1 00:00:02,000 --> 00:00:07,000 Downloaded from YTS.MX 2 00:00:08,000 --> 00:00:13,000 Official YIFY movies site: YTS.MX 3 00:00:51,917 --> 00:00:54,291 [video static] 4 00:00:57,667 --> 00:00:59,250 [Bowie] Once upon a time, your father-- 5 00:00:59,250 --> 00:01:01,709 my father, everybody's father, I presume, 6 00:01:01,709 --> 00:01:04,709 wanted a good job with a good income 7 00:01:04,709 --> 00:01:07,166 to secure their family life. 8 00:01:07,166 --> 00:01:09,000 A role in society. 9 00:01:09,000 --> 00:01:10,583 And that's where it ended, 10 00:01:10,583 --> 00:01:13,500 but now, people want to be an individual. 11 00:01:13,500 --> 00:01:15,667 And I think there's a lot of searching to find 12 00:01:15,667 --> 00:01:18,125 the individual within oneself. 13 00:01:18,125 --> 00:01:20,166 ["Fashion" by David Bowie playing] 14 00:01:24,125 --> 00:01:25,917 [music stops] 15 00:01:25,917 --> 00:01:28,500 [woman] Once upon a time, there was a little house. 16 00:01:28,500 --> 00:01:33,250 ["The Man Who Sold the World" by David Bowie playing] 17 00:01:33,250 --> 00:01:35,458 [man] Just say where you came from? 18 00:01:35,458 --> 00:01:38,792 [Bowie] David Robert Jones from Stansfield Road, Brixton. 19 00:01:38,792 --> 00:01:41,542 That's the first thing I knew, in case I got lost, 20 00:01:41,542 --> 00:01:43,125 'cause I used to wander off a lot. 21 00:01:43,125 --> 00:01:46,208 ["The Man Who Sold the World" by David Bowie playing] 22 00:01:47,917 --> 00:01:49,625 [Bowie] It wasn't a particularly happy childhood. 23 00:01:49,625 --> 00:01:52,792 My parents were cold emotionally. There weren't many hugs. 24 00:01:52,792 --> 00:01:55,291 I always sort of craved affection because of that. 25 00:01:55,291 --> 00:02:00,208 [Bowie singing] ♪ I never thought I needed so many people ♪ 26 00:02:03,125 --> 00:02:06,667 ♪ A girl my age went off her head ♪ 27 00:02:07,834 --> 00:02:10,709 ♪ Hit some tiny children ♪ 28 00:02:10,709 --> 00:02:13,000 [Bowie] I think there's a passion for most people 29 00:02:13,000 --> 00:02:15,917 who have an iota of, sort of, curiosity 30 00:02:15,917 --> 00:02:17,917 are bound to escape and get out, 31 00:02:17,917 --> 00:02:21,375 and try and find who one is. 32 00:02:21,375 --> 00:02:23,458 ["The Jean Genie" by David Bowie playing] 33 00:02:23,458 --> 00:02:26,500 ♪ Small Jean Genie snuck off to the city ♪ 34 00:02:26,500 --> 00:02:30,875 ♪ Strung out on lasers and slash-back blazers ♪ 35 00:02:30,875 --> 00:02:34,125 ♪ Ate all your razors while pulling the waiters ♪ 36 00:02:34,125 --> 00:02:37,834 ♪ Talking 'bout Monroe and walking on Snow White ♪ 37 00:02:37,834 --> 00:02:39,417 [music stops] 38 00:02:39,417 --> 00:02:43,458 [Bowie] And I spent all those formative teenage years 39 00:02:43,458 --> 00:02:47,166 adopting guises and changing roles, 40 00:02:47,166 --> 00:02:49,375 -and, um, -[phone rings] 41 00:02:49,375 --> 00:02:51,875 just learning to be somebody. 42 00:02:53,041 --> 00:02:56,709 ♪ There's a starman ♪ 43 00:02:57,750 --> 00:03:00,542 ♪ Waiting in the sky ♪ 44 00:03:05,041 --> 00:03:09,041 ♪ There's a starman ♪ 45 00:03:10,041 --> 00:03:12,709 ♪ Waiting in the sky... ♪ 46 00:03:12,709 --> 00:03:18,375 ♪♪♪ 47 00:03:23,917 --> 00:03:27,375 I want to do really quick changes on the encores. 48 00:03:27,375 --> 00:03:29,542 [woman] Oh yeah, there will be, there will be. 49 00:03:29,542 --> 00:03:33,041 -Fastest ever. -Providing Mick keeps out the dressing room! 50 00:03:33,041 --> 00:03:35,250 [indistinct chatter] 51 00:03:48,333 --> 00:03:51,250 No, I told Ron about some things, has he told you? 52 00:03:51,250 --> 00:03:53,083 -[man] Yeah. All right? -Yeah. 53 00:03:53,083 --> 00:03:54,166 And the intro to the show? 54 00:03:54,166 --> 00:03:56,583 [indistinct chatter] 55 00:04:01,709 --> 00:04:04,417 What were you doing before you hit the bright headlights? 56 00:04:04,417 --> 00:04:06,083 Were you a nobody and suddenly thought, 57 00:04:06,083 --> 00:04:08,417 "Jesus, I must get into the scene by some other way?" 58 00:04:08,417 --> 00:04:10,250 I never asked Jesus for a thing, no. 59 00:04:10,250 --> 00:04:11,792 It's always on my own initiative. 60 00:04:11,792 --> 00:04:13,208 [audience laughter] 61 00:04:13,208 --> 00:04:16,291 When I was 14, I became a Mod, 62 00:04:16,291 --> 00:04:17,542 and it just carried on from there. 63 00:04:17,542 --> 00:04:19,375 I've always dressed in what I consider 64 00:04:19,375 --> 00:04:21,500 clothes that prevent me becoming humdrum, 65 00:04:21,500 --> 00:04:25,208 so that I would receive reaction from people, which would encourage me to write. 66 00:04:33,625 --> 00:04:36,291 ["I Can't Explain" by David Bowie playing] 67 00:04:39,875 --> 00:04:43,458 [Bowie] London represented a lifestyle, 68 00:04:43,458 --> 00:04:46,291 a new kind of language, culturally. 69 00:04:46,291 --> 00:04:49,041 It was really fantastic at that point. 70 00:04:53,834 --> 00:04:55,166 [music stops] 71 00:04:55,166 --> 00:04:57,250 [man] Where you writing songs at this period? 72 00:04:57,250 --> 00:04:58,709 [Bowie] Not very good ones. 73 00:04:58,709 --> 00:05:01,166 The majority of the things were other people's numbers. 74 00:05:01,166 --> 00:05:03,834 Little Richard stuff. Things like that. 75 00:05:03,834 --> 00:05:07,417 But I became disenchanted with singing other people's songs. 76 00:05:07,417 --> 00:05:09,375 I thought I'd write my own. 77 00:05:09,375 --> 00:05:13,750 ["You've Got a Habit of Leaving" by Davy Jones playing] 78 00:05:13,750 --> 00:05:16,500 [Lancaster] He was a nobody within my scope of knowledge 79 00:05:16,500 --> 00:05:19,083 of who was in the music industry. 80 00:05:19,083 --> 00:05:21,333 But we needed a singer. 81 00:05:21,333 --> 00:05:22,875 And different people came. 82 00:05:22,875 --> 00:05:26,166 Amongst them was David Jones, 83 00:05:26,166 --> 00:05:30,542 or Davy Jones, as he was promoting himself at that time. 84 00:05:36,709 --> 00:05:38,333 [Taylor] We were impressed with his voice, 85 00:05:38,333 --> 00:05:41,208 although I thought he was going to play the saxophone. 86 00:05:41,208 --> 00:05:43,667 He had the alto sax around his neck, 87 00:05:43,667 --> 00:05:46,542 and it wasn't until he started singing we realized 88 00:05:46,542 --> 00:05:48,917 he was the boy for us, really. 89 00:05:48,917 --> 00:05:51,792 We employed him. He didn't employ us, we employed him. 90 00:05:55,458 --> 00:05:58,875 [Lancaster] And this was David's fourth go in terms of bands, 91 00:05:58,875 --> 00:06:00,625 hoping this would be it. 92 00:06:08,625 --> 00:06:11,041 But David, of course, had his own agenda, 93 00:06:11,041 --> 00:06:14,750 where it was going to be Davy Jones and the Lower Third now, 94 00:06:14,750 --> 00:06:18,834 but next it's going to be David Bowie and whatever. 95 00:06:20,166 --> 00:06:22,500 So there was a side to David that you-- 96 00:06:22,500 --> 00:06:24,250 that wasn't revealed to you. 97 00:06:24,250 --> 00:06:26,625 Hah! He was a rascal, mate. 98 00:06:26,625 --> 00:06:28,625 That's it, that's all I can really say about it. 99 00:06:28,625 --> 00:06:31,917 ["Baby Loves That Way" by Davy Jones and the Lower Third playing] 100 00:06:42,583 --> 00:06:44,375 ♪ Baby loves that way ♪ 101 00:06:44,375 --> 00:06:46,542 ♪ Yes she does, yes she does ♪ 102 00:06:46,542 --> 00:06:48,208 ♪ Baby loves that way ♪ 103 00:06:48,208 --> 00:06:50,583 ♪ Oh, I love my baby... ♪ 104 00:06:50,583 --> 00:06:53,000 [Bowie] I mean I was always very vain. 105 00:06:53,000 --> 00:06:54,542 Then I found out that, up in London, 106 00:06:54,542 --> 00:06:57,542 all the mods wore make-up, eye shadow. 107 00:06:57,542 --> 00:06:59,458 And I thought that was really peculiar, 108 00:06:59,458 --> 00:07:02,875 and I thought it looked rather good. 109 00:07:02,875 --> 00:07:07,125 [Lancaster] The group van was this London LCC ambulance. 110 00:07:07,125 --> 00:07:11,083 We lived in this ambulance, as well as traveling to the gigs. 111 00:07:11,083 --> 00:07:15,000 So, we were talking about how could we be different from everybody else, 112 00:07:15,000 --> 00:07:18,375 and David said, "What about wearing make-up?" 113 00:07:18,375 --> 00:07:20,959 Right, I was... make-up, OK. 114 00:07:20,959 --> 00:07:23,458 Now, I thought he meant clown make-up. 115 00:07:24,875 --> 00:07:27,166 Graham was driving, as he always did. 116 00:07:27,166 --> 00:07:31,500 "Here," I said, "Dave's just come up with an idea. What about we wear make-up?" 117 00:07:31,500 --> 00:07:34,291 So Graham turned around, "Fuck that!" 118 00:07:34,291 --> 00:07:37,208 ["The Jean Genie" by David Bowie playing] 119 00:07:40,709 --> 00:07:44,333 [Bowie] Years later, I had, uh, the same problems. 120 00:07:44,333 --> 00:07:48,500 I didn't actually tell The Spiders that we'd have to wear make-up. 121 00:07:48,500 --> 00:07:51,583 I said, "You looked very green tonight on stage. 122 00:07:51,583 --> 00:07:53,333 Do you think if-- I think if you wore make-up, 123 00:07:53,333 --> 00:07:57,166 you'd probably look a little more natural-looking." 124 00:07:57,166 --> 00:08:00,166 ♪ Poor Jean Genie snuck into the city ♪ 125 00:08:00,166 --> 00:08:04,208 ♪ Strung out on lasers and slash-back blazers ♪ 126 00:08:04,208 --> 00:08:07,875 ♪ Ate all the razors while pulling the waiters ♪ 127 00:08:07,875 --> 00:08:11,917 ♪ Talking 'bout Monroe, walking on Snow White ♪ 128 00:08:11,917 --> 00:08:16,125 ♪ New York's a no-go, and everything tastes nice ♪ 129 00:08:16,125 --> 00:08:18,208 ♪ Poor Jean Genie... ♪ 130 00:08:18,208 --> 00:08:20,875 [Bowie] Actually, when they realized how many girls they could pull 131 00:08:20,875 --> 00:08:23,208 when they looked so other-worldly, 132 00:08:23,208 --> 00:08:25,417 they took to it like a fish to water. 133 00:08:25,417 --> 00:08:27,333 [laughs] 134 00:08:27,333 --> 00:08:29,667 ♪ ...lives on his back ♪ 135 00:08:29,667 --> 00:08:33,250 ♪ Jean Genie loves chimney stacks ♪ 136 00:08:33,250 --> 00:08:37,125 ♪ He's outrageous, he screams and he bawls ♪ 137 00:08:37,125 --> 00:08:42,000 ♪ Jean Genie, let yourself go, whoa... ♪ 138 00:08:42,000 --> 00:08:45,792 [Lancaster] David had such a wide, eclectic taste in things. 139 00:08:45,792 --> 00:08:49,875 He thought, "Well let's have a go at this, because it's completely different, 140 00:08:49,875 --> 00:08:53,417 it's gonna throw people off balance, I'm sure, 141 00:08:53,417 --> 00:08:54,959 uh, and let's see how it goes." 142 00:08:57,667 --> 00:09:01,375 And we did that with our set on stage. 143 00:09:01,375 --> 00:09:03,792 Mostly, it was David's own compositions, 144 00:09:03,792 --> 00:09:07,208 but we'd do hits by The Kinks or The Who, 145 00:09:07,208 --> 00:09:11,333 but we'd also do things like "Chim-Chimeree" from Mary Poppins. 146 00:09:11,333 --> 00:09:14,875 I thought, "Why are we doing that stuff?" 147 00:09:14,875 --> 00:09:18,375 ["You've Got a Habit of Leaving" by Davy Jones playing] 148 00:09:18,375 --> 00:09:22,417 [Bowie] Looking back on it, it just felt like a lot of fun at the time 149 00:09:22,417 --> 00:09:24,750 and quite, kind of, mischievous. 150 00:09:24,750 --> 00:09:27,375 You laugh a lot when you're young, you know, 151 00:09:27,375 --> 00:09:30,750 it was-- it was just, a lot of it was really funny. 152 00:09:32,917 --> 00:09:34,792 [radio tuning] 153 00:09:34,792 --> 00:09:38,250 Greetings Pop Pickers, it's Pick of the Pops. 154 00:09:38,250 --> 00:09:42,083 [Lancaster] David told us we'd got an audition at the BBC. 155 00:09:42,083 --> 00:09:46,291 This was, wow, you know, I mean, something special. The BBC. 156 00:09:51,041 --> 00:09:55,834 So, we walked into the BBC, and did our three numbers. 157 00:09:55,834 --> 00:09:58,542 "Out Of Sight," "Chim-Chimeree," 158 00:09:58,542 --> 00:10:00,291 and "Baby That's A Promise." 159 00:10:00,291 --> 00:10:02,542 That's one of David's songs. 160 00:10:02,542 --> 00:10:06,000 We did that, came away, and then waited for the results. 161 00:10:08,417 --> 00:10:12,834 I've been having second thoughts about this, and I'd like to hear more from the music department. 162 00:10:12,834 --> 00:10:15,458 Well, frankly, to me, this savors too much of a gimmick. 163 00:10:17,458 --> 00:10:19,583 [Lancaster] They said that it was quite a different sound, 164 00:10:19,583 --> 00:10:22,583 especially in the Mary Poppins number. 165 00:10:22,583 --> 00:10:27,834 "And the treatment of 'Chim-Chimeree' kills the song completely." 166 00:10:27,834 --> 00:10:30,333 [laughs] You cheeky sods! 167 00:10:31,834 --> 00:10:34,625 "Routine beat group, strange choice of material. 168 00:10:34,625 --> 00:10:37,834 Amateur-sounding vocalist [laughs] 169 00:10:37,834 --> 00:10:41,166 who sings wrong notes and out of tune," yes. 170 00:10:41,166 --> 00:10:44,375 "Group has nothing to recommend it." 171 00:10:44,375 --> 00:10:46,500 [laughs softly] 172 00:10:46,500 --> 00:10:50,083 "I don't think the group will get better with more rehearsal. 