:50:25,755
♪ I could escape this feeling
1461
00:50:25,756 --> 00:50:29,325
with my China girl ♪
1462
00:50:29,326 --> 00:50:29,999
♪ I feel a wreck
1463
00:50:30,000 --> 00:50:31,561
♪ I feel a wreck
1464
00:50:31,562 --> 00:50:36,466
without my little China girl ♪
1465
00:50:36,467 --> 00:50:40,103
♪ I hear her heart beating
1466
00:50:40,104 --> 00:50:43,606
loud as thunder ♪
1467
00:50:43,607 --> 00:50:47,510
♪ Saw the stars crashing ♪
1468
00:50:47,511 --> 00:50:49,445
This is the '80s.
1469
00:50:49,446 --> 00:50:51,681
It's mtv explosion time.
1470
00:50:51,682 --> 00:50:54,317
And he had been a video
1471
00:50:54,318 --> 00:50:57,520
experimenter, but this record
1472
00:50:57,521 --> 00:50:58,588
put him right there in the
1473
00:50:58,589 --> 00:50:59,999
middle of mtv-ization and gave
1474
00:51:00,000 --> 00:51:02,425
middle of mtv-ization and gave
1475
00:51:02,426 --> 00:51:04,193
his career a whole other life.
1476
00:51:04,194 --> 00:51:05,361
♪ You know,
1477
00:51:05,362 --> 00:51:08,798
I'll give you television ♪
1478
00:51:08,799 --> 00:51:12,068
♪ I'll give you eyes of blue ♪
1479
00:51:12,069 --> 00:51:13,937
♪ I'll give you men
1480
00:51:13,938 --> 00:51:19,375
who want to rule the world ♪
1481
00:51:19,376 --> 00:51:22,845
♪ And when I get excited,
1482
00:51:22,846 --> 00:51:25,715
my little China girl ♪
1483
00:51:25,716 --> 00:51:27,750
David went from being, let's
1484
00:51:27,751 --> 00:51:29,819
say, a high-profile cult star
1485
00:51:29,820 --> 00:51:30,000
to mainstream.
1486
00:51:30,001 --> 00:51:30,987
To mainstream.
1487
00:51:30,988 --> 00:51:32,622
The look was more mainstream,
1488
00:51:32,623 --> 00:51:33,890
even though he had the really
1489
00:51:33,891 --> 00:51:35,158
bleachy blond hair and all the
1490
00:51:35,159 --> 00:51:36,125
suits and everything.
1491
00:51:36,126 --> 00:51:38,761
It was a lot different than that
1492
00:51:38,762 --> 00:51:40,763
thin white Duke ominous
1493
00:51:40,764 --> 00:51:42,532
character or Ziggy.
1494
00:51:42,533 --> 00:51:43,800
It was the most mainstream I'd
1495
00:51:43,801 --> 00:51:45,535
ever seen him.
1496
00:51:45,536 --> 00:51:46,971
Right.
1497
00:51:47,304 --> 00:51:48,972
Out of the clear blue sky, he
1498
00:51:48,973 --> 00:51:51,507
was taking boxing lessons, and,
1499
00:51:51,508 --> 00:51:53,209
like, he was beefy.
1500
00:51:53,210 --> 00:51:54,545
He was cleaner.
1501
00:51:54,878 --> 00:51:56,212
Don't take any notice of
1502
00:51:56,213 --> 00:51:56,713
them.
1503
00:51:56,714 --> 00:51:58,448
They're all perfectly harmless.
1504
00:51:58,449 --> 00:51:59,999
He was happier and jovial.
1505
00:52:00,000 --> 00:52:00,484
He was happier and jovial.
1506
00:52:00,485 --> 00:52:01,951
On your new album, you're
1507
00:52:01,952 --> 00:52:03,319
determined to be yourself.
1508
00:52:03,320 --> 00:52:06,956
How do we know this isn't
1509
00:52:06,957 --> 00:52:08,224
another one of your masks?
1510
00:52:08,225 --> 00:52:08,858
I don't know.
1511
00:52:08,859 --> 00:52:09,859
It's a bit like the boy who
1512
00:52:09,860 --> 00:52:12,328
cried wolf.
