Bowie Style

Recommendations

Info

above the audience, were cradled by two giant skyscrapers on either side of the stage. Three trucks were required to transport the set around the country. “Tony Basil taught him things like ‘Don’t ever waste a movement. If you have to put your microphone down, do it with a flourish. If you have to walk from one side of the stage to the other, do it with great dramatic gestures. Throw your head back before you put your first step out’.” - Tony Visconti. With a choreographer, Toni Basil, and a classically trained Musical Director, Michael Kamen, it was as if Broadway had sneaked up on rock’n’roll and stole its heart. It was a slick and genuinely awe-inspiring spectacle, though the night when the hydraulic arm played up, leaving Bowie suspended in mid-air for half-a-dozen songs, provided amusing relief for the increasingly embittered session men forced to perform in the shadows for minimal wages. The black music influence that had been detectable on parts of Diamond Dogs, most notably on the superfunk-charged ‘1984’ and the soul ballad, ‘Rock’n’Roll With Me’, intoxicated Bowie during his latest American visit. With Ava Cherry his regular companion, he saw James Brown at the Apollo, The Jackson 5 at Madison Square Garden and began to frequent the new disco clubs. When, during a break in the tour, Bowie wanted to record again, Ava came up with the Sigma Sound Studios in Philadelphia. This was the home of the Philly Sound, created by Kenny Gamble and Leon Huff, whose artists included the O Jays, Billy Paul, Harold Melvin and The Bluenotes and The Three Degrees.
“Ever since I started working with Carlos Alomar in 1974, I’ve found writing within the context of American soul and R&B the most exciting way of writing for me.” Rhythm maestro Alomar went on to be Musical Director for a further four Bowie tours, and the pair were reunited in 1995 on the Outside tour (above) on which Bowie wears a Todd Oldham shirt. The skeletal Live cover: David Bowie Is Alive And Well And Living Only In Theory
Page 5 and 6:
Gavin Evans/Retna: Front & back cov
Page 7 and 8:
© MTV Europe: 140bl; G. Neri/ Sygm
Page 9 and 10:
At manager Ken Pitt’s flat, Londo
Page 11 and 12:
Only One Paper Left. New York, 1997
Page 13 and 14:
Yes, Bowie’s project was about st
Page 15:
ultimately, Bowie is less about tra
Page 18 and 19:
SHAPING UP As early as 1962, Bowie
Page 20 and 21:
1.1 The Buddha Of Suburbia Suburbia
Page 22 and 23:
The boy David. By 1953 the Jones fa
Page 24 and 25:
May 1964. Tonight, Matthew, I’m g
Page 26 and 27:
Superstar to the hilt. Only favoure
Page 28 and 29:
Tolkien, would be played out to the
Page 30 and 31:
Bowie dressed in a quilted black pl
Page 32 and 33:
When you’re a boy, they dress you
Page 34 and 35:
Almost Grown. “He was always into
Page 36 and 37:
I’M YOUR FAN Bowie celebrated his
Page 38 and 39:
Suede Twenty years later, the “I
Page 40 and 41:
A rare publicity shot of The Kon-ra
Page 42 and 43:
The dilated pupil in Bowie’s left
Page 44 and 45:
music, Wendy Carlos’s Moog take o
Page 46 and 47:
Bunuel and Dali’s surrealist shor
Page 48:
Garland for the rock generation”.
Page 51 and 52:
some of that locally in Bromley, bu
Page 53 and 54:
Portrait of a young man as an art b
Page 55 and 56:
are O-level pass in the subject. Hi
Page 57 and 58:
Fulham, 1995, with samples of his w
Page 59 and 60:
Walter Gramattè’s 1921 canvas, S
Page 61 and 62:
Afro/Pagan And Work 1975-1995, a re
Page 63 and 64:
Bowie recently revamped The Crowd P
Page 65 and 66:
The Mannish Boys in Maidstone’s M
Page 67 and 68:
Safely inside the BBC Television Ce
Page 69 and 70:
Elvis Presley “I saw a cousin of