173 00:10:52,041 --> 00:10:56,250 The singer is a cockney type, [laughs] 174 00:10:56,250 --> 00:10:59,375 but not outstanding enough." 175 00:10:59,375 --> 00:11:02,333 Well, you need to be an outstanding cockney, obviously, for the BBC. 176 00:11:03,917 --> 00:11:07,000 "There is no entertainment in anything they do. 177 00:11:07,000 --> 00:11:10,208 An inoffensive, pleasant nothing. 178 00:11:10,208 --> 00:11:13,375 Backing singer devoid of personality." 179 00:11:13,375 --> 00:11:14,792 [laughs] 180 00:11:14,792 --> 00:11:16,875 Where are these people now? 181 00:11:16,875 --> 00:11:19,458 [radio tuning] 182 00:11:19,458 --> 00:11:21,500 And each one says, "No, no, no, no." 183 00:11:21,500 --> 00:11:25,291 So, that was our post-mortem, I suppose. 184 00:11:25,291 --> 00:11:27,208 [radio tuning] 185 00:11:27,208 --> 00:11:29,125 We failed. 186 00:11:29,125 --> 00:11:32,625 But we got a recording contract with Tony Hatch. 187 00:11:32,625 --> 00:11:34,834 This, to me, was awe inspiring. 188 00:11:34,834 --> 00:11:38,709 ["Can't Help Thinking About Me" by David Bowie playing] 189 00:11:38,709 --> 00:11:41,375 [Hatch] I'd written and produced the song "Downtown" 190 00:11:41,375 --> 00:11:43,208 with Petula Clarke. 191 00:11:43,208 --> 00:11:45,875 And I'd produced Sandy Shaw's first hit. 192 00:11:45,875 --> 00:11:49,500 And when somebody called me and said, 193 00:11:49,500 --> 00:11:53,583 "We have this artist, and he really has got a great talent, 194 00:11:53,583 --> 00:11:57,250 and he writes all his own things," I was more than happy. 195 00:11:59,125 --> 00:12:02,542 [Lancaster] David came up with "Can't Help Thinking About Me." 196 00:12:02,542 --> 00:12:05,583 We rehearsed it, played it at the Marquee, 197 00:12:05,583 --> 00:12:10,250 and then, took it into the studio and recorded it with Tony Hatch. 198 00:12:10,250 --> 00:12:13,250 ♪ I can't help thinking about me ♪ 199 00:12:13,250 --> 00:12:16,750 ♪ I can't help thinking about me... ♪ 200 00:12:16,750 --> 00:12:20,166 [Hatch] I thought, "This has got the shape of a hit. 201 00:12:20,166 --> 00:12:24,291 It's structured well. It has a very strong hook." 202 00:12:24,291 --> 00:12:27,625 [plays and sings "Can't Help Thinking About Me"] 203 00:12:31,291 --> 00:12:36,375 I don't know where you found this, but it is a piano, 204 00:12:36,375 --> 00:12:40,083 in case anybody wondered what it was. 205 00:12:40,083 --> 00:12:44,458 ♪ Question-time that says I brought dishonor... ♪ 206 00:12:44,458 --> 00:12:47,208 [Bowie] "Can't Help Thinking About Me." [laughs] 207 00:12:47,208 --> 00:12:51,125 Well, this came out of trials in short story writing, 208 00:12:51,125 --> 00:12:54,125 little things about leaving home and stuff like that. 209 00:12:54,125 --> 00:13:00,125 ♪ Mother says that she can't stand the neighbors talking ♪ 210 00:13:00,125 --> 00:13:03,834 ♪ I've gotta pack my bags, leave this home ♪ 211 00:13:03,834 --> 00:13:06,125 ♪ Start walking, yeah... ♪ 212 00:13:06,125 --> 00:13:09,000 [Bowie] I couldn't really relate to America too well, 213 00:13:09,000 --> 00:13:12,625 so I started writing more about Bromley and Beckenham. 214 00:13:12,625 --> 00:13:16,208 And I tell a story from beginning to end. 215 00:13:16,208 --> 00:13:21,417 ♪ Remember when we used to go to church on Sundays ♪ 216 00:13:23,458 --> 00:13:28,000 ♪ I lay awake at night, terrified of school on Mondays... ♪ 217 00:13:28,000 --> 00:13:31,000 [MacCormack] He was certainly a different child, 218 00:13:31,000 --> 00:13:34,125 and I think you could tell he was gifted, 219 00:13:34,125 --> 00:13:37,583 even at that age, eight or nine years old. 220 00:13:37,583 --> 00:13:39,083 A thinker. 221 00:13:39,083 --> 00:13:41,917 ♪ I can't help thinking about me... ♪ 222 00:13:41,917 --> 00:13:44,500 [Underwood] The difference with him and other kids was 223 00:13:44,500 --> 00:13:48,834 that David had interests in things that other kids didn't have. 224 00:13:48,834 --> 00:13:51,125 He was ahead of his time regarding, you know, 225 00:13:51,125 --> 00:13:54,875 reading and music and all the things which he was into. 226 00:13:54,875 --> 00:13:57,000 ♪ As I pass a recreation ground ♪ 227 00:13:57,000 --> 00:14:01,500 ♪ I remember my friends, always been found and I can't... ♪ 228 00:14:01,500 --> 00:14:06,542 [Hatch] There are some songwriters that are just commentators, 229 00:14:06,542 --> 00:14:09,709 but Bowie was a storyteller. 230 00:14:09,709 --> 00:14:13,625 And so, he was going to rummage into all his experiences 231 00:14:13,625 --> 00:14:16,041 to find things that he could write about. 232 00:14:16,041 --> 00:14:18,166 It was something new. 233 00:14:18,166 --> 00:14:22,750 ♪ The station seems so cold the ticket's in my hand ♪ 234 00:14:23,875 --> 00:14:30,208 ♪ My girl calls my name Hi, Dave ♪ 235 00:14:30,208 --> 00:14:33,125 ♪ Drop in, see around, come back ♪ 236 00:14:33,125 --> 00:14:36,000 -[music fades] -[woman speaking German] 237 00:14:38,125 --> 00:14:41,542 ...London's top teenage club, Der Marquee. 238 00:14:41,542 --> 00:14:43,834 ["Do Anything You Say" by David Bowie playing] 239 00:14:46,250 --> 00:14:49,542 ♪ Two by two, they go walking by ♪ 240 00:14:49,542 --> 00:14:52,583 ♪ Hand in hand, they watch me cry ♪ 241 00:14:52,583 --> 00:14:55,583 ♪ Two by two ♪ 242 00:14:55,583 --> 00:14:58,000 ♪ Hand in hand ♪ 243 00:15:00,667 --> 00:15:04,208 ♪ Lonely nights, I dream you're there ♪ 244 00:15:04,208 --> 00:15:06,750 ♪ Morning sun and you're gone ♪ 245 00:15:06,750 --> 00:15:09,834 ♪ Lonely nights... ♪ 246 00:15:09,834 --> 00:15:14,041 [Hutchinson] David wanted The Buzz to play sessions, 247 00:15:14,041 --> 00:15:16,792 and we would be his band on stage. 248 00:15:16,792 --> 00:15:19,625 He wanted a band that was very much a backing band 249 00:15:19,625 --> 00:15:22,959 so that he would be the front man, as a separate entity. 250 00:15:22,959 --> 00:15:25,959 ♪ Maybe I'll do anything you say... ♪ 251 00:15:25,959 --> 00:15:27,583 [interviewer] And now, a young British boy 252 00:15:27,583 --> 00:15:29,917 whose career will surely develop him into one of 253 00:15:29,917 --> 00:15:31,959 the bigger names in the showbiz field. 254 00:15:31,959 --> 00:15:36,583 He's a great attraction here at the Marquee, and his name is David Bowie! 255 00:15:36,583 --> 00:15:38,291 [crowd applauding and cheering] 256 00:15:38,291 --> 00:15:41,125 David, you're working with a backing group, The Buzz. 257 00:15:41,125 --> 00:15:42,709 Have you always been with them? 258 00:15:42,709 --> 00:15:44,125 [Bowie] As David Bowie, yes. 259 00:15:44,125 --> 00:15:46,041 [interviewer] Why do you say, "As David Bowie"-- 260 00:15:46,041 --> 00:15:48,667 [Bowie] I was somebody else before that. [laughs] 261 00:15:48,667 --> 00:15:50,291 [interviewer] This is, what, your second record, 262 00:15:50,291 --> 00:15:52,041 and it's a song you wrote? 263 00:15:52,041 --> 00:15:54,125 [Bowie] Yes, I write most of the stuff I record, 264 00:15:54,125 --> 00:15:55,959 the B-sides and A-sides. 265 00:15:58,792 --> 00:16:02,667 [Gillespie] I don't think people realized how important the Marquee was 266 00:16:02,667 --> 00:16:04,333 as a venue. 267 00:16:04,333 --> 00:16:07,333 It was the hottest place to go as far as I was concerned. 268 00:16:07,333 --> 00:16:10,208 I wouldn't have said that I would have gone specially 269 00:16:10,208 --> 00:16:12,959 to see his act at the Marquee club, 270 00:16:12,959 --> 00:16:18,375 I went mainly to see some of what I called the hotter bands. 271 00:16:18,375 --> 00:16:20,834 I would sit in the audience and gape at... 272 00:16:20,834 --> 00:16:24,041 The Yardbirds or The Who. 273 00:16:25,166 --> 00:16:26,542 ♪ Maybe ♪ 274 00:16:26,542 --> 00:16:28,417 ♪ I'll do anything you say ♪ 275 00:16:28,417 --> 00:16:29,875 ♪ Maybe ♪ 276 00:16:29,875 --> 00:16:32,000 ♪ I'll do anything you say ♪ 277 00:16:32,000 --> 00:16:33,083 ♪ Maybe ♪ 278 00:16:33,083 --> 00:16:35,583 ♪ I'll do anything you say ♪ 279 00:16:35,583 --> 00:16:37,417 ♪ Do anything... ♪ 280 00:16:37,417 --> 00:16:42,291 The record company decided it didn't matter what I was going to make with David, 281 00:16:42,291 --> 00:16:44,917 they were losing faith. 282 00:16:44,917 --> 00:16:47,959 His songs, they weren't good enough 283 00:16:47,959 --> 00:16:52,083 to actually capture everybody's imagination. 284 00:16:52,083 --> 00:16:56,917 You know, it still isn't that unique Bowie magic. 285 00:16:58,750 --> 00:17:00,667 [Gillespie] David was never the success 286 00:17:00,667 --> 00:17:04,125 that all his other contemporaries were, 287 00:17:04,125 --> 00:17:06,250 because of being that much younger. 288 00:17:06,250 --> 00:17:08,917 You could say that he almost had missed the boat. 289 00:17:12,000 --> 00:17:15,417 But he was a very driven man, even from those early days. 290 00:17:15,417 --> 00:17:18,291 But he always was helpful to me. 291 00:17:18,291 --> 00:17:22,709 You know, I always felt I was kind of a fellow musician with him. 292 00:17:27,625 --> 00:17:30,875 Love never came into it, which, thank God, you know, 293 00:17:30,875 --> 00:17:35,458 if you're going to fall in love with Bowie, you might as well kiss your sanity goodbye. 294 00:17:35,458 --> 00:17:38,959 Because he loved himself extremely, always did. 295 00:17:38,959 --> 00:17:41,083 And I was quite happy with that. 296 00:17:41,083 --> 00:17:44,500 [birds chirping] 297 00:17:44,500 --> 00:17:48,834 At one point, David said, "Do you want to come home and meet my parents?" 298 00:17:48,834 --> 00:17:50,333 I said, "Yes, why not?" 299 00:17:50,333 --> 00:17:53,083 So, that meant taking the train to Bromley. 300 00:17:55,083 --> 00:17:57,834 [Bowie] You find yourself in the middle of two worlds. 301 00:17:57,834 --> 00:18:02,208 There's the extreme values of people who grow up in the countryside, 302 00:18:02,208 --> 00:18:04,667 and the very urban feel of the city. 303 00:18:04,667 --> 00:18:09,125 And in suburbia, you're given the impression that nothing culturally belongs to you. 304 00:18:09,125 --> 00:18:12,125 That you are sort of in this wasteland. 305 00:18:12,125 --> 00:18:14,291 ["Trendilly" by Alan Blaikley playing] 306 00:18:16,375 --> 00:18:19,291 [Underwood] David lived in Sundridge Park, 307 00:18:19,291 --> 00:18:21,834 a mile or so from the center of Bromley. 308 00:18:21,834 --> 00:18:24,417 And, um, it was quite quiet, 309 00:18:24,417 --> 00:18:26,792 there wasn't-- there was not a lot happening there, you know. 310 00:18:26,792 --> 00:18:28,542 There was a corner pub, couple of shops. 311 00:18:35,458 --> 00:18:37,792 [Gillespie] When I was in his parents' house, 312 00:18:37,792 --> 00:18:40,583 they're facing a television, 313 00:18:40,583 --> 00:18:43,166 and the parents were sitting there quite quiet. 314 00:18:43,166 --> 00:18:45,917 They offered me some tuna fish sandwiches. 315 00:18:45,917 --> 00:18:48,375 But then, there was silence. And I'm somebody that, I mean, 316 00:18:48,375 --> 00:18:52,333 I can talk to anybody, and it was hard going. 317 00:18:52,333 --> 00:18:54,834 It was soulless. 318 00:18:56,917 --> 00:18:59,041 Once they'd gone out, he said, 319 00:18:59,041 --> 00:19:02,166 "Whatever it takes, I want to get out of here. 320 00:19:02,166 --> 00:19:03,667 I do not want to live like this." 321 00:19:03,667 --> 00:19:07,458 ["I Dig Everything" by David Bowie playing] 322 00:19:07,458 --> 00:19:09,667 [Bowie] I think there's a passion for most people 323 00:19:09,667 --> 00:19:13,000 to have an iota of, sort of, curiosity about them, 324 00:19:13,000 --> 00:19:17,333 to escape and get out and try and find who one is, 325 00:19:17,333 --> 00:19:19,709 and find some kinds of roots, you know, 326 00:19:19,709 --> 00:19:21,333 and a desperation, 327 00:19:21,333 --> 00:19:24,834 an exhaustion with the blandness of where we grew up. 328 00:19:29,250 --> 00:19:32,417 [MacCormack] So, London was magnetic for us. 329 00:19:32,417 --> 00:19:35,583 It was somewhere we wanted to belong in. 330 00:19:35,583 --> 00:19:38,000 And I think that's why David writes about it 331 00:19:38,000 --> 00:19:41,375 so often in his early career. 332 00:19:43,166 --> 00:19:44,875 ["The London Boys" by David Bowie playing] 333 00:19:44,875 --> 00:19:48,041 He would want to write songs from the perspective, 334 00:19:48,041 --> 00:19:52,250 like Ray Davies did, really, of a London boy. 335 00:19:52,250 --> 00:19:56,625 He always wanted it to be home-grown. 