1513
00:52:12,329 --> 00:52:15,431
He was, "hey!"
1514
00:52:15,432 --> 00:52:16,366
You know.
1515
00:52:16,367 --> 00:52:18,868
I found it a little odd, in that
1516
00:52:18,869 --> 00:52:20,970
it was a very happy David.
1517
00:52:20,971 --> 00:52:23,339
Do you see the music going
1518
00:52:23,340 --> 00:52:25,609
back to basics from here on?
1519
00:52:27,344 --> 00:52:29,999
Tonight, I think it might be
1520
00:52:30,000 --> 00:52:30,580
tonight, I think it might be
1521
00:52:30,581 --> 00:52:31,981
very basic.
1522
00:52:31,982 --> 00:52:34,717
Ladies and gentleman, the
1523
00:52:34,718 --> 00:52:40,189
1983 "serious moonlight" tour!
1524
00:52:40,190 --> 00:52:41,659
David bowie!
1525
00:52:43,260 --> 00:52:44,527
♪ Introduction to "let's dance"
1526
00:52:44,528 --> 00:52:46,664
[ plays ]
1527
00:53:01,720 --> 00:53:04,113
♪ Let's dance ♪
1528
00:53:04,114 --> 00:53:06,215
♪ Put on your red shoes
1529
00:53:06,216 --> 00:53:09,485
and dance the blues ♪
1530
00:53:09,486 --> 00:53:11,621
♪ Let's dance ♪
1531
00:53:11,622 --> 00:53:12,689
♪ To the song
1532
00:53:12,690 --> 00:53:16,192
they're playing on the radio ♪
1533
00:53:16,193 --> 00:53:17,794
I think we're out of characters
1534
00:53:17,795 --> 00:53:19,495
now and just into suits, and the
1535
00:53:19,496 --> 00:53:21,497
suit will change from tour to
1536
00:53:21,498 --> 00:53:23,666
tour, but the bloke inside it is
1537
00:53:23,667 --> 00:53:26,136
generally much the same.
1538
00:53:27,271 --> 00:53:29,138
♪ Sway through the crowd
1539
00:53:29,139 --> 00:53:29,999
to an empty space ♪
1540
00:53:30,000 --> 00:53:34,043
To an empty space ♪
1541
00:53:34,044 --> 00:53:36,446
♪ And if you say run,
1542
00:53:36,447 --> 00:53:39,015
I'll run with you ♪
1543
00:53:39,016 --> 00:53:41,217
"Let's dance" hit so strongly
1544
00:53:41,218 --> 00:53:43,419
that everything changed.
1545
00:53:43,420 --> 00:53:44,754
We were thinking we were just
1546
00:53:44,755 --> 00:53:46,089
going to do a couple of indoor
1547
00:53:46,090 --> 00:53:47,490
theaters, indoor arenas through
1548
00:53:47,491 --> 00:53:47,958
Europe.
1549
00:53:47,959 --> 00:53:49,926
It just quickly turned around,
1550
00:53:49,927 --> 00:53:51,794
which was a surprise.
1551
00:53:51,795 --> 00:53:53,896
And you're just riding this big,
1552
00:53:53,897 --> 00:53:55,765
old train going, "all right,
1553
00:53:55,766 --> 00:53:57,867
everybody, hang on, here we go."
1554
00:53:57,868 --> 00:53:59,001
♪ Fame ♪
1555
00:53:59,002 --> 00:53:59,802
♪ Fame ♪
1556
00:53:59,803 --> 00:54:00,000
♪ Makes a man
1557
00:54:00,001 --> 00:54:00,903
♪ makes a man
1558
00:54:00,904 --> 00:54:03,306
take things over ♪
1559
00:54:03,307 --> 00:54:04,107
♪ Fame ♪
1560
00:54:04,108 --> 00:54:04,974
♪ Fame ♪
1561
00:54:04,975 --> 00:54:05,842
♪ Keeps him loose
1562
00:54:05,843 --> 00:54:08,077
and hard to swallow ♪
1563
00:54:08,078 --> 00:54:09,112
♪ Fame ♪
1564
00:54:09,113 --> 00:54:09,879
♪ Fame ♪
1565
00:54:09,880 --> 00:54:10,913
♪ Puts him there,
1566
00:54:10,914 --> 00:54:13,349
where things are hollow ♪
1567
00:54:13,350 --> 00:54:14,183
♪ Fame ♪
1568
00:54:14,184 --> 00:54:16,119
It was beyond belief to me.