Page 71 and 72:
Jacques Brel Bowie discovered Belgi
Page 73 and 74:
loved her,” there’s a very high
Page 75 and 76:
mainman Marc Bolan, whose revivalis
Page 77 and 78:
change. He’d briefly called himse
Page 79 and 80:
MICK ROCK Bowie, pictured with phot
Page 81 and 82:
“It was all done on a shoestring
Page 83 and 84:
he’d sign anything without readin
Page 85 and 86:
1.3 Renaissancemanbowie In paisley.
Page 87 and 88:
hard concepts to put into song, tho
Page 89 and 90:
GAY GAMES This European CD of Sixti
Page 91 and 92:
other that I took home and neatly f
Page 93 and 94:
ock a potent spokesman.” A year l
Page 95 and 96:
liberating effect Bowie had in unlo
Page 97 and 98:
deal after Bowie’s 1967 LP floppe
Page 99 and 100:
Ken Pitt: “Now you see the genesi
Page 101 and 102:
Bowie seized his moment. He attende
Page 103 and 104:
At the Beckenham Free Festival. “
Page 105 and 106:
‘Hole In The Ground’ is a littl
Page 107 and 108:
Bowie’s continuing interest in Bu
Page 109 and 110:
inflicted my taste for the theatric
Page 111 and 112:
dark days of the mid-Seventies, he
Page 113 and 114:
The late Sixties quest for alternat
Page 115 and 116:
might be. In another song, ‘Width
Page 117 and 118:
A paint-splattered Ziggy doing some
Page 119 and 120:
A rare colour shot of Growth’s Su
Page 121 and 122:
At the BBC’s Paris Cinema Studios
Page 123 and 124:
Mick Jagger The spectacle of these
Page 125 and 126:
John Lennon They never shared a sta
Page 127 and 128:
Tin a Turner Bowie was regularly se
Page 129 and 130:
1.5 The Man Who Bought The Dress In
Page 131 and 132:
Long tresses and long dresses. “O
Page 133 and 134:
Most Sixties and early Seventies ro
Page 135 and 136:
Showing off designer footwear, 1971
Page 137 and 138:
Trouser rehearsal for The Man Who S
Page 139 and 140:
oo style like Veronica Lake’s. Mo
Page 141 and 142:
Lauren Bacall Veronica Lake.
Page 143 and 144:
I FELT LIKE AN ACTOR As the anarchi
Page 145 and 146:
As Thomas Jerome Newton in The Man
Page 147:
CLASSIC CREATIONS
Page 150 and 151:
of the decade he’d succumbed to t
Page 152 and 153:
of those four guys, although aspect
Page 154 and 155:
Lucky numbers. Ziggy plays guitar i
Page 156 and 157:
STARMAN: SECOND BITE Black shoes, w
Page 158 and 159:
Stardom, as John Lennon was fond of
Page 160 and 161:
the QE2. But a punishing work sched
Page 162 and 163:
Bowie’s mind during 1971 and the
Page 164 and 165:
As Bowie and his Ziggy doppelganger
Page 166 and 167:
When I first wrote it was just an e
Page 168 and 169:
THE ZIGGY ENIGMA Bowie’s most eni
Page 170 and 171:
keen to stress the importance of th
Page 172 and 173:
throwback to the first idol of Glam
Page 174 and 175:
The Nazz, Todd Rundgren’s band.
Page 176 and 177:
The Aladdin Sane lightning bolt was
Page 178 and 179: ‘Drive In Saturday’ was also pe
Page 180 and 181: these girls try to get me over to t
Page 182 and 183: John Hutchinson. The threesome appe
Page 184 and 185: Kornilof, a costume and set designe
Page 186 and 187: never been central to their relatio
Page 188 and 189: Ava Cherry, the funk-soul sister. W
Page 190 and 191: Paris, May 1976. Dalliances with Je
Page 192 and 193: With Iman at London’s Cork Street
Page 194 and 195: No outfit was out of bounds to Bowi
Page 196 and 197: “This was the first Japanese cost
Page 198 and 199: Bogart, Sinatra, right and below),
Page 200: switched again, to Marlboro Lights.
Page 203 and 204: made it more durable than its prede
Page 205: Watch That Man. At New York’s Rad
Page 208 and 209: MIND YOUR OWN BUSINESS A man of wea
Page 210 and 211: with her own bank account. David Bo
Page 212 and 213: Bowie’s flagging creativity. Igno