336 00:19:56,625 --> 00:20:01,208 ♪ Cow bell strikes another night ♪ 337 00:20:01,208 --> 00:20:06,709 ♪ Your eyes are heavy and your limbs all ache ♪ 338 00:20:06,709 --> 00:20:11,291 ♪ You've bought some coffee, butter and bread ♪ 339 00:20:11,291 --> 00:20:15,667 ♪ You can't make a thing, 'cause the meter's dead ♪ 340 00:20:15,667 --> 00:20:18,625 [demo version] ♪ You've moved away ♪ 341 00:20:20,500 --> 00:20:25,417 ♪ Told your folks you're gonna stay away ♪ 342 00:20:27,291 --> 00:20:30,083 What struck me was just a lot of them were really-- 343 00:20:30,083 --> 00:20:32,333 they were great songs, they just-- 344 00:20:32,333 --> 00:20:34,083 people didn't know about them yet. 345 00:20:34,083 --> 00:20:37,041 He just wasn't David Bowie, per se. 346 00:20:37,041 --> 00:20:38,959 As we know him today. 347 00:20:38,959 --> 00:20:42,583 ♪ Cow bell strikes another night... ♪ 348 00:20:42,583 --> 00:20:46,375 [Plati] For him to revisit these early songs of his, 349 00:20:46,375 --> 00:20:49,750 it's just a very typical thing for him to do. 350 00:20:49,750 --> 00:20:53,959 You hear the Bowie in the early songs. 351 00:20:53,959 --> 00:20:55,542 Like he's already there. 352 00:20:55,542 --> 00:20:58,208 He's, you know, he's bubbling to the surface, 353 00:20:58,208 --> 00:20:59,959 but he's already there. 354 00:20:59,959 --> 00:21:02,709 ♪ ...You moved away ♪ 355 00:21:05,125 --> 00:21:09,959 ♪ Told your folks you're gonna stay away ♪ 356 00:21:11,750 --> 00:21:16,750 ♪ Bright lights, Soho, Wardour street ♪ 357 00:21:16,750 --> 00:21:22,291 ♪ You hope you make friends with the guys that you meet ♪ 358 00:21:22,291 --> 00:21:25,625 ♪ Somebody shows you 'round ♪ 359 00:21:28,250 --> 00:21:33,291 ♪ Now you've met the London boys ♪ 360 00:21:33,291 --> 00:21:35,917 ♪ Things seem good again ♪ 361 00:21:35,917 --> 00:21:41,083 ♪ Someone cares ♪ 362 00:21:41,083 --> 00:21:43,667 ♪ About you ♪ 363 00:21:46,667 --> 00:21:49,542 [Plati] Well that's not your typical 60's pop song, is it? 364 00:21:49,542 --> 00:21:51,041 [Slick] None of it was. 365 00:21:51,041 --> 00:21:54,250 "London Boys" is a really good example of David using 366 00:21:54,250 --> 00:21:58,291 -his natural accent to sing, to make the point. -Right. 367 00:21:58,291 --> 00:22:02,000 If you're gonna write a song called "London Boys," and you are from London, 368 00:22:02,000 --> 00:22:05,208 and it's about you being a young man in London, 369 00:22:05,208 --> 00:22:08,333 then the accent really drives the point home. 370 00:22:08,333 --> 00:22:10,959 [Dorsey] I think he even exaggerates it a little bit. 371 00:22:10,959 --> 00:22:12,583 It's almost like theater. 372 00:22:12,583 --> 00:22:15,458 -Oh, yeah. -It's like he's-- it is in a sense, 373 00:22:15,458 --> 00:22:19,458 he's doing a song, and whatever the theme of that song is, 374 00:22:19,458 --> 00:22:24,417 he's putting on the character vocally that-- that tells the story the right way. 375 00:22:24,417 --> 00:22:27,834 -That's exactly-- -And he's brilliant with that. 376 00:22:27,834 --> 00:22:33,792 ♪ It's too late now, 'cause you're out there boy ♪ 377 00:22:33,792 --> 00:22:38,667 ♪ You've got it made with the rest of the toys ♪ 378 00:22:38,667 --> 00:22:43,875 ♪ Now you wish you'd never left your home ♪ 379 00:22:43,875 --> 00:22:49,041 ♪ You've got what you wanted, but you're on your own ♪ 380 00:22:49,041 --> 00:22:53,834 ♪ With the London boys ♪ 381 00:22:53,834 --> 00:22:59,583 ♪ Now you've met the London boys ♪ 382 00:22:59,583 --> 00:23:04,917 ♪ Now you've met the London boys ♪ 383 00:23:04,917 --> 00:23:10,667 ♪ Now you've met the London boys ♪ 384 00:23:24,500 --> 00:23:27,250 [Bowie singing] ♪ Two and two are four ♪ 385 00:23:27,250 --> 00:23:29,333 ♪ Four and four are... ♪ 386 00:23:29,333 --> 00:23:32,458 [Bowie] So much of what any teenager or young person writes 387 00:23:32,458 --> 00:23:36,083 comes from a sense of uniqueness. 388 00:23:39,000 --> 00:23:41,458 Other than just rock music, 389 00:23:41,458 --> 00:23:43,750 there has always been a history of the rebel. 390 00:23:43,750 --> 00:23:47,625 Of not being drawn to the tyranny of the mainstream. 391 00:23:52,709 --> 00:23:57,291 I really am open to influence and new ideas 392 00:23:57,291 --> 00:23:59,500 and old ideas, as well. 393 00:23:59,500 --> 00:24:02,458 I don't put up a block on things. 394 00:24:05,375 --> 00:24:09,542 I was one of the first kids in Britain to have the Velvet Underground album. 395 00:24:09,542 --> 00:24:13,041 I know that for a fact, because somebody had brought me back 396 00:24:13,041 --> 00:24:16,625 a demo copy of it before it was even released in America. 397 00:24:19,250 --> 00:24:21,333 The Underground were, I thought, 398 00:24:21,333 --> 00:24:23,250 the most incredible sound. 399 00:24:23,250 --> 00:24:26,208 There was the sort of mixture of rock and avant-garde. 400 00:24:26,208 --> 00:24:28,917 And the combination was so brutal. 401 00:24:33,333 --> 00:24:36,667 [Hutchinson] I don't think David lacked confidence in himself. 402 00:24:36,667 --> 00:24:39,667 He probably always knew that he was very adaptable. 403 00:24:39,667 --> 00:24:42,792 And it was more a question of him getting on the right track 404 00:24:42,792 --> 00:24:45,542 to do the thing that would take him furthest. 405 00:24:47,750 --> 00:24:51,834 And it obviously took him a long time to do that, 406 00:24:51,834 --> 00:24:54,709 with the Lower Third and then, The Buzz, 407 00:24:54,709 --> 00:24:56,875 and the other things that he did. 408 00:24:56,875 --> 00:25:00,834 ["I Take It That We're Through" by The Riot Squad playing] 409 00:25:04,250 --> 00:25:08,375 ♪ Well, I know you've had it bad, girl ♪ 410 00:25:08,375 --> 00:25:11,250 ♪ And you're not to blame... ♪ 411 00:25:11,250 --> 00:25:13,917 [Roll] I think the attraction for David 412 00:25:13,917 --> 00:25:16,166 was he was looking to move forward 413 00:25:16,166 --> 00:25:20,542 and be a lot more adventurous with his musical styles. 414 00:25:20,542 --> 00:25:23,792 And we were looking for a singer that was totally flexible. 415 00:25:25,917 --> 00:25:29,333 But then David made it plain, really, right from the get-go, 416 00:25:29,333 --> 00:25:34,917 that he wanted to go more left-field, if that's the right term, musically. 417 00:25:34,917 --> 00:25:38,250 And already, he was talking about Velvet Underground. 418 00:25:40,083 --> 00:25:43,125 [Davies] He knew what he wanted, and, uh, he was there to do it. 419 00:25:43,125 --> 00:25:46,750 He just wanted a backing band, with extra goodies put in. 420 00:25:46,750 --> 00:25:48,750 Which we did, we started having face painted, 421 00:25:48,750 --> 00:25:51,750 we started to go more outrageous. 422 00:25:51,750 --> 00:25:53,542 I remember him coming over to me, 423 00:25:53,542 --> 00:25:57,417 "Can I draw a petal on your face, or a flower on your cheek?" 424 00:25:57,417 --> 00:25:59,458 I said, "Yeah, do what you want with my face. 425 00:25:59,458 --> 00:26:03,250 ♪ Once upon a time, there was a toy soldier ♪ 426 00:26:03,250 --> 00:26:07,583 ♪ And he lived in the play room ♪ 427 00:26:07,583 --> 00:26:11,583 ♪ Once upon a time, there was a toy soldier ♪ 428 00:26:11,583 --> 00:26:14,583 ♪ With a whip lash in his hand... ♪ 429 00:26:16,000 --> 00:26:18,250 [Bowie] To me, 430 00:26:18,250 --> 00:26:22,709 the Velvet Underground represented the wild side of existentialist America, 431 00:26:22,709 --> 00:26:25,125 the underbelly of American culture. 432 00:26:25,125 --> 00:26:28,792 That was everything that I thought we should have in England. 433 00:26:28,792 --> 00:26:32,834 But, of course, being filtered through this British system, 434 00:26:32,834 --> 00:26:36,417 it came out more vaudeville. [laughs] 435 00:26:36,417 --> 00:26:37,959 ["Little Toy Soldier" by The Riot Squad playing] 436 00:26:37,959 --> 00:26:40,750 [Davies] "Toy Soldier" was a bit of an odd one, 437 00:26:40,750 --> 00:26:44,041 because it was about a young girl coming home from school, 438 00:26:44,041 --> 00:26:48,667 going to her bedroom, and winding up a little toy soldier, 439 00:26:48,667 --> 00:26:52,375 and then, being whipped by the toy soldier. 440 00:26:52,375 --> 00:26:56,291 ♪ And every night, little girl Sadie would take all her clothes off ♪ 441 00:26:56,291 --> 00:27:00,625 ♪ And wind up the toy soldier, and he'd raise his whip and say to her ♪ 442 00:27:00,625 --> 00:27:04,375 ♪ On your knees little Sadie... ♪ 443 00:27:04,375 --> 00:27:06,500 [Roll] I don't think he was ever embarrassed about 444 00:27:06,500 --> 00:27:08,875 nicking some ideas. 445 00:27:08,875 --> 00:27:12,083 He wasn't against taking a basic number, 446 00:27:12,083 --> 00:27:16,458 and then, rearranging it by any means, including the lyrics. 447 00:27:16,458 --> 00:27:20,709 ♪ Taste the whip in love not given lightly ♪ 448 00:27:20,709 --> 00:27:24,500 ♪ Taste the whip and bleed for me... ♪ 449 00:27:24,500 --> 00:27:27,959 [Roll] That, we brought into the stage act. 450 00:27:27,959 --> 00:27:29,792 -It was just so visual. -Yeah. 451 00:27:29,792 --> 00:27:32,792 A tailors' dummy, I think, used to get flagellated or something, 452 00:27:32,792 --> 00:27:35,917 it was ridiculous, you know, it was bizarre. 453 00:27:35,917 --> 00:27:39,166 -I certainly-- I enjoyed playing, that's for sure. -Yeah. 454 00:27:39,166 --> 00:27:40,959 Great visual act. 455 00:27:40,959 --> 00:27:43,125 I don't think people listen to the words at times, 456 00:27:43,125 --> 00:27:48,333 -they could just see people whipping, and, uh... -Yeah. 457 00:27:48,333 --> 00:27:51,291 Not many people used to get whipped on stage in them days. 458 00:27:51,291 --> 00:27:53,625 No. 459 00:27:53,625 --> 00:27:57,417 ♪ One day Sadie wound and wound ♪ 460 00:27:57,417 --> 00:28:00,583 ♪ And wound and wound ♪ 461 00:28:00,583 --> 00:28:05,375 ♪ 'Till suddenly, the little toy soldier's spring ♪ 462 00:28:05,375 --> 00:28:08,625 ♪ Went ♪ [screaming] 463 00:28:08,625 --> 00:28:12,208 ♪ And he beat her to death ♪ 464 00:28:13,834 --> 00:28:16,792 [Davies] He had some great ideas for that time. 465 00:28:16,792 --> 00:28:20,709 But David's time with us was eight weeks. 466 00:28:20,709 --> 00:28:22,959 25 gigs, that's all. 467 00:28:22,959 --> 00:28:27,041 Maybe he just felt... overnight, you know, 468 00:28:27,041 --> 00:28:30,083 he's done his bit with us, and now, want to move on to 469 00:28:30,083 --> 00:28:32,959 something a bit more theatrical. 470 00:28:32,959 --> 00:28:36,083 ["Rubber Band" by David Bowie playing] 471 00:28:36,083 --> 00:28:38,667 [Pitt] I was looking for someone who 472 00:28:38,667 --> 00:28:41,291 could be an all-around entertainer. 473 00:28:41,291 --> 00:28:45,792 And I thought in David, we had found someone who could be. 474 00:28:48,250 --> 00:28:51,667 When we first went to the Deram label, 475 00:28:51,667 --> 00:28:56,166 the man who was in charge of the album department 476 00:28:56,166 --> 00:28:59,083 said to me, 477 00:28:59,083 --> 00:29:01,875 "This is the greatest thing that's come here 478 00:29:01,875 --> 00:29:03,458 since Tony Newley." 479 00:29:03,458 --> 00:29:07,000 ♪ With no star to guide me ♪ 480 00:29:07,000 --> 00:29:10,458 ♪ And no one beside me... ♪ 481 00:29:10,458 --> 00:29:13,750 And he was a funny sort of guy, very much a... 482 00:29:13,750 --> 00:29:16,417 cockney, lovable cockney kind of character. 483 00:29:16,417 --> 00:29:19,125 And David will only be Anthony Newley 484 00:29:19,125 --> 00:29:21,208 all the way through doing all the other stuff. 485 00:29:21,208 --> 00:29:24,667 ♪ Maybe tomorrow ♪ 486 00:29:24,667 --> 00:29:28,125 ♪ I'll find what I'm after ♪ 487 00:29:28,125 --> 00:29:31,000 ♪ I'll throw off my sorrow ♪ 488 00:29:31,000 --> 00:29:36,000 ♪ Beg, steal or borrow my share of laughter ♪ 489 00:29:36,000 --> 00:29:38,959 [Bowie] The thing is, I never thought that I could sing very well, 490 00:29:38,959 --> 00:29:41,125 and I used to kind of try on people's voices 491 00:29:41,125 --> 00:29:44,417 if they appealed to me when I was a kid, about 15, 16. 492 00:29:44,417 --> 00:29:48,709 So, I started singing like Anthony Newley. 493 00:29:52,166 --> 00:29:56,417 And so I was writing these really weird Tony Newley-type songs. 494 00:29:56,417 --> 00:29:58,166 I thought, "Yeah, this is my bag." 495 00:29:58,166 --> 00:30:00,542 ["Rubber Band" by David Bowie playing] 496 00:30:00,542 --> 00:30:04,500 ♪ Won't you play a haunting theme again to me ♪ 497 00:30:04,500 --> 00:30:08,375 ♪ While I eat my scones and drink my cup of tea ♪ 498 00:30:08,375 --> 00:30:12,041 ♪ The sun is warm, but it's a lonely afternoon... ♪ 499 00:30:12,041 --> 00:30:14,083 [Dudgeon] He just had such wacky songs. 