1569
00:54:16,120 --> 00:54:18,321
Suddenly I wasn't a cult artist
1570
00:54:18,322 --> 00:54:19,122
anymore.
1571
00:54:19,123 --> 00:54:20,790
It really was a shocker, and
1572
00:54:20,791 --> 00:54:22,658
we were scurrying around because
1573
00:54:22,659 --> 00:54:24,160
we'd already started a tour.
1574
00:54:24,161 --> 00:54:25,795
And suddenly, like, we were
1575
00:54:25,796 --> 00:54:27,196
doing stadiums out of nowhere.
1576
00:54:27,197 --> 00:54:29,232
Gigs were being thrown out, and
1577
00:54:29,233 --> 00:54:29,999
stadiums were being put in.
1578
00:54:30,000 --> 00:54:31,067
Stadiums were being put in.
1579
00:54:31,068 --> 00:54:33,002
It was all by the shirttails,
1580
00:54:33,003 --> 00:54:33,903
the whole thing.
1581
00:54:33,904 --> 00:54:35,404
Then suddenly, "wow, I've just
1582
00:54:35,405 --> 00:54:36,739
had the biggest album I've
1583
00:54:36,740 --> 00:54:37,807
ever..."
1584
00:54:37,808 --> 00:54:40,543
It was extremely odd.
1585
00:54:40,544 --> 00:54:42,545
♪ Is it any wonder,
1586
00:54:42,546 --> 00:54:45,748
I reject you first? ♪
1587
00:54:45,749 --> 00:54:50,353
♪ Fame, fame, fame, fame ♪
1588
00:54:50,354 --> 00:54:52,355
♪ Is it any wonder,
1589
00:54:52,356 --> 00:54:55,558
you're far too cool to fool ♪
1590
00:54:55,559 --> 00:54:57,660
The "serious moonlight" tour
1591
00:54:57,661 --> 00:54:59,729
was him capturing the planet as
1592
00:54:59,730 --> 00:55:00,000
a whole.
1593
00:55:00,001 --> 00:55:01,397
A whole.
1594
00:55:01,398 --> 00:55:02,098
♪ Bully for you,
1595
00:55:02,099 --> 00:55:03,099
chilly for me ♪
1596
00:55:03,100 --> 00:55:04,834
♪ Got to get a rain check
1597
00:55:04,835 --> 00:55:06,736
on pain ♪
1598
00:55:06,737 --> 00:55:08,805
It was major at thapoint in
1599
00:55:08,806 --> 00:55:09,806
time, in '83.
1600
00:55:09,807 --> 00:55:11,841
Everyone -- we're talking about
1601
00:55:11,842 --> 00:55:13,876
China, in Korea, and everywhere
1602
00:55:13,877 --> 00:55:14,811
else in the world knew who
1603
00:55:14,812 --> 00:55:15,878
David bowie was because of that
1604
00:55:15,879 --> 00:55:18,381
"serious moonlight" tour, and
1605
00:55:18,382 --> 00:55:22,051
it's a peak level.
1606
00:55:22,052 --> 00:55:24,520
♪ Fame, fame, fame, fame,
1607
00:55:24,521 --> 00:55:26,989
fame, fame, fame, fame,
1608
00:55:26,990 --> 00:55:29,458
fame, fame, fame, fame,
1609
00:55:29,459 --> 00:55:29,999
fame, fame, fame, fame,
1610
00:55:30,000 --> 00:55:32,161
fame, fame, fame, fame,
1611
00:55:32,162 --> 00:55:34,463
fame, fame, fame, fame,
1612
00:55:34,464 --> 00:55:36,866
fame, fame ♪
1613
00:55:36,867 --> 00:55:37,900
♪ Fame ♪
1614
00:55:37,901 --> 00:55:39,335
There's some moment when the
1615
00:55:39,336 --> 00:55:40,536
audience comes to you, as
1616
00:55:40,537 --> 00:55:41,904
opposed to you going to them.
