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ifled, the brothers watched the two oddly
complementary singers chat, work and relax. ‘It was
two schoolboys hanging out, chums,’ says Sales. ‘It
was a very loving relationship in a sense. David was
at a place where he needed to recharge and got
behind Iggy – and in return that helped him, taking
the pressure off being David Bowie.’
The brothers were among the first outsiders to
see the two singers in their new hide-out. As word
had leaked out in the autumn that David had holed
up with the ex-leader of The Stooges, rumours had
started to spread. Back in 1976, supporters like Iggy
fanzine editor Harald Inhülsen were writing letters to
fellow fans, speculating that David had kidnapped
Iggy and was keeping him ‘under his thumb’. The
implication that Iggy was being exploited as David’s
sex slave was widespread, entertaining, and has
made its way into print. Iggy himself laughs, and
denies such hanky-panky; even Angie Bowie, always
prone to seeing her husband in the role of exploiter,
believes otherwise, asking, with her unerring eye for
practical detail, ‘Who would be on the bottom?’
A more plausible interpretation for cynics was that
Iggy’s main purpose was to give David credibility:
this was probably the case with Iggy’s role at
MainMan, but by the time of The Idiot, there was a
selflessness to David’s behaviour that, says Hunt
Sales, is rare in the jaded world of rock music.
‘David really loved him as a friend. Giving something
to someone is not giving something and expecting
something in return. You just give it.’
It says much for the zeal with which fans followed