500 00:30:14,083 --> 00:30:15,500 About the only thing that used to bother us 501 00:30:15,500 --> 00:30:18,000 was he sounded like Anthony Newley all the time. 502 00:30:18,000 --> 00:30:20,458 I mean, to the point that, you know, we used to comment on it, 503 00:30:20,458 --> 00:30:22,834 and David would just say, "Well, I can't sing any other way." 504 00:30:22,834 --> 00:30:24,750 We knew bloody well he could, but he just had-- 505 00:30:24,750 --> 00:30:27,750 I think he just had a fixation to the point that as soon as he opened his mouth, 506 00:30:27,750 --> 00:30:29,208 Anthony Newley shot out. 507 00:30:29,208 --> 00:30:31,834 You know, and it was like he just had no control over it. 508 00:30:31,834 --> 00:30:33,792 ♪ I hope you break your baton ♪ 509 00:30:33,792 --> 00:30:36,208 [laughter] 510 00:30:43,500 --> 00:30:45,041 [Bowie] Go on! 511 00:30:45,041 --> 00:30:47,917 [plays "The Laughing Gnome" by David Bowie] 512 00:30:52,375 --> 00:30:56,417 [vocalizing "The Laughing Gnome] 513 00:31:00,542 --> 00:31:02,208 That's very, very simple. 514 00:31:02,208 --> 00:31:05,875 ["The Laughing Gnome" by David Bowie playing] 515 00:31:05,875 --> 00:31:09,500 ♪ When I heard footsteps behind me ♪ 516 00:31:09,500 --> 00:31:11,375 ♪ And there was a little old man 517 00:31:11,375 --> 00:31:12,917 ♪ Hello! ♪ 518 00:31:12,917 --> 00:31:15,667 ♪ In scarlet and gray, chuckling away ♪ 519 00:31:15,667 --> 00:31:19,500 [high-pitched chuckling] 520 00:31:19,500 --> 00:31:21,709 [Alomar] One of the great influences that, you know, he had 521 00:31:21,709 --> 00:31:23,250 was Anthony Newley. 522 00:31:23,250 --> 00:31:25,709 Which to me, I didn't get that. 523 00:31:25,709 --> 00:31:27,875 Who got it was my wife Robyn. 524 00:31:27,875 --> 00:31:31,083 He was singing once, and Robyn looked at me and went, 525 00:31:32,667 --> 00:31:35,166 "Did he just Anthony-Newley us?" 526 00:31:35,166 --> 00:31:37,417 I said, "Yes, I think he did, honey." 527 00:31:37,417 --> 00:31:41,208 ♪ Ha, ha, ha, hee, hee, hee ♪ 528 00:31:41,208 --> 00:31:45,041 ♪ I'm a laughing gnome, and you can't catch me ♪ 529 00:31:45,041 --> 00:31:48,625 ♪ Ha, ha, ha, hee, hee, hee... ♪ 530 00:31:48,625 --> 00:31:52,417 [Bowie] I'll always associate "Laughing Gnome" with Gus Dudgeon, 531 00:31:52,417 --> 00:31:54,750 because he used to sit there doing tricks with his glasses 532 00:31:54,750 --> 00:31:56,667 whilst I was making it. 533 00:31:56,667 --> 00:32:00,959 [laughs] Because we had the technology. 534 00:32:00,959 --> 00:32:03,375 [Bowie on recording] Ha, ha, ha! 535 00:32:03,375 --> 00:32:06,458 Get down with it! Whoo! 536 00:32:06,458 --> 00:32:07,625 Fuck off. 537 00:32:07,625 --> 00:32:09,917 Hee, hee, hee! 538 00:32:09,917 --> 00:32:13,792 He said, "Right, we need some gnome voices on this thing," 539 00:32:13,792 --> 00:32:15,542 and I showed him it could be done, and he was-- 540 00:32:15,542 --> 00:32:17,125 he went, "Oh, well, that's it, we've got to do it." 541 00:32:17,125 --> 00:32:19,834 [Bowie on recording] ♪ I'm a laughing gnome ♪ 542 00:32:19,834 --> 00:32:23,125 ♪ And you can't catch me ♪ 543 00:32:23,125 --> 00:32:24,417 [radio distortion] 544 00:32:24,417 --> 00:32:26,458 ["The Laughing Gnome" playing] 545 00:32:26,458 --> 00:32:29,667 [Vernon] You have to slow the tape down to pretty much the half-speed 546 00:32:29,667 --> 00:32:31,583 and sing normally. 547 00:32:31,583 --> 00:32:33,333 We did quite a lot of takes 548 00:32:33,333 --> 00:32:35,709 and got very silly and got very rude at times. 549 00:32:35,709 --> 00:32:39,208 And there were some obscenities that we can't possibly talk about. 550 00:32:39,208 --> 00:32:41,917 But everyone had a good time doing it. 551 00:32:41,917 --> 00:32:45,667 [Bowie on recording] Come on, friend! Ha, ha, ha! 552 00:32:45,667 --> 00:32:47,250 ["The Laughing Gnome" playing] 553 00:32:47,250 --> 00:32:51,458 ♪ I'm a laughing gnome, and you can't catch me ♪ 554 00:32:51,458 --> 00:32:54,291 ♪ Said the laughing gnome... ♪ 555 00:32:54,291 --> 00:32:57,375 [Alomar] In a way, David is also very clever. 556 00:32:57,375 --> 00:33:00,875 A simplicity aspect, I think, is very, very important. 557 00:33:00,875 --> 00:33:05,041 I mean, his love for the Velvet Underground and the whole Lou Reed thing, 558 00:33:05,041 --> 00:33:07,125 and the simplicity of "Waiting For the Man." 559 00:33:07,125 --> 00:33:09,500 [plays Bowie's "Waiting for the Man"] 560 00:33:09,500 --> 00:33:11,667 ♪ Waiting for the man ♪ 561 00:33:11,667 --> 00:33:13,709 That same pulsation-- 562 00:33:13,709 --> 00:33:15,542 ♪ I was walking ♪ 563 00:33:15,542 --> 00:33:20,834 [vocalizing to the tune of "The Laughing Gnome"] 564 00:33:20,834 --> 00:33:22,083 It's exactly the same. 565 00:33:24,709 --> 00:33:26,709 ♪ Waiting for the man ♪ 566 00:33:26,709 --> 00:33:31,333 Two chords. I mean, "Fame" is three chords. 567 00:33:31,333 --> 00:33:34,583 And so, this simplicity is amazing. 568 00:33:34,583 --> 00:33:36,500 And it's totally relevant. 569 00:33:36,500 --> 00:33:38,291 But... 570 00:33:38,291 --> 00:33:40,667 the Velvet Underground was cool. 571 00:33:40,667 --> 00:33:44,333 There's nothing cool about "The Laughing Gnome." 572 00:33:44,333 --> 00:33:47,250 ["The Laughing Gnome" playing] 573 00:33:47,250 --> 00:33:51,083 [Bowie laughing] ♪ I'm a laughing gnome, and you can't catch me ♪ 574 00:33:54,709 --> 00:33:58,041 ♪ I'm a laughing gnome, and you can't catch me ♪ 575 00:33:58,041 --> 00:34:00,542 [Gillespie] Everything he did kind of failed. 576 00:34:00,542 --> 00:34:04,291 "The Laughing Gnome," that single that he loathed, 577 00:34:04,291 --> 00:34:06,083 didn't give him satisfaction. 578 00:34:06,083 --> 00:34:08,583 I don't know how he coped with this, 579 00:34:08,583 --> 00:34:13,625 except that I do know that if you want something hard enough and it's not happened, 580 00:34:13,625 --> 00:34:16,959 it only makes you want to go on and want it even more. 581 00:34:16,959 --> 00:34:20,166 ["Sell Me a Coat" by David Bowie playing] 582 00:34:20,166 --> 00:34:22,333 [Bowie vocalizing] 583 00:34:31,333 --> 00:34:33,083 Oh, my word. 584 00:34:33,083 --> 00:34:36,959 54 years or so of history coming back at me. 585 00:34:39,583 --> 00:34:43,083 Bowie was young. He was trying to make a mark for himself. 586 00:34:43,083 --> 00:34:47,709 And he was very much a Jack the Lad, there's no two ways about it. 587 00:34:47,709 --> 00:34:50,542 But, I mean, he was very funny to work with. 588 00:34:50,542 --> 00:34:55,333 We did have a lot of moments where we collapsed in laughter. 589 00:34:55,333 --> 00:34:57,625 [recording] Where there's muck, there's brass. 590 00:34:57,625 --> 00:35:01,875 Crisp green shirt and a lemonade sandwich out on a horse-shoe. 591 00:35:01,875 --> 00:35:04,750 That's where the men are. 592 00:35:04,750 --> 00:35:07,667 David was an easy guy to get along with, you know, 593 00:35:07,667 --> 00:35:09,542 it's just that his songs were wild. 594 00:35:09,542 --> 00:35:15,083 [man in recording] One, two, one, two, three, four. 595 00:35:15,083 --> 00:35:17,875 [Vernon] They were totally quirky and off-the-wall, you know. 596 00:35:17,875 --> 00:35:21,792 And there are some really good songs, and there are emotions, 597 00:35:21,792 --> 00:35:23,458 and there are stories. 598 00:35:23,458 --> 00:35:26,542 And this was the one thing that Bowie was very good at. 599 00:35:26,542 --> 00:35:27,875 There's no discussion about it. 600 00:35:27,875 --> 00:35:29,208 ["Love You 'Till Tuesday" by David Bowie playing] 601 00:35:29,208 --> 00:35:32,208 ♪ Just look through your window ♪ 602 00:35:32,208 --> 00:35:35,667 ♪ Look who sits outside ♪ 603 00:35:35,667 --> 00:35:39,000 ♪ Little me is waiting ♪ 604 00:35:39,000 --> 00:35:42,709 ♪ Standing through the night ♪ 605 00:35:42,709 --> 00:35:46,166 ♪ When you walk out through your door ♪ 606 00:35:46,166 --> 00:35:49,875 ♪ I'll wave my flag and shout ♪ 607 00:35:49,875 --> 00:35:53,166 ♪ Oh, beautiful baby ♪ 608 00:35:53,166 --> 00:35:57,000 ♪ My burning desire started on Sunday ♪ 609 00:35:57,000 --> 00:36:01,375 ♪ Give me your heart, and I'll love you 'till Tuesday ♪ 610 00:36:01,375 --> 00:36:06,291 Well, I might be able to stretch it 'till Wednesday. 611 00:36:06,291 --> 00:36:09,667 The songs had a different viewpoint, 612 00:36:09,667 --> 00:36:16,542 singing songs that were-- appeared to be written by children. 613 00:36:16,542 --> 00:36:19,792 I don't remember ever hearing, really, any other song 614 00:36:19,792 --> 00:36:25,875 at that time that was a story that was apparently being told by children. 615 00:36:25,875 --> 00:36:28,792 It seemed to me completely unique. 616 00:36:28,792 --> 00:36:31,291 ["There is a Happy Land" by David Bowie playing] 617 00:36:40,583 --> 00:36:44,959 ♪ There is a happy land ♪ 618 00:36:44,959 --> 00:36:49,709 ♪ Where only children live ♪ 619 00:36:49,709 --> 00:36:55,083 ♪ They don't have the time to learn the ways ♪ 620 00:36:55,083 --> 00:36:59,583 ♪ Of you sir, Mr. Grown-up... ♪ 621 00:36:59,583 --> 00:37:04,458 Good heavens, it's been 60 years since I've been here. 622 00:37:04,458 --> 00:37:07,083 And I never ever used the front door. 623 00:37:07,083 --> 00:37:09,959 We always came in through the back alley. 624 00:37:09,959 --> 00:37:12,583 ♪ It's a secret place ♪ 625 00:37:12,583 --> 00:37:17,417 ♪ And adults aren't allowed there ♪ 626 00:37:17,417 --> 00:37:19,792 ♪ Mr. Grown-up ♪ 627 00:37:19,792 --> 00:37:21,583 ♪ Go away, sir ♪ 628 00:37:21,583 --> 00:37:23,333 [music stops] 629 00:37:26,917 --> 00:37:29,834 [Amadeus] David used to do his performances 630 00:37:29,834 --> 00:37:32,333 on the window sill over there. 631 00:37:32,333 --> 00:37:35,125 And David would go, "Ta-da!" 632 00:37:35,125 --> 00:37:37,333 And he'd do his Flowerpot Men. 633 00:37:37,333 --> 00:37:42,291 He would jump around with a terracotta pot on his head. 634 00:37:42,291 --> 00:37:45,792 [characters chattering] 635 00:37:48,125 --> 00:37:51,792 [Amadeus] His father, John, absolutely doted on him. 636 00:37:51,792 --> 00:37:55,792 But David's mum, Peggy, never became involved in games. 637 00:37:55,792 --> 00:38:00,959 She would sit and watch, but she would never enthuse, you know, 638 00:38:00,959 --> 00:38:04,458 she wouldn't be, "Oh, how wonderful" or anything like that. 639 00:38:04,458 --> 00:38:07,333 And she would often tell us we were being soppy. 640 00:38:07,333 --> 00:38:10,333 ["Inchworm" by Danny Kaye playing] 641 00:38:16,291 --> 00:38:17,834 [Bowie] "Inchworm," Danny Kaye, 642 00:38:17,834 --> 00:38:21,125 it conjures up my childhood for me. [laughs] 643 00:38:21,125 --> 00:38:22,500 It's very sweet. 644 00:38:22,500 --> 00:38:25,917 And it was from the film Hans Christian Andersen. 645 00:38:29,375 --> 00:38:32,291 ♪ Inchworm ♪ 646 00:38:32,291 --> 00:38:35,125 ♪ Inchworm ♪ 647 00:38:35,125 --> 00:38:40,000 ♪ Measuring the marigolds... ♪ 648 00:38:40,000 --> 00:38:41,959 [Bowie] It sounded so personal. 649 00:38:41,959 --> 00:38:45,583 And the person who was singing it sounded like he'd been hurt, too. 650 00:38:45,583 --> 00:38:50,041 And I think that really got to me, and it might have gone into the way I wrote a bit. 651 00:38:50,041 --> 00:38:52,417 You know, I've been hurt too. [chuckles] 652 00:38:53,291 --> 00:38:56,125 ♪ Inchworm ♪ 653 00:38:56,125 --> 00:38:58,500 ♪ Inchworm... ♪ 654 00:38:58,500 --> 00:39:00,542 [Bowie] Often talking out your hurt, 655 00:39:00,542 --> 00:39:03,792 you know, is something I find that, you know, writers can do. 656 00:39:03,792 --> 00:39:06,667 And I may have done that a few times. 657 00:39:06,667 --> 00:39:10,417 ["Come and Buy My Toys" by David Bowie playing] 658 00:39:10,417 --> 00:39:16,041 [Underwood] David's mum was quite quiet, really, she didn't say a lot. 659 00:39:16,041 --> 00:39:18,417 I wasn't sure if she liked me, even, you know. 660 00:39:18,417 --> 00:39:20,458 Because sometimes you-- you'd think, 661 00:39:20,458 --> 00:39:24,792 "Well, maybe she doesn't like me, she's a bit quiet and doesn't say anything." 662 00:39:24,792 --> 00:39:29,041 [MacCormack] I never saw her laugh or smile. Certainly not to me. 663 00:39:29,041 --> 00:39:32,083 And, bless her heart, when she died, 664 00:39:32,083 --> 00:39:34,709 I wrote to David and said, 665 00:39:34,709 --> 00:39:36,667 "I'm sorry about your mother," etcetera. 666 00:39:36,667 --> 00:39:40,917 I said, "Actually, she never quite took to me, your mother," 667 00:39:40,917 --> 00:39:44,542 and he wrote to me and said, "Trouble is, Geoff, 668 00:39:44,542 --> 00:39:48,083 she never quite took to me either." 669 00:39:48,083 --> 00:39:50,583 ♪ Smiling girls and rosy boys ♪ 670 00:39:50,583 --> 00:39:53,000 ♪ Come and buy my little toys ♪ 671 00:39:53,000 --> 00:39:55,250 ♪ Monkeys made of gingerbread ♪ 672 00:39:55,250 --> 00:39:57,917 ♪ And sugar horses painted red... ♪ 673 00:39:57,917 --> 00:40:01,834 [Amadeus] David spent his entire life trying to win her approval. 674 00:40:01,834 --> 00:40:04,625 I think when David was young, 675 00:40:04,625 --> 00:40:06,667 he suffered a lot 676 00:40:06,667 --> 00:40:10,208 from the problems in his parents' marriage. 677 00:40:10,208 --> 00:40:12,959 They didn't engage in... 678 00:40:12,959 --> 00:40:15,917 affectionate conversation with each other. 