Page 214 and 215: 2.3 Soul Survivor At the Amstel Hot
Page 216 and 217: the heat out of Bowiemania, and wit
Page 218 and 219: previously,” Bowie insisted. He w
Page 220 and 221: “To this day he was the most extr
Page 222 and 223: Aleister Crowley The so-called Wick
Page 224 and 225: Nazism The power of a modern media
Page 226 and 227: David Bowie circa 1974 is not rock
Page 230 and 231: Never mind the quality, feel the wi
Page 232 and 233: The Mask. Performing ‘Aladdin San
Page 234 and 235: The wedge cut -Phil Oakey was intri
Page 236 and 237: Bauhaus Oh dear. Punk met Glam and
Page 238 and 239: Japan David Batt enjoyed the “cra
Page 240 and 241: Not many people needed Leo Sayer (a
Page 242 and 243: Psychedelic Furs Richard Butler tho
Page 244 and 245: Bowie gets ready to ‘wave’ to t
Page 246 and 247: Fashion! Turn to the right. Bowie:
Page 248 and 249: Bowie tried out different outfits e
Page 250 and 251: “All my reading in that particula
Page 252 and 253: Decked out like a Christmas tree. A
Page 254 and 255: “The audiences are always about o
Page 256 and 257: “I’d got this thing in my mind
Page 258 and 259: Duke Of Earl. Bowie had recorded a
Page 260 and 261: ‘Be My Wife’. Bowie filmed a vi
Page 262 and 263: different thing to saying it needs
Page 264 and 265: changed outfits - but his real wort
Page 266 and 267: Bowie/Visconti at the Daily Mirror
Page 268 and 269: 2.5 Punk Pierrot Bowie gives a twir
Page 270 and 271: At a VIP gala premiere of The Man W
Page 272 and 273: This Ziggy-era reissue of Bowie’s
Page 274 and 275: Photographed by Snowdon, June 1978.
Page 276 and 277: anner was draped over a balcony at
Page 278:
Dallas, April 1978: with hooded mic
Page 281 and 282:
“I think (music) should be tarted
Page 283 and 284:
Costumes and comments by Natasha Ko
Page 285 and 286:
ERASE & REWIND Come Blow Your Horn.
Page 287 and 288:
3.1 I’m Only Dancing As the new d
Page 289 and 290:
Proof that the deification of David
Page 291 and 292:
sexual about ‘Dudes’ as a lyric
Page 293 and 294:
Lulu performing ‘The Man Who Sold
Page 295 and 296:
“My wife says that David wears cl
Page 297 and 298:
“If anything, maybe I’ve helped
Page 299 and 300:
STARMAN: THIRD BYTE Showing off his
Page 301 and 302:
Distraught Beatles fans gather outs
Page 303 and 304:
Tonight (1984): Bowie portrays Scre
Page 305 and 306:
and upbeat, bearing all the sophist
Page 307 and 308:
STAGECRAFT Bowie revived 1974’s m
Page 309 and 310:
wielding skit on Shakespeare’s Ha
Page 311 and 312:
took over during 1974, but for most
Page 313 and 314:
Doing ‘Time’ at London’s Marq
Page 315 and 316:
Waiting in the wings. Doing ‘Time
Page 317 and 318:
off by a more informal suit and sue
Page 320 and 321:
The way you wear your hat. A Sinatr
Page 322 and 323:
“He knows everything. He’s so w
Page 324 and 325:
George Orwell 1984 - The Musical? T
Page 326 and 327:
Jean Genet Genet’s A Thief’s Jo
Page 328 and 329:
Bowie as Baal, August 1981.
Page 330 and 331:
which Bowie was, he maintained, mer
Page 332 and 333:
Soundchecking at the Freddie Mercur
Page 334 and 335:
On stage in the Nineties. Tin Machi
Page 336 and 337:
Tired Of My Life. “I’d hate to
Page 338 and 339:
Unfair, yes, but kind of understand
Page 340 and 341:
In 1996, Bowie’s hair made an ata
Page 342 and 343:
Rakish Georgian sleeves backstage o
Page 344 and 345:
up with the perfect marketing strat
Page 346 and 347:
David in theatrical black, on stage
Page 348 and 349:
I’m Not Losing Sleep. In Neil You
Page 350 and 351:
Bowie received an honorary doctorat
Page 352 and 353:
The male stiletto at The Brit Award
show all

Bowie Style

Create successful ePaper yourself

Delete template?

Save as template?