1617
00:55:41,905 --> 00:55:43,573
He made a record that was in
1618
00:55:43,574 --> 00:55:45,174
many senses an experimental
1619
00:55:45,175 --> 00:55:46,809
record for him that actually
1620
00:55:46,810 --> 00:55:50,246
worked on a pop level, and that
1621
00:55:50,247 --> 00:55:53,149
happens a lot for people.
1622
00:55:53,150 --> 00:55:56,485
Every artist, their core group
1623
00:55:56,486 --> 00:55:59,522
resents the fact that these
1624
00:55:59,523 --> 00:56:00,000
outsiders are in on our secret,
1625
00:56:00,001 --> 00:56:02,291
outsiders are in on our secret,
1626
00:56:02,292 --> 00:56:03,459
but that's the danger of making
1627
00:56:03,460 --> 00:56:04,126
a good record.
1628
00:56:04,127 --> 00:56:05,328
You never know who's going to
1629
00:56:05,329 --> 00:56:07,163
listen to it.
1630
00:56:07,164 --> 00:56:07,864
♪ Fame ♪
1631
00:56:07,865 --> 00:56:08,965
♪ Fame ♪
1632
00:56:08,966 --> 00:56:10,132
I allowed myself to be
1633
00:56:10,133 --> 00:56:11,601
pushed into the commercial arena
1634
00:56:11,602 --> 00:56:12,935
because I'd never been there,
1635
00:56:12,936 --> 00:56:14,403
and it was sort of, "ooh, what's
1636
00:56:14,404 --> 00:56:15,438
it like?"
1637
00:56:15,439 --> 00:56:17,240
But there it was, and I jumped
1638
00:56:17,241 --> 00:56:21,978
in with my future in my hands.
1639
00:56:21,979 --> 00:56:24,347
♪ Fame, fame, fame, fame,
1640
00:56:24,348 --> 00:56:26,316
fame, fame, fame ♪
1641
00:56:26,817 --> 00:56:29,319
♪ What's your name? ♪
1642
00:56:50,241 --> 00:56:51,674
People have this idea that he
1643
00:56:51,675 --> 00:56:52,909
sort of drifted off into the
1644
00:56:52,910 --> 00:56:54,076
stratosphere and, you know,
1645
00:56:54,077 --> 00:56:55,278
rumor and gossip starts, and
1646
00:56:55,279 --> 00:56:59,782
all of that.
1647
00:56:59,783 --> 00:57:00,000
In a sense, he's regained the
1648
00:57:00,001 --> 00:57:02,985
in a sense, he's regained the
1649
00:57:02,986 --> 00:57:07,490
mystery and distance which was
1650
00:57:07,491 --> 00:57:11,227
so powerful, a part of what made
1651
00:57:11,228 --> 00:57:15,631
him so exceptional in the 1970s.
1652
00:57:15,632 --> 00:57:18,601
Suddenly, we don't know who
1653
00:57:18,602 --> 00:57:21,538
David bowie is once again.
1654
00:57:25,075 --> 00:57:27,276
Even the current rather
1655
00:57:27,277 --> 00:57:29,679
cat-and-mouse game that bowie
1656
00:57:29,680 --> 00:57:30,000
has been playing from his
1657
00:57:30,001 --> 00:57:31,447
has been playing from his
1658
00:57:31,448 --> 00:57:33,316
seclusion is reminiscent of
1659
00:57:33,317 --> 00:57:35,851
warhol, the master of games,
1660
00:57:35,852 --> 00:57:38,421
pretending to be marginal, when,
1661
00:57:38,422 --> 00:57:39,822
in fact, he is the great puppet
1662
00:57:39,823 --> 00:57:43,559
master, controlling it all.
1663
00:57:43,560 --> 00:57:45,528
But then he comes back with
1664
00:57:45,529 --> 00:57:47,596
this record, "the next day," and
1665
00:57:47,597 --> 00:57:49,298
he doesn't do interviews.