679 00:40:15,917 --> 00:40:18,959 John was very much in love with Peggy. 680 00:40:18,959 --> 00:40:24,959 Peggy would say to John's face it was a marriage of convenience. 681 00:40:24,959 --> 00:40:27,458 And so there was this rift. 682 00:40:27,458 --> 00:40:31,125 And David had to be very careful, 683 00:40:31,125 --> 00:40:36,625 if he allowed his father to make too much of him, it would annoy Peggy. 684 00:40:36,625 --> 00:40:40,166 I think the most significant thing in David's life 685 00:40:40,166 --> 00:40:44,834 was that he was always striving for Peggy's love. 686 00:40:44,834 --> 00:40:48,291 I think he spent his life trying to win her approval. 687 00:40:50,333 --> 00:40:52,542 ♪ Rich men's children running past ♪ 688 00:40:52,542 --> 00:40:55,041 ♪ Their fathers dressed in hose ♪ 689 00:40:55,041 --> 00:40:59,458 ♪ Golden hair and mud of many acres on their shoes ♪ 690 00:40:59,458 --> 00:41:01,667 ♪ Gazing eyes and running wild ♪ 691 00:41:01,667 --> 00:41:04,500 ♪ Past the stocks and over stiles ♪ 692 00:41:04,500 --> 00:41:06,583 ♪ Kiss the window merry child ♪ 693 00:41:06,583 --> 00:41:09,709 ♪ But come and buy my toys... ♪ 694 00:41:09,709 --> 00:41:11,834 [Bowie] The idea of writing, sort of, short stories, 695 00:41:11,834 --> 00:41:14,417 I think that was quite novel at the time. Excuse the pun. 696 00:41:14,417 --> 00:41:16,667 I was quite satisfied with the way things were going. 697 00:41:16,667 --> 00:41:21,375 I mean, I hadn't found any voice style, and I hadn't found any way to perform. 698 00:41:31,125 --> 00:41:33,917 [Vernon] The Beatles' Sergeant Pepper unfortunately 699 00:41:33,917 --> 00:41:35,375 came out at the same time. 700 00:41:35,375 --> 00:41:38,709 I mean, it was pretty strong competition. 701 00:41:38,709 --> 00:41:40,750 Frankly, Bowie didn't stand a chance, really, 702 00:41:40,750 --> 00:41:43,750 and that's why the record, I guess, at the time, 703 00:41:43,750 --> 00:41:45,375 completely flopped. 704 00:41:45,375 --> 00:41:47,458 I mean, it didn't really do any business at all. 705 00:41:47,458 --> 00:41:49,917 ["When I Live My Dream" by David Bowie playing] 706 00:41:53,208 --> 00:41:54,959 [Kemp] It was absolutely beautiful. 707 00:41:54,959 --> 00:41:56,959 It was the first time that I heard David. 708 00:41:56,959 --> 00:42:01,583 I loved all the songs, some more than others, I suppose. 709 00:42:01,583 --> 00:42:05,458 And it was that song "When I Live My Dream." 710 00:42:05,458 --> 00:42:08,333 ♪ When I live my dream, I'll be there ♪ 711 00:42:08,333 --> 00:42:10,208 That started the whole thing off. 712 00:42:10,208 --> 00:42:13,041 That's when I fell in love with him, for one thing. 713 00:42:13,041 --> 00:42:15,333 ♪ When I live my dream ♪ 714 00:42:15,333 --> 00:42:18,542 ♪ I'll take you with me ♪ 715 00:42:18,542 --> 00:42:23,166 ♪ Riding on a golden horse... ♪ 716 00:42:23,166 --> 00:42:28,417 [Pitt] Lindsay was using the Deram album in his show. 717 00:42:28,417 --> 00:42:32,000 He was miming to certain aspects of this album. 718 00:42:32,000 --> 00:42:35,333 And news of that got to David, 719 00:42:35,333 --> 00:42:40,959 and therefore, he went to see one of Lindsay's performances. 720 00:42:42,375 --> 00:42:44,250 [Kemp] And the curtains opened, 721 00:42:44,250 --> 00:42:48,291 and there was a very beautiful man sitting in the front row 722 00:42:48,291 --> 00:42:51,792 who turned out to be David Bowie. 723 00:42:53,166 --> 00:42:55,208 Well, he came around after the show, 724 00:42:55,208 --> 00:42:59,917 and there was a kind of a tatty curtain, which he pulled to one side, 725 00:42:59,917 --> 00:43:03,375 and it was like the Archangel Gabriel 726 00:43:03,375 --> 00:43:05,208 standing there. This kind of light. 727 00:43:05,208 --> 00:43:08,542 ♪ 'Till that day ♪ 728 00:43:08,542 --> 00:43:11,542 ♪ You'll run to many other men ♪ 729 00:43:11,542 --> 00:43:14,834 ♪ But let them know it's just for now ♪ 730 00:43:14,834 --> 00:43:17,917 ♪ Tell them that I've got a dream ♪ 731 00:43:17,917 --> 00:43:21,250 ♪ And tell them you're the starring role... ♪ 732 00:43:21,250 --> 00:43:27,291 He had a grace and a brain, as well as beauty. 733 00:43:27,291 --> 00:43:29,000 But he was funny. 734 00:43:30,500 --> 00:43:34,750 And, you know, I mean, beauty and humor 735 00:43:34,750 --> 00:43:36,917 are the two things that attract me the most. 736 00:43:36,917 --> 00:43:39,959 They gotta have both of those 737 00:43:39,959 --> 00:43:42,917 if they're going to last more than a weekend. 738 00:43:42,917 --> 00:43:45,458 ["Threepenny Pierrot" by David Bowie playing] 739 00:43:45,458 --> 00:43:47,458 [Bowie] We said, "Well, let's get together," you know. 740 00:43:47,458 --> 00:43:49,458 "I'd love to write some music for your show." 741 00:43:49,458 --> 00:43:50,834 And he said, "Well, I can't pay you," 742 00:43:50,834 --> 00:43:52,917 because he wasn't earning anything. 743 00:43:52,917 --> 00:43:55,417 "Yeah," I said, "Well, look, that's all right, because I want to learn mime. 744 00:43:55,417 --> 00:43:58,417 So, in exchange, you teach me mime, and I'll work with you, 745 00:43:58,417 --> 00:44:00,333 you know, write some music." 746 00:44:02,500 --> 00:44:05,917 ♪ Bang the drum and blow the bugle call ♪ 747 00:44:05,917 --> 00:44:09,000 ♪ Pierrot takes the stage to play for all ♪ 748 00:44:09,000 --> 00:44:11,208 ♪ For here's a life his fortune rules ♪ 749 00:44:11,208 --> 00:44:13,458 ♪ Forsaken by his Columbine... ♪ 750 00:44:13,458 --> 00:44:17,208 The premiere was at the Oxford Playhouse, 751 00:44:17,208 --> 00:44:20,875 so we got paid a nominal kind of fee from there. 752 00:44:20,875 --> 00:44:25,917 And, uh, we transferred to the West End. 753 00:44:27,500 --> 00:44:30,875 Albeit, West 11, Notting Hill, 754 00:44:30,875 --> 00:44:34,625 which was not quite so fashionable then as it is now. 755 00:44:34,625 --> 00:44:37,667 And the tiny Mercury Theater, 756 00:44:37,667 --> 00:44:40,083 the home of, uh, British ballet. 757 00:44:42,083 --> 00:44:47,500 And I think it sat 120 seats, so we didn't make much money. 758 00:44:47,500 --> 00:44:52,166 Need I say more? Nobody came at all. Nobody came at all. 759 00:44:52,166 --> 00:44:56,250 ♪ 'Till the day my dream cascades around me ♪ 760 00:44:57,709 --> 00:45:01,166 ♪ I'm content to let you pass me by... ♪ 761 00:45:01,166 --> 00:45:02,792 [Bowie] I thought, "Well, here I am, 762 00:45:02,792 --> 00:45:04,959 I'm a bit, sort of, mixed up, creatively. 763 00:45:04,959 --> 00:45:08,375 I've got all these things going on I like doing at once on stage or whatever. 764 00:45:08,375 --> 00:45:13,083 I'm not quite sure if I'm a mime or a songwriter or a singer. 765 00:45:13,083 --> 00:45:15,083 Why am I doing any of these things, anyway?" 766 00:45:15,083 --> 00:45:18,917 And I realized it was because I wanted to be well-known. 767 00:45:18,917 --> 00:45:24,500 ♪ Tell them I'm a dreaming kind of guy... ♪ 768 00:45:34,166 --> 00:45:37,625 [Bowie] I've always been a very curious and enthusiastic person. 769 00:45:37,625 --> 00:45:39,583 I just had to accept that 770 00:45:39,583 --> 00:45:42,125 I was a person that had a very short attention span, 771 00:45:42,125 --> 00:45:44,750 would move from one thing to another quite rapidly, 772 00:45:44,750 --> 00:45:46,875 then I got bored with the other. 773 00:45:46,875 --> 00:45:50,083 ♪ Ground Control to Major Tom ♪ 774 00:45:50,083 --> 00:45:53,834 ♪ Your circuit's dead, there's something wrong ♪ 775 00:45:53,834 --> 00:45:57,333 ♪ Can you hear me, Major Tom?... ♪ 776 00:45:57,333 --> 00:46:02,542 [Bowie] Somehow, I knew that what I was doing was important. 777 00:46:02,542 --> 00:46:05,333 Taking elements from areas 778 00:46:05,333 --> 00:46:08,625 that really shouldn't sit comfortably with each other. 779 00:46:17,166 --> 00:46:19,583 Her name was Hermione Farthingale, 780 00:46:19,583 --> 00:46:21,417 and I absolutely adored her. 781 00:46:21,417 --> 00:46:24,291 I mean, she was the real first love in my life. 782 00:46:24,291 --> 00:46:26,792 And she was a ballet dancer. 783 00:46:28,750 --> 00:46:32,792 We did fall in love. It took maybe five minutes. 784 00:46:32,792 --> 00:46:35,417 [laughs] Maximum. 785 00:46:37,750 --> 00:46:39,667 He was a lad, a youthlet, 786 00:46:39,667 --> 00:46:43,500 he was very, very young, looked ridiculously young. He looked about eight. 787 00:46:43,500 --> 00:46:47,208 And in fact, when I first went out with him, 788 00:46:47,208 --> 00:46:49,166 it did sort of bother me a little bit, you know, 789 00:46:49,166 --> 00:46:53,208 I had to sort keep reminding myself he was actually 21. 790 00:46:53,208 --> 00:46:56,667 [Bowie singing acapella] ♪ And we talked with our eyes ♪ 791 00:46:56,667 --> 00:47:00,417 ♪ Of the sweetness in our lives ♪ 792 00:47:00,417 --> 00:47:05,458 ♪ And tomorrow's a rich surprise ♪ 793 00:47:05,458 --> 00:47:09,458 Hermione was a couple of notches up, you know. 794 00:47:09,458 --> 00:47:10,792 She was posh. 795 00:47:10,792 --> 00:47:13,667 ["Let Me Sleep Beside You" by David Bowie playing] 796 00:47:13,667 --> 00:47:15,375 [Hutchinson] But really nice. 797 00:47:15,375 --> 00:47:20,041 And they looked like mirror images, so they fit together. 798 00:47:22,250 --> 00:47:24,542 [Farthingale] Our life was not regular. 799 00:47:24,542 --> 00:47:26,792 Neither of us were working nine to five. 800 00:47:26,792 --> 00:47:29,709 And it wasn't a very rock 'n' roll life either. 801 00:47:29,709 --> 00:47:32,750 Occasionally, we had a glass of white wine. [inhales] 802 00:47:32,750 --> 00:47:36,208 And David wasn't even very good at having a spliff. 803 00:47:36,208 --> 00:47:38,208 ♪ Baby, baby ♪ 804 00:47:38,208 --> 00:47:44,208 ♪ Brush the dust of youth from off your shoulder ♪ 805 00:47:44,208 --> 00:47:47,667 ♪ Because the years of threading daisies ♪ 806 00:47:47,667 --> 00:47:51,375 ♪ Lie behind you now... ♪ 807 00:47:51,375 --> 00:47:56,625 [Harris] David was, I have to say, the perfect English gentleman. 808 00:47:56,625 --> 00:47:58,083 I mean, I remember, for example, 809 00:47:58,083 --> 00:48:00,875 when he and 'Mione sat down for dinner, 810 00:48:00,875 --> 00:48:03,750 David held the chair for her and, uh, 811 00:48:03,750 --> 00:48:05,542 pushed the chair in for her, 812 00:48:05,542 --> 00:48:09,583 and being very polite, easy-going, 813 00:48:09,583 --> 00:48:12,000 and very lovely people. 814 00:48:13,750 --> 00:48:17,375 ♪ Let your hair hang down ♪ 815 00:48:17,375 --> 00:48:21,417 ♪ Wear the dress your mother wore ♪ 816 00:48:21,417 --> 00:48:25,333 ♪ Let me sleep beside you... ♪ 817 00:48:25,333 --> 00:48:28,375 In the early days, he wasn't happy, professionally, at all, 818 00:48:28,375 --> 00:48:31,208 because it was a sort of massive struggle, 819 00:48:31,208 --> 00:48:32,834 that whole year. 820 00:48:34,333 --> 00:48:36,917 [Bowie] I remember there was this endless period 821 00:48:36,917 --> 00:48:39,417 where I was, like, scrubbing out people's kitchens. 822 00:48:39,417 --> 00:48:42,333 I know I did that. Anything to pick up a few dollars. 823 00:48:42,333 --> 00:48:45,125 But I needed something that didn't tie me down in any way, 824 00:48:45,125 --> 00:48:47,667 so if an audition came along or whatever, 825 00:48:47,667 --> 00:48:49,834 I'd be free to do it, you know? 826 00:48:52,041 --> 00:48:55,333 [Farthingale] But by August, it suddenly came to him 827 00:48:55,333 --> 00:48:58,041 that what he wanted to do was this mixed media performance. 828 00:49:00,959 --> 00:49:03,625 ♪ I will give you dreams ♪ 829 00:49:03,625 --> 00:49:08,750 ♪ And I'll tell you things you'd like to hear ♪ 830 00:49:08,750 --> 00:49:11,875 ♪ Let your hair hang down ♪ 831 00:49:14,125 --> 00:49:16,458 [Bowie] I was in a mixed media group, 832 00:49:16,458 --> 00:49:18,291 which means that one of us could dance, 833 00:49:18,291 --> 00:49:20,458 another one could sing, and another one had some poetry, 834 00:49:20,458 --> 00:49:24,667 and we put it all together. And, uh, it went underground. 835 00:49:24,667 --> 00:49:26,417 It was called Feathers. 836 00:49:26,417 --> 00:49:27,834 And the girl was Hermione 837 00:49:27,834 --> 00:49:30,291 and, uh, the guy was Hutch on guitar. 838 00:49:30,291 --> 00:49:33,291 ["Ching-A-Ling" by Feathers playing] 839 00:49:33,291 --> 00:49:36,291 ♪ Two lover souls we spied ♪ 840 00:49:36,291 --> 00:49:39,875 ♪ They wished the cloud boys sang to me ♪ 841 00:49:39,875 --> 00:49:42,208 ♪ A cheerful happy cry... ♪ 842 00:49:42,208 --> 00:49:45,125 [Hutchinson] David and, uh, Feathers, we could do a song 843 00:49:45,125 --> 00:49:47,083 quite heavy and quite deep. 844 00:49:47,083 --> 00:49:50,166 But you can change the mood on a gig 845 00:49:50,166 --> 00:49:53,625 by doing something with a nice snappy guitar riff. 846 00:49:53,625 --> 00:49:55,917 And "Ching-A-Ling" song was, uh, fine. 847 00:49:55,917 --> 00:49:59,000 It was a good song. And it had, uh, 848 00:49:59,000 --> 00:50:01,917 you know, that was unusual, in its way. 849 00:50:06,083 --> 00:50:08,959 [Visconti] "Ching-A-Ling" was based on David's 12-string, 850 00:50:08,959 --> 00:50:13,542 his traveling piano, you know, that's what he used all the time to write on. 851 00:50:13,542 --> 00:50:16,125 And as long as he stayed on that instrument, 852 00:50:16,125 --> 00:50:18,375 songs were gonna come out that way. It was, you know, 853 00:50:18,375 --> 00:50:21,875 you can't play, like, uh, rock riffs on a 12-string. 854 00:50:21,875 --> 00:50:24,041 You just can't. [laughs] 855 00:50:28,375 --> 00:50:30,583 He'd try one thing, try another. 856 00:50:30,583 --> 00:50:33,834 Things didn't-- If they didn't work out, that was absolutely fine. 857 00:50:33,834 --> 00:50:35,959 And just move on to the next. 858 00:50:35,959 --> 00:50:40,083 But he wasn't lost. He just wasn't found either. 859 00:50:40,083 --> 00:50:42,709 ["Sell Me a Coat" by David Bowie playing] 860 00:50:42,709 --> 00:50:45,917 [Bowie] We used to do some mime pieces, you know, and it was like 861 00:50:45,917 --> 00:50:50,083 just throwing in everything I knew to keep an audience's attention 862 00:50:50,083 --> 00:50:52,250 more than anything else. 863 00:50:54,208 --> 00:50:58,000 I can't remember the specifics of his performance, 864 00:50:58,000 --> 00:50:59,917 other than what I photographed. 865 00:51:03,709 --> 00:51:06,583 [Stevenson] It was pretty much like mime exercises, 866 00:51:06,583 --> 00:51:08,792 but a bit extra. 867 00:51:08,792 --> 00:51:10,750 It didn't really do it for me. 868 00:51:10,750 --> 00:51:14,083 But the man did. [laughs] 869 00:51:14,083 --> 00:51:17,917 ♪ Sell me a coat with buttons of silver ♪ 870 00:51:17,917 --> 00:51:21,875 ♪ Sell me a coat that's red or gold ♪ 871 00:51:21,875 --> 00:51:23,542 ♪ Sell me a coat... ♪ 872 00:51:23,542 --> 00:51:25,625 [Stevenson] I didn't shoot color with David, 873 00:51:25,625 --> 00:51:27,291 'cause it seemed like a waste. 874 00:51:27,291 --> 00:51:31,667 Color, whole different thing and expense. 875 00:51:31,667 --> 00:51:36,250 Yeah, he was obviously not gonna be a massive star, so... 876 00:51:36,250 --> 00:51:38,625 why would I want color in my library? 877 00:51:40,208 --> 00:51:42,333 [Kemp] David asked me to see 878 00:51:42,333 --> 00:51:46,125 a little show that he'd got together with Feathers. 879 00:51:46,125 --> 00:51:47,667 [Bowie] I was walking home, 880 00:51:47,667 --> 00:51:51,125 and I happened to glance in the window of this junk shop. 881 00:51:51,125 --> 00:51:52,875 And there it was. 882 00:51:52,875 --> 00:51:55,959 [Kemp] It had a piece called The Mask. 883 00:51:55,959 --> 00:52:00,834 David, I suppose, had seen Marcel Marceau along the line. 884 00:52:00,834 --> 00:52:03,083 But he wasn't Marcel Marceau. 885 00:52:03,083 --> 00:52:06,125 [man and woman laughing] 886 00:52:06,125 --> 00:52:08,542 [Kemp] It was dreadful. 887 00:52:08,542 --> 00:52:11,333 I cringed. [stammers] I really cringed. 888 00:52:16,625 --> 00:52:19,166 [recorded applause] 889 00:52:19,166 --> 00:52:20,917 And there are always people that say, 890 00:52:20,917 --> 00:52:23,792 "He was very good in that miming, wasn't he?" 891 00:52:23,792 --> 00:52:25,917 Oh, no, he was a load of shit. 892 00:52:27,875 --> 00:52:31,208 [Harty] Has any of the criticism or any of the attacks hurt you? 893 00:52:31,208 --> 00:52:34,625 [Bowie] Yes, everything hurts me very much. I'm very sensitive. 894 00:52:34,625 --> 00:52:37,500 But, uh, I put myself in that position, so that's... 895 00:52:37,500 --> 00:52:39,333 what I'm in for, isn't it? 896 00:52:41,542 --> 00:52:44,667 [Farthingale] Feathers was never destined to last. 897 00:52:44,667 --> 00:52:49,291 He never said, "Let's the three of us get really famous together." 898 00:52:49,291 --> 00:52:52,125 It was a stepping stone. 899 00:52:58,000 --> 00:52:59,875 But I had also said to myself, 900 00:52:59,875 --> 00:53:02,208 "Am I actually going to be with David for the rest of my life?" 901 00:53:02,208 --> 00:53:04,917 And I didn't think I was actually going to. 902 00:53:04,917 --> 00:53:06,709 He was clearly going somewhere. 903 00:53:06,709 --> 00:53:10,291 And I just didn't think I was going to tread that path with him. 904 00:53:16,542 --> 00:53:20,166 Song of Norway was a big MGM spectacular, 905 00:53:20,166 --> 00:53:24,542 which needed dancers for seven months or so. 906 00:53:24,542 --> 00:53:29,250 It was something that nobody in their right mind would've turned down. 907 00:53:31,500 --> 00:53:36,458 I just thought, "Yeah, this is what I want to be doing." 908 00:53:36,458 --> 00:53:39,041 I suddenly realized that I had to... 909 00:53:39,041 --> 00:53:41,917 I had to pull out, stop. 910 00:53:45,417 --> 00:53:47,834 [Bowie] Oh, God, yes, my heart broke. 911 00:53:47,834 --> 00:53:50,458 She was doing this funny romp in Norway 912 00:53:50,458 --> 00:53:54,667 with bits of ballet in it, and that she was, uh, cast in that. 913 00:53:54,667 --> 00:53:58,417 God, I didn't get over that for such a long time. 914 00:53:58,417 --> 00:54:00,333 It really broke me up. 915 00:54:01,875 --> 00:54:03,959 [Amadeus] I think he was vulnerable, 916 00:54:03,959 --> 00:54:06,417 and he was scared of being abandoned. 917 00:54:08,208 --> 00:54:12,250 I think he was very hesitant about giving himself. 918 00:54:12,250 --> 00:54:14,166 ["When I'm Five" by David Bowie playing] 919 00:54:14,166 --> 00:54:16,291 And David must've been very frightened 920 00:54:16,291 --> 00:54:20,834 by all the comings and goings of various family members. 921 00:54:22,041 --> 00:54:24,583 ♪ When I'm five ♪ 922 00:54:24,583 --> 00:54:29,500 ♪ I will read the magazines in mummy's drawer ♪ 923 00:54:32,667 --> 00:54:35,208 ♪ When I'm five ♪ 924 00:54:35,208 --> 00:54:39,834 ♪ I will walk behind the soldiers in the ♪ 925 00:54:39,834 --> 00:54:42,166 ♪ May Day parade... ♪ 926 00:54:42,166 --> 00:54:44,458 [Bowie] I have a cousin who's very dear to me 927 00:54:44,458 --> 00:54:47,333 who was shuttled around from family to family 928 00:54:47,333 --> 00:54:49,959 and came to stay with us for a while. 929 00:54:52,041 --> 00:54:55,417 My mother had, uh, children that I never really knew about, 930 00:54:55,417 --> 00:54:59,542 but were also shifted off to another family. 931 00:54:59,542 --> 00:55:02,000 It just seemed everybody in the family 932 00:55:02,000 --> 00:55:07,000 had this kind of attribute of being in transition from one stage to another. 933 00:55:07,000 --> 00:55:09,792 ♪ When I'm five ♪ 934 00:55:09,792 --> 00:55:14,625 ♪ I will catch a butterfly and eat it and I won't be sick... ♪ 935 00:55:14,625 --> 00:55:17,500 [Bowie] I think I'd realized that 936 00:55:17,500 --> 00:55:21,166 the transitory nature of life was, um, 937 00:55:21,166 --> 00:55:24,000 something that we all had to deal with. 938 00:55:27,000 --> 00:55:31,875 I think one of the reasons he was so very good as a child, and he was, 939 00:55:31,875 --> 00:55:35,583 was because he was afraid he'd be given away too. 940 00:55:38,750 --> 00:55:41,542 [Bowie singing acapella] ♪ Ground Control to Major Tom ♪ 941 00:55:41,542 --> 00:55:46,291 ♪ Your circuit's dead, there's something wrong ♪ 942 00:55:46,291 --> 00:55:49,625 ♪ Can you hear me, Major Tom? ♪ 943 00:55:51,250 --> 00:55:53,125 [Bowie] I related it to myself a lot more 944 00:55:53,125 --> 00:55:55,333 than anything I'd written up until then. 945 00:55:55,333 --> 00:55:58,375 There was something about it that touched areas of my fears 946 00:55:58,375 --> 00:56:00,709 about my own insecurity, socially, 947 00:56:00,709 --> 00:56:02,875 and maybe emotionally. 948 00:56:02,875 --> 00:56:06,458 This feeling of isolation that I had ever since I was a kid 949 00:56:06,458 --> 00:56:09,750 was really starting to manifest itself. 950 00:56:12,417 --> 00:56:15,542 I think the isolation of the film 2001 951 00:56:15,542 --> 00:56:19,542 made itself very obvious when I wrote the song "Space Oddity," 952 00:56:19,542 --> 00:56:21,500 because for the first time, 953 00:56:21,500 --> 00:56:26,500 I really felt a sense of how you could write as an isolationist. 954 00:56:26,500 --> 00:56:29,083 ["Space Oddity" by David Bowie playing] 955 00:56:30,834 --> 00:56:34,250 [Bowie] I thought, "Well, gee, I am Major Tom. 956 00:56:34,250 --> 00:56:37,417 Here I am in my own cosmic space, and 957 00:56:37,417 --> 00:56:40,583 nobody can possibly understand what it's like to be out here 958 00:56:40,583 --> 00:56:44,583 on this umbilical cord attached to my craft." 959 00:56:49,041 --> 00:56:52,583 ♪ Ground Control to Major Tom ♪ 960 00:56:56,083 --> 00:56:59,834 ♪ Ground Control to Major Tom ♪ 961 00:57:02,875 --> 00:57:08,125 ♪ Take your protein pills and put your helmet on... ♪ 962 00:57:08,125 --> 00:57:11,083 [Hutchinson] David wrote it as a song for two people, 963 00:57:11,083 --> 00:57:14,959 Ground Control and Major Tom. 964 00:57:14,959 --> 00:57:18,625 David would sing the lead, and I would come up with easiest way 965 00:57:18,625 --> 00:57:23,208 for me to sound right as the harmony voice. 966 00:57:23,208 --> 00:57:28,875 ♪ Check ignition and may God's love be with you ♪ 967 00:57:28,875 --> 00:57:30,875 ♪ Blast off! ♪ 968 00:57:30,875 --> 00:57:34,291 Not only that, I should've been on the record 969 00:57:34,291 --> 00:57:36,667 as Ground Control, obviously. 970 00:57:36,667 --> 00:57:39,834 But I'd left. I was in a drawing office in Scarborough by then. 971 00:57:42,000 --> 00:57:46,834 ♪ This is Major Tom to Ground Control ♪ 972 00:57:46,834 --> 00:57:51,709 ♪ I'm stepping through the door ♪ 973 00:57:51,709 --> 00:57:58,709 ♪ And I'm floating in the most peculiar way ♪ 974 00:57:58,709 --> 00:58:04,500 ♪ Can I please get back inside now, if I may?... ♪ 975 00:58:04,500 --> 00:58:07,417 [Visconti] When I heard the demo of "Space Oddity," 976 00:58:07,417 --> 00:58:09,000 I didn't like it all that much. 977 00:58:09,000 --> 00:58:13,333 And, uh, I handed it to Gus Dudgeon. 978 00:58:13,333 --> 00:58:15,709 He really loved David. 979 00:58:18,000 --> 00:58:19,667 [Dudgeon] I said, "Tony, you're crazy. 980 00:58:19,667 --> 00:58:21,500 Are you sure you don't wanna do this song?" And he said, 981 00:58:21,500 --> 00:58:25,250 "No, you wanna do it, obviously." I said, "I can't wait." 982 00:58:25,250 --> 00:58:28,000 And, uh, so he said, "Well, you do that on the B-side, 983 00:58:28,000 --> 00:58:30,375 and I'll do the rest of the album." I said, "OK, fine." 984 00:58:32,750 --> 00:58:35,875 [Visconti] If Gus were alive, which he isn't, unfortunately, 985 00:58:35,875 --> 00:58:38,000 he would be presenting this to you. 986 00:58:38,000 --> 00:58:40,625 And, uh, I was really, really impressed 987 00:58:40,625 --> 00:58:43,875 with the job that David and Gus Dudgeon had done on this. 988 00:58:45,458 --> 00:58:49,041 What makes this work is drama. 989 00:58:49,041 --> 00:58:53,333 The first thing you hear is an ominous 12-string guitar 990 00:58:53,333 --> 00:58:55,625 fade up from nothing. 991 00:58:59,291 --> 00:59:00,875 So all that is quite dramatic. 992 00:59:00,875 --> 00:59:02,709 That's not your average pop song. 993 00:59:02,709 --> 00:59:06,542 But you know, it doesn't hit you in the face, doesn't hit you in the head. 994 00:59:06,542 --> 00:59:08,709 It's drama. And you're sucked into it. 995 00:59:08,709 --> 00:59:12,333 So this is a very clever device that he used. 996 00:59:12,333 --> 00:59:16,083 [Bowie singing acapella] ♪ Ground Control to Major Tom ♪ 997 00:59:19,500 --> 00:59:23,667 ♪ Ground Control to Major Tom ♪ 998 00:59:23,667 --> 00:59:27,500 [Visconti] So David used this revolutionary new instrument, 999 00:59:27,500 --> 00:59:30,291 the mighty little Stylophone. 1000 00:59:30,291 --> 00:59:34,583 So it all adds to the kind of science-fiction quality of the song. 1001 00:59:34,583 --> 00:59:40,583 ♪ Check ignition and may God's love be with you ♪ 1002 00:59:42,083 --> 00:59:44,000 Very dramatic lift-off, isn't it? 1003 00:59:44,000 --> 00:59:47,792 ["Space Oddity" by David Bowie playing] 1004 00:59:54,959 --> 00:59:59,792 ♪ This is Ground Control to Major Tom ♪ 1005 00:59:59,792 --> 01:00:03,875 ♪ You've really made the grade ♪ 1006 01:00:03,875 --> 01:00:05,834 And another new thing it had on it, 1007 01:00:05,834 --> 01:00:09,375 which the Beatles kind of debuted, was the Mellotron. 1008 01:00:09,375 --> 01:00:13,458 [playing chords from "Space Oddity"] 1009 01:00:21,291 --> 01:00:24,750 David wanted it, because he wanted it to sound, 1010 01:00:24,750 --> 01:00:26,959 not like strings, but like strings. 1011 01:00:26,959 --> 01:00:30,333 And I knew exactly what he meant. It's recorded strings. 1012 01:00:30,333 --> 01:00:31,834 So, tapes inside. 