1666
00:57:49,299 --> 00:57:50,800
So, we're back to the show-biz
1667
00:57:50,801 --> 00:57:52,234
adage of leave them wanting
1668
00:57:52,235 --> 00:57:53,736
more -- very David bowie thing
1669
00:57:53,737 --> 00:57:56,707
to do.
1670
00:57:57,040 --> 00:57:58,741
Happy hump day, Phil.
1671
00:57:58,742 --> 00:57:59,608
Ha!
1672
00:57:59,609 --> 00:58:00,000
I didn't get humped. You?
1673
00:58:00,001 --> 00:58:01,110
I didn't get humped. You?
1674
00:58:01,111 --> 00:58:03,146
Yeah.
1675
00:58:03,480 --> 00:58:05,348
Some people, huh, they just
1676
00:58:05,349 --> 00:58:06,148
get lost.
1677
00:58:06,149 --> 00:58:07,650
Well, it's more exciting than
1678
00:58:07,651 --> 00:58:09,618
anything we've got around here.
1679
00:58:09,619 --> 00:58:12,555
Well, I wouldn't say that.
1680
00:58:12,556 --> 00:58:15,558
We have a nice life.
1681
00:58:15,559 --> 00:58:18,495
We have a nice life.
1682
00:58:31,384 --> 00:58:31,742
♪ Pushing through
1683
00:58:31,743 --> 00:58:36,012
the market square ♪
1684
00:58:36,013 --> 00:58:41,784
♪ So many mothers sighing ♪
1685
00:58:41,785 --> 00:58:46,689
♪ News had just come over ♪
1686
00:58:46,690 --> 00:58:48,657
♪ We had five years left
1687
00:58:48,658 --> 00:58:53,829
to cry in ♪
1688
00:58:53,830 --> 00:58:54,864
♪ News guy wept
1689
00:58:54,865 --> 00:58:59,101
when he told us ♪
1690
00:58:59,102 --> 00:58:59,999
♪ Earth was really dying ♪
1691
00:59:00,000 --> 00:59:05,107
♪ Earth was really dying ♪
1692
00:59:05,108 --> 00:59:07,243
♪ Cried so much
1693
00:59:07,244 --> 00:59:11,380
that his face was wet ♪
1694
00:59:11,381 --> 00:59:14,117
♪ Knew he wasn't lying ♪
108659
Can't find what you're looking for?
Get subtitles in any language from opensubtitles.com, and translate them here.
Afrikaans
Akan
Albanian
Amharic
Arabic
Armenian
Azerbaijani
Basque
Belarusian
Bemba
Bengali
Bihari
Bosnian
Breton
Bulgarian
Cambodian
Catalan
Cebuano
Cherokee
Chichewa
Chinese (Simplified)
Chinese (Traditional)
Corsican
Croatian
Czech
Danish
English
Esperanto
Estonian
Faroese
Finnish
Frisian
Galician
Georgian
German
Greek
Guarani
Haitian Creole
Hausa
Hawaiian
Hebrew
Hmong
Hungarian
Icelandic
Indonesian
Irish
Italian
Japanese
Kazakh
Kinyarwanda
Kirundi
Kongo
Korean
Krio (Sierra Leone)
Kurdish
Kyrgyz
Laothian
Latin
Latvian
Lithuanian
Luganda
Luo
Luxembourgish
Macedonian
Malagasy
Malay
Maltese
Maori
Mauritian Creole
Moldavian
Mongolian
Myanmar (Burmese)
Montenegrin
Nepali
Norwegian
Pashto
Persian
Polish
Portuguese (Brazil)
Portuguese (Portugal)
Quechua
Romanian
Romansh
Russian
Samoan
Scots Gaelic
Serbian
Sesotho
Setswana
Seychellois Creole
Shona
Sindhi
Sinhalese
Slovak
Slovenian
Somali
Spanish
Swedish
Tajik
Thai
Tigrinya
Tonga
Turkish
Turkmen
Ukrainian
Uzbek
Vietnamese
Welsh
Wolof