1013 01:00:35,083 --> 01:00:38,792 Um, but one of the problems you have with this instrument 1014 01:00:38,792 --> 01:00:43,291 is that, uh, a note only lasts eight seconds. 1015 01:00:43,291 --> 01:00:45,000 And then, it cuts out. 1016 01:00:45,000 --> 01:00:47,333 So, if you hold a chord long enough, 1017 01:00:47,333 --> 01:00:51,041 and sometimes you need to hold it for a lot longer than eight seconds, 1018 01:00:51,041 --> 01:00:53,625 after you get to the eight-second mark, it starts to... 1019 01:00:53,625 --> 01:00:55,125 [chord distorts and stops] 1020 01:00:55,125 --> 01:00:58,542 to do that, which is why I hated the bloody thing, 1021 01:00:58,542 --> 01:01:00,333 um, to be brutally honest with you. 1022 01:01:00,333 --> 01:01:07,333 ♪ And the papers want to know whose shirts you wear ♪ 1023 01:01:07,333 --> 01:01:13,917 ♪ Now it's time to leave the capsule if you dare ♪ 1024 01:01:22,458 --> 01:01:26,875 Covered it in echo to get the actual sound that David wanted. 1025 01:01:28,500 --> 01:01:32,041 Which I have nicked ever since to use on Yes records. 1026 01:01:32,041 --> 01:01:37,041 ♪ Though I'm past 100'000 miles ♪ 1027 01:01:37,041 --> 01:01:42,041 ♪ I'm feeling very still ♪ 1028 01:01:42,041 --> 01:01:49,041 ♪ And I think my spaceship knows which way to go ♪ 1029 01:01:49,041 --> 01:01:55,917 ♪ Tell my wife I love her very much, she knows ♪ 1030 01:01:57,750 --> 01:02:00,583 ♪ Ground Control to Major Tom ♪ 1031 01:02:00,583 --> 01:02:04,500 ♪ Your circuit's dead, there's something wrong ♪ 1032 01:02:04,500 --> 01:02:07,583 ♪ Can you hear me, Major Tom? ♪ 1033 01:02:07,583 --> 01:02:09,291 [Harty] David, the record which you have 1034 01:02:09,291 --> 01:02:11,250 in our charts in Britain at the moment 1035 01:02:11,250 --> 01:02:14,083 is undoubtedly your biggest success to date, isn't it? 1036 01:02:14,083 --> 01:02:16,709 [Bowie] My only success to date. 1037 01:02:16,709 --> 01:02:19,875 ♪ Here am I floating round my tin can ♪ 1038 01:02:19,875 --> 01:02:22,083 [Visconti] When he had the big hit with "Space Oddity," 1039 01:02:22,083 --> 01:02:27,000 that's where the change came where he started seeing himself as a star. 1040 01:02:27,000 --> 01:02:33,083 ♪ Planet Earth is blue and there's nothing I can do ♪ 1041 01:02:33,083 --> 01:02:35,667 [Visconti] People knew who David Bowie was then. 1042 01:02:35,667 --> 01:02:37,500 He was the Major Tom guy 1043 01:02:37,500 --> 01:02:41,709 and they'd say, "Hey, Major Tom" and all that. People would see him, you know. 1044 01:02:41,709 --> 01:02:45,417 Which he loved. He absolutely loved it. 1045 01:02:45,417 --> 01:02:49,625 [announcer] Accepting the Special Merit Award for Originality, 1046 01:02:49,625 --> 01:02:51,458 David Bowie. 1047 01:02:51,458 --> 01:02:52,959 [Visconti] But they said, "You'll never write another song 1048 01:02:52,959 --> 01:02:55,208 like this again," and he didn't. 1049 01:02:55,208 --> 01:02:59,208 What he did come up with was something no one dreamt about at the time. 1050 01:02:59,208 --> 01:03:03,500 He was the first rock star to take on a different identity. 1051 01:03:03,500 --> 01:03:07,333 In other words, it was Ziggy Stardust by David Bowie. 1052 01:03:07,333 --> 01:03:09,542 That was his stroke of genius. 1053 01:03:09,542 --> 01:03:11,792 ["Starman" by David Bowie playing] 1054 01:03:11,792 --> 01:03:14,542 [Bowie] Off the record, what everybody told me is that, 1055 01:03:14,542 --> 01:03:16,917 "David, you've gotta have a single." 1056 01:03:16,917 --> 01:03:19,166 So, I said, "Right, I'll go away, 1057 01:03:19,166 --> 01:03:23,333 and I'll write an RP-type single in my style. 1058 01:03:23,333 --> 01:03:25,959 [laughs] Based loosely on "Oddity." 1059 01:03:25,959 --> 01:03:27,875 [man] Loosely on "Space Oddity". 1060 01:03:27,875 --> 01:03:29,333 -Right. -So that people say, 1061 01:03:29,333 --> 01:03:32,333 "Ah, this is what we were waiting for from David Bowie, 1062 01:03:32,333 --> 01:03:34,709 is a follow-up to 'Space Oddity.'" 1063 01:03:34,709 --> 01:03:39,000 That's "Starman." "Starman" was strictly, I wrote it in about 15 minutes. 1064 01:03:39,000 --> 01:03:41,250 I used every cliché phrase I could think of 1065 01:03:41,250 --> 01:03:44,667 to do with starmen and people in space [unclear] and 1066 01:03:44,667 --> 01:03:46,959 let the children boogie and all that. 1067 01:03:46,959 --> 01:03:51,250 Shoved it in three minutes and on a nice tune. 1068 01:03:56,667 --> 01:04:01,667 ♪ Didn't know what time it was and the lights were low ♪ 1069 01:04:01,667 --> 01:04:06,208 ♪ I leaned back on my radio ♪ 1070 01:04:06,208 --> 01:04:08,750 ♪ Some cat was layin' down some ♪ 1071 01:04:08,750 --> 01:04:11,542 ♪ Get it on rock 'n' roll, he said ♪ 1072 01:04:13,500 --> 01:04:18,291 ♪ Then the loud sound did seem to fade ♪ 1073 01:04:18,291 --> 01:04:23,166 ♪ Came back like a slow voice on a wave of phase haze ♪ 1074 01:04:23,166 --> 01:04:28,417 ♪ That weren't no D.J. that was hazy cosmic jive ♪ 1075 01:04:28,417 --> 01:04:30,625 [interviewer] Do you enjoy being a rock star? 1076 01:04:30,625 --> 01:04:32,709 [Bowie] Fantastic. [laughs] 1077 01:04:32,709 --> 01:04:34,625 I'm just really, I'm itching to write. 1078 01:04:34,625 --> 01:04:39,875 I've never really thought, "Well, I'm gonna make my mark as a..." 1079 01:04:39,875 --> 01:04:41,875 I just thought, "Well, I'll be David Bowie. 1080 01:04:41,875 --> 01:04:43,834 The first David Bowie, that's all." 1081 01:04:43,834 --> 01:04:48,250 ♪ There's a starman waiting in the sky ♪ 1082 01:04:48,250 --> 01:04:50,583 ♪ He'd like to come and meet us ♪ 1083 01:04:50,583 --> 01:04:52,917 ♪ But he thinks he'd blow our minds ♪ 1084 01:04:52,917 --> 01:04:58,000 ♪ There's a starman waiting in the sky ♪ 1085 01:04:58,000 --> 01:05:00,166 ♪ He's told us not to blow it ♪ 1086 01:05:00,166 --> 01:05:02,625 ♪ 'Cause he knows it's all worthwhile ♪ 1087 01:05:02,625 --> 01:05:03,709 ♪ He told me ♪ 1088 01:05:03,709 --> 01:05:05,792 ♪ Let the children lose it ♪ 1089 01:05:05,792 --> 01:05:08,333 ♪ Let the children use it ♪ 1090 01:05:08,333 --> 01:05:12,583 ♪ Let all the children boogie ♪ 1091 01:05:12,583 --> 01:05:15,250 [Cambridge] When we did the Space Oddity album in Trident studio, 1092 01:05:15,250 --> 01:05:17,834 David used to walk about like he was a star. 1093 01:05:17,834 --> 01:05:19,583 You could see it just by-- 1094 01:05:19,583 --> 01:05:21,250 He could walk into a pub, and you think, 1095 01:05:21,250 --> 01:05:23,458 "He's gonna be a star," and you could t--, you know, that. 1096 01:05:23,458 --> 01:05:27,250 But not necessarily about his music or his playing at that time, you know. 1097 01:05:27,250 --> 01:05:29,875 ["Letter to Hermione" by David Bowie playing] 1098 01:05:29,875 --> 01:05:31,625 He was a bit like a folky singer. 1099 01:05:31,625 --> 01:05:34,125 He wasn't, like, the rock God he became. 1100 01:05:35,875 --> 01:05:38,583 But, then again, David was very deep, you know? 1101 01:05:38,583 --> 01:05:40,250 He would never... 1102 01:05:40,250 --> 01:05:42,375 wore his heart on his sleeve, 1103 01:05:42,375 --> 01:05:44,959 he would never come out to you and say, "I'm really worried about this," you know. 1104 01:05:44,959 --> 01:05:48,125 He would just ride over it. 1105 01:05:48,125 --> 01:05:50,750 ♪ The hand that wrote this letter ♪ 1106 01:05:50,750 --> 01:05:53,166 ♪ Sweeps the pillow clean ♪ 1107 01:05:54,959 --> 01:05:59,625 ♪ So rest your head and read a treasured dream ♪ 1108 01:06:01,208 --> 01:06:04,792 ♪ I care for no one else but you ♪ 1109 01:06:04,792 --> 01:06:07,959 ♪ I tear my soul to cease the pain ♪ 1110 01:06:07,959 --> 01:06:11,709 ♪ I think maybe you feel the same ♪ 1111 01:06:11,709 --> 01:06:14,166 ♪ What can we do?... ♪ 1112 01:06:14,166 --> 01:06:17,125 [Bowie] So, I wrote my, you know, my "Letter to Hermione" 1113 01:06:17,125 --> 01:06:19,792 on my album. There, that'll show her. 1114 01:06:19,792 --> 01:06:21,375 I write something that public, 1115 01:06:21,375 --> 01:06:24,125 and she'll see that she really messed me up. 1116 01:06:24,125 --> 01:06:29,041 ♪ So I've been writing you just for you... ♪ 1117 01:06:29,041 --> 01:06:31,250 He was definitely feeling that song. 1118 01:06:31,250 --> 01:06:34,000 That was him being vulnerable. 1119 01:06:34,000 --> 01:06:35,542 I think we only did one or two takes. 1120 01:06:35,542 --> 01:06:37,875 There was no reason to keep recording it 1121 01:06:37,875 --> 01:06:39,542 and do it one more time, better. 1122 01:06:39,542 --> 01:06:41,000 He just did that performance 1123 01:06:41,000 --> 01:06:43,583 and it was heart-tugging. 1124 01:06:43,583 --> 01:06:47,917 ♪ They say your life is going very well ♪ 1125 01:06:49,834 --> 01:06:54,291 ♪ They say you sparkle like a different girl ♪ 1126 01:06:55,542 --> 01:06:59,291 ♪ But something tells me that you hide ♪ 1127 01:06:59,291 --> 01:07:02,083 ♪ When all the world is warm and tired ♪ 1128 01:07:02,083 --> 01:07:06,375 ♪ You cry a little in the dark ♪ 1129 01:07:06,375 --> 01:07:09,625 ♪ Well so do I... ♪ 1130 01:07:09,625 --> 01:07:12,542 Did I cry? Probably. 1131 01:07:15,208 --> 01:07:18,041 I missed him terribly. We missed each other. 1132 01:07:18,041 --> 01:07:21,166 As friends, apart from anything else, you know, 1133 01:07:21,166 --> 01:07:24,542 that's what we really, we really missed. Yeah. 1134 01:07:24,542 --> 01:07:30,333 ♪ I'm not quite sure what I'm supposed to do ♪ 1135 01:07:30,333 --> 01:07:35,834 ♪ So I'll just write some love to you ♪ 1136 01:08:02,041 --> 01:08:07,792 ♪ Still don't know what I was waiting for ♪ 1137 01:08:07,792 --> 01:08:12,542 ♪ And my time was running wild ♪ 1138 01:08:12,542 --> 01:08:17,250 ♪ A million dead end streets and ♪ 1139 01:08:17,250 --> 01:08:21,792 ♪ Every time I thought I'd got it made ♪ 1140 01:08:21,792 --> 01:08:25,458 ♪ It seemed the taste was not so sweet ♪ 1141 01:08:27,458 --> 01:08:31,375 [Bowie] It almost seemed like 1970 was the cumulative year for me. 1142 01:08:31,375 --> 01:08:35,458 That's where it all sort of started to make sense. 1143 01:08:35,458 --> 01:08:38,291 ["Conversation Piece" by David Bowie playing] 1144 01:08:45,792 --> 01:08:50,166 ♪ I took this walk to ease my mind ♪ 1145 01:08:52,000 --> 01:08:54,667 ♪ To find out what's gnawing at me ♪ 1146 01:08:56,166 --> 01:08:59,333 ♪ Wouldn't think to look at me ♪ 1147 01:09:02,959 --> 01:09:07,625 ♪ That I've spent a lot of time in education... ♪ 1148 01:09:07,625 --> 01:09:12,125 [Bowie] I was living in this, uh, huge, almost neo-gothic pile 1149 01:09:12,125 --> 01:09:14,125 down in Beckenham called Haddon Hall. 1150 01:09:14,125 --> 01:09:18,333 Which had some kind of, uh, baronial hall entrance hall-type thing. 1151 01:09:18,333 --> 01:09:20,667 And the band that we collected together, 1152 01:09:20,667 --> 01:09:23,041 Visconti and, at the time, Angela, 1153 01:09:23,041 --> 01:09:25,667 all kind of shared this, uh, baronial hall. 1154 01:09:25,667 --> 01:09:28,333 So it's kind of a commune thing. 1155 01:09:32,709 --> 01:09:37,250 [Visconti] Angie, when I met her, was this free spirit. 1156 01:09:37,250 --> 01:09:41,542 She was outspoken, had courage like you wouldn't believe. 1157 01:09:41,542 --> 01:09:44,792 She could walk up to anybody and give them a piece of her mind. 1158 01:09:44,792 --> 01:09:46,375 Or get things. 1159 01:09:46,375 --> 01:09:49,166 And Angie was the one who made things happen. 1160 01:09:49,166 --> 01:09:52,250 ["The Width of a Circle" by David Bowie playing] 1161 01:09:59,625 --> 01:10:02,542 [Bowie] Mick came from Hull, you know, and was very down to Earth. 1162 01:10:02,542 --> 01:10:05,542 [laughs] 1163 01:10:05,542 --> 01:10:08,375 But when I first heard him play, I thought, [gasps] 1164 01:10:08,375 --> 01:10:12,583 "That's my Jeff Beck. He is fantastic, this kid is great." 1165 01:10:12,583 --> 01:10:15,750 And so, I sort of hoodwinked him into working with me. 1166 01:10:18,083 --> 01:10:21,875 [Victonti] What David should've said was, "He's my Mick Ronson." 1167 01:10:21,875 --> 01:10:23,959 Mick was his own man. 1168 01:10:26,208 --> 01:10:28,125 He could play like Beck, 1169 01:10:28,125 --> 01:10:31,458 but he was definitely a very different guitarist 1170 01:10:31,458 --> 01:10:34,667 in the sense that Mick was also a violinist and a pianist. 1171 01:10:34,667 --> 01:10:36,709 He studied classical music. 1172 01:10:36,709 --> 01:10:41,625 He picked up things that most rock guitarists didn't know. 1173 01:10:44,792 --> 01:10:46,959 [Bowie] My new band was called Hype. 1174 01:10:46,959 --> 01:10:50,125 Tony Visconti on bass, Mick Ronson on guitar, 1175 01:10:50,125 --> 01:10:52,250 and John Cambridge on drums. 1176 01:10:52,250 --> 01:10:55,875 And myself on rhythm guitar and keyboard thing. 1177 01:10:58,417 --> 01:11:04,291 ♪ In the corner of the morning in the past ♪ 1178 01:11:04,291 --> 01:11:10,208 ♪ I would sit and blame the master first and last ♪ 1179 01:11:10,208 --> 01:11:13,166 ♪ All the roads were straight and narrow ♪ 1180 01:11:13,166 --> 01:11:16,125 ♪ And the prayers were small and yellow ♪ 1181 01:11:16,125 --> 01:11:20,375 ♪ And the rumor spread that I was aging fast... ♪ 1182 01:11:20,375 --> 01:11:25,333 [Bowie] One of the first gigs that we did was in February 1970 1183 01:11:25,333 --> 01:11:28,166 at the Roundhouse with Hype. 1184 01:11:28,166 --> 01:11:31,625 And I think it was probably my first costume band. 1185 01:11:33,542 --> 01:11:37,500 And our respective girlfriends and wives and whatever 1186 01:11:37,500 --> 01:11:40,500 put together all these really ridiculous, like, 1187 01:11:40,500 --> 01:11:44,333 cartoon capers comic hero costumes. 1188 01:11:46,583 --> 01:11:48,834 [Cambridge] The Roundhouse gig with the costumes, 1189 01:11:48,834 --> 01:11:50,291 that was Angie's idea. 1190 01:11:50,291 --> 01:11:52,166 She said we should all get dressed up, 1191 01:11:52,166 --> 01:11:55,333 and maybe David did want to maybe, uh, 1192 01:11:55,333 --> 01:11:58,542 a bit in it as well, but Angie had a lot to do with it. 1193 01:11:58,542 --> 01:12:02,333 I was Cowboy Man with a cowboy hat on. I had a frilly shirt. 1194 01:12:04,041 --> 01:12:06,166 [Bowie] Ronson was Guitar Gangster, 1195 01:12:06,166 --> 01:12:08,291 and he wore a sort of gangster's outfit. 1196 01:12:08,291 --> 01:12:11,208 And I became this kind of Spaceman, 1197 01:12:11,208 --> 01:12:13,667 silver llama and all that. 1198 01:12:13,667 --> 01:12:15,667 Tony was Hypeman. 1199 01:12:15,667 --> 01:12:19,125 He was like a converted Superman-type thing. 1200 01:12:21,125 --> 01:12:26,417 ♪ So softly a super God cries ♪ 1201 01:12:31,375 --> 01:12:34,041 [Bowie] We thought we were kind of, you know, smart. 1202 01:12:34,041 --> 01:12:36,500 But nobody even looked at the stage. 1203 01:12:36,500 --> 01:12:40,709 I mean, it was really just the most depressing night of our lives. 1204 01:12:40,709 --> 01:12:43,250 ♪ Where all were minds in uni-thought ♪ 1205 01:12:43,250 --> 01:12:45,709 ♪ Power is weird by mystic's thoughts... ♪ 1206 01:12:45,709 --> 01:12:48,500 [Bowie] But I think I was getting nearer to what I wanted to do, 1207 01:12:48,500 --> 01:12:51,417 which is to create this alternative world. 1208 01:12:51,417 --> 01:12:56,959 Which is what I ultimately ended up doing with the Ziggy thing. 1209 01:12:56,959 --> 01:13:00,709 ♪ A man would tear his brother's flesh, a chance to die ♪ 1210 01:13:00,709 --> 01:13:03,083 ♪ To turn to mold ♪ 1211 01:13:05,458 --> 01:13:08,333 [Woodmansey] I got a call from David. 1212 01:13:08,333 --> 01:13:11,083 "I've got this place in Beckenham in Kent 1213 01:13:11,083 --> 01:13:13,667 called Haddon Hall, and we all live there. 1214 01:13:14,834 --> 01:13:16,750 And I'm doing another album. 1215 01:13:16,750 --> 01:13:19,625 You know, will you come?" So, I was like, "Ooh." 1216 01:13:19,625 --> 01:13:20,959 [laughs] 1217 01:13:20,959 --> 01:13:23,291 ["Looking for a Friend" by David Bowie playing] 1218 01:13:23,291 --> 01:13:25,917 ♪ Watch me while you can... ♪ 1219 01:13:25,917 --> 01:13:30,250 [Coleman] Haddon Hall was obviously neglected, wonderful building. 1220 01:13:30,250 --> 01:13:31,667 They just rented it and 1221 01:13:31,667 --> 01:13:34,667 probably someone was glad to have anyone in there. 1222 01:13:34,667 --> 01:13:37,083 It was a bit like a squat. 1223 01:13:39,041 --> 01:13:43,709 [Woodmansey] Mick and I slept on the landing in sleeping bags. 1224 01:13:43,709 --> 01:13:46,625 I remember waking up one morning, there was a-- 1225 01:13:46,625 --> 01:13:51,208 I just heard giggling and screaming down below through the banisters. 1226 01:13:51,208 --> 01:13:55,583 I looked down and there was like, ten naked females 1227 01:13:55,583 --> 01:13:57,458 prancing about downstairs. 1228 01:13:57,458 --> 01:14:00,792 ♪ You don't have to be a big wheel ♪ 1229 01:14:00,792 --> 01:14:03,083 ♪ You don't have to be the end... ♪ 1230 01:14:03,083 --> 01:14:06,875 I never saw ten naked women. I saw two. 1231 01:14:06,875 --> 01:14:10,000 But people would try to get into my bedroom. 1232 01:14:10,000 --> 01:14:13,125 And climb into bed with, uh, Liz and myself, 1233 01:14:13,125 --> 01:14:16,208 and it was like, "Mate, you're in the wrong room. 1234 01:14:16,208 --> 01:14:19,709 Go back in that room," you know? "It's not like a bordello." 1235 01:14:19,709 --> 01:14:22,667 Which it kind of resembled after a while. 1236 01:14:25,667 --> 01:14:28,166 [Woodmansey] You never quite knew what was gonna happen. 1237 01:14:28,166 --> 01:14:31,667 And then David would come down the staircase in the dress. 1238 01:14:31,667 --> 01:14:34,208 You know, you'd never seen that before. 1239 01:14:34,208 --> 01:14:38,041 "It's a man's dress." I said, "Yeah, I assumed that," you know? 1240 01:14:40,500 --> 01:14:42,667 [MacCormack] It was definitely a man's dress. 1241 01:14:42,667 --> 01:14:45,417 Although zipped up in the same way as a woman's. 1242 01:14:45,417 --> 01:14:47,875 We all wore dresses at that time. 1243 01:14:47,875 --> 01:14:51,667 And, uh, no, we didn't. No. 1244 01:14:51,667 --> 01:14:54,583 ["She Shook Me Cold" by David Bowie playing] 1245 01:14:57,959 --> 01:15:01,750 ♪ We met upon a hill ♪ 1246 01:15:01,750 --> 01:15:05,417 ♪ The night was cool and still... ♪ 1247 01:15:05,417 --> 01:15:08,875 [Bowie] I was still very much trying to find who I was as a writer. 1248 01:15:08,875 --> 01:15:11,750 And electric music was appealing to me more and more. 1249 01:15:11,750 --> 01:15:14,542 Especially the heavier kind of guitar-oriented things. 1250 01:15:14,542 --> 01:15:17,458 ♪ I will go back again ♪ 1251 01:15:17,458 --> 01:15:21,375 ♪ My God, she shook me cold ♪ 1252 01:15:23,083 --> 01:15:25,041 [Woodmansey] I mean, The Man Who Sold The World 1253 01:15:25,041 --> 01:15:28,208 is not completely disconnected from the Led Zeppelin style 1254 01:15:28,208 --> 01:15:31,125 heavy metal that was beginning to arrive, as well. 1255 01:15:33,709 --> 01:15:36,709 I think all the sounds that he's going through 1256 01:15:36,709 --> 01:15:39,917 are things that he's listening to, having a look at, 1257 01:15:39,917 --> 01:15:42,417 pulling into the next record and, you know, 1258 01:15:42,417 --> 01:15:44,291 using that and going on from there. 1259 01:15:44,291 --> 01:15:46,208 ["Running Gun Blues" by David Bowie playing] 1260 01:15:46,208 --> 01:15:48,750 ♪ I slashed them cold, I killed them dead ♪ 1261 01:15:48,750 --> 01:15:52,333 ♪ I broke the gooks I cracked their heads ♪ 1262 01:15:52,333 --> 01:15:55,417 ♪ I'll bomb them out from under their beds ♪ 1263 01:15:55,417 --> 01:15:59,166 ♪ But now I've got the running gun blues... ♪ 1264 01:16:01,583 --> 01:16:04,041 [Woodmansey] On Man Who Sold The World, 1265 01:16:04,041 --> 01:16:07,792 he was starting to get more of a concept of 1266 01:16:07,792 --> 01:16:10,750 "I'll do what I want to do" 1267 01:16:10,750 --> 01:16:13,959 lyrically, particularly, and song-wise. 1268 01:16:13,959 --> 01:16:18,417 Um, Man Who Sold The World opened the floodgates. 1269 01:16:18,417 --> 01:16:22,000 I think he was learning that his ideas could be put across. 1270 01:16:22,000 --> 01:16:24,792 And I think the times when he didn't compromise 1271 01:16:24,792 --> 01:16:27,875 on what he wanted to say were the successful things. 1272 01:16:27,875 --> 01:16:30,333 ["All the Madmen" by David Bowie playing] 1273 01:16:30,333 --> 01:16:33,625 ♪ Day after day ♪ 1274 01:16:33,625 --> 01:16:37,625 ♪ They send my friends away ♪ 1275 01:16:37,625 --> 01:16:40,583 ♪ To mansions cold and gray... ♪ 1276 01:16:40,583 --> 01:16:43,542 [Bowie] One of my, sort of, half-siblings 1277 01:16:43,542 --> 01:16:47,667 meant so much to me in my early years, and his name was Terry. 1278 01:16:47,667 --> 01:16:50,458 He was my half-brother. My mother's son. 1279 01:16:50,458 --> 01:16:54,000 ♪ To the far side of town ♪ 1280 01:16:54,000 --> 01:16:57,458 ♪ Where the thin men stalk the streets ♪ 1281 01:16:57,458 --> 01:17:01,917 ♪ While the sane stay underground... ♪ 1282 01:17:01,917 --> 01:17:03,542 [Bowie] Terry probably gave me 1283 01:17:03,542 --> 01:17:05,542 the greatest education that I could ever have had. 1284 01:17:05,542 --> 01:17:10,333 I mean, he just introduced me to the outside things. 1285 01:17:13,458 --> 01:17:15,083 And I guess Terry had shown me 1286 01:17:15,083 --> 01:17:18,542 that there has always been a history of the outside, 1287 01:17:18,542 --> 01:17:19,625 of the rebel. 1288 01:17:19,625 --> 01:17:21,291 Of not being in the center, 1289 01:17:21,291 --> 01:17:24,542 not being drawn to the tyranny of the mainstream. 1290 01:17:26,750 --> 01:17:29,709 But then he would go away for long periods. 1291 01:17:29,709 --> 01:17:33,875 One period he went away, he joined the, uh, RAF. 1292 01:17:33,875 --> 01:17:37,375 And when he came back, he had changed considerably. 1293 01:17:37,375 --> 01:17:40,875 And was showing very evident signs of schizophrenia. 1294 01:17:42,625 --> 01:17:44,083 And then, he went into hospital, 1295 01:17:44,083 --> 01:17:47,166 and he stayed in hospital for the rest of his life. 1296 01:17:47,166 --> 01:17:50,250 ♪ Day after day ♪ 1297 01:17:50,250 --> 01:17:53,834 ♪ They tell me I can go ♪ 1298 01:17:53,834 --> 01:17:57,625 ♪ They tell me I can blow ♪ 1299 01:17:57,625 --> 01:18:01,375 ♪ To the far side of town ♪ 1300 01:18:01,375 --> 01:18:04,917 ♪ Where it's pointless to be high ♪ 1301 01:18:04,917 --> 01:18:07,792 ♪ 'Cause it's such a long way down ♪ 1302 01:18:09,583 --> 01:18:11,291 ♪ So I tell them that ♪ 1303 01:18:11,291 --> 01:18:12,750 ♪ I can fly ♪ 1304 01:18:12,750 --> 01:18:16,917 ♪ I will scream, I will break my arm ♪ 1305 01:18:18,583 --> 01:18:22,125 ♪ I will do me harm... ♪ 1306 01:18:22,125 --> 01:18:25,834 [Bowie] Insanity was something that I was terribly fearful of. 1307 01:18:25,834 --> 01:18:27,959 But I felt that I was the lucky one, 1308 01:18:27,959 --> 01:18:31,875 because as long as I could put those psychological excesses into my music, 1309 01:18:31,875 --> 01:18:35,667 then I could always be throwing it off. 1310 01:18:35,667 --> 01:18:39,000 [Amadeus] One of the porkies that David perpetuated 1311 01:18:39,000 --> 01:18:43,709 for a very long time was that he came from a family 1312 01:18:43,709 --> 01:18:47,041 where insanity seemed to be the norm. 1313 01:18:47,041 --> 01:18:49,500 And it just wasn't true. 1314 01:18:49,500 --> 01:18:53,041 Yes, Terry had his breakdown. 1315 01:18:53,041 --> 01:18:57,458 But, um, I believe it was a bad acid trip. 1316 01:19:04,542 --> 01:19:05,917 [Visconti] Every arrangement we did 1317 01:19:05,917 --> 01:19:08,625 on The Man Who Sold The World album, 1318 01:19:08,625 --> 01:19:10,917 we started them in Haddon Hall, 1319 01:19:10,917 --> 01:19:13,750 but we finished most of the album in the studio 1320 01:19:13,750 --> 01:19:17,458 and made up our own parts on the spot. 1321 01:19:17,458 --> 01:19:21,417 And David would go off into the hallway and write the lyrics. 1322 01:19:21,417 --> 01:19:23,125 I'd go out half an hour later, 1323 01:19:23,125 --> 01:19:25,417 and he'd just be holding hands with Angie. 1324 01:19:25,417 --> 01:19:28,834 I'd go, "Come on, write the damn lyrics, for God's sake!" 1325 01:19:28,834 --> 01:19:31,792 The Man Who Sold The World was writ--, 1326 01:19:31,792 --> 01:19:34,792 the lyrics were written on the same day we recorded it, 1327 01:19:34,792 --> 01:19:36,458 which was the last day of the album. 1328 01:19:36,458 --> 01:19:40,125 ["The Man Who Sold the World" by David Bowie playing] 1329 01:19:40,125 --> 01:19:42,583 [Woodmansey] "The Man Who Sold The World" as a song 1330 01:19:42,583 --> 01:19:45,083 was kind of about 1331 01:19:45,083 --> 01:19:48,458 meeting himself in the future and where he'd been 1332 01:19:48,458 --> 01:19:51,000 and you kind of-- 1333 01:19:51,000 --> 01:19:54,417 that's the picture you, or I had in my head. 1334 01:19:54,417 --> 01:19:58,875 ♪ We passed upon the stair ♪ 1335 01:19:58,875 --> 01:20:03,208 ♪ We spoke of was and when ♪ 1336 01:20:03,208 --> 01:20:07,750 ♪ Although I wasn't there ♪ 1337 01:20:07,750 --> 01:20:11,834 ♪ He said I was his friend ♪ 1338 01:20:11,834 --> 01:20:15,917 ♪ Which came as some surprise ♪ 1339 01:20:15,917 --> 01:20:19,375 [demo version] ♪ I spoke into his eyes ♪ 1340 01:20:19,375 --> 01:20:23,500 ♪ I thought you died alone ♪ 1341 01:20:23,500 --> 01:20:27,083 ♪ A long long time ago ♪ 1342 01:20:28,625 --> 01:20:30,291 [Woodmansey] I thought at the time, 1343 01:20:30,291 --> 01:20:34,458 "OK, it's pretty hard rock and progressive, a lot of it." 1344 01:20:34,458 --> 01:20:39,083 So, imagine you've got a Zeppelin album, a Sabbath album, 1345 01:20:39,083 --> 01:20:41,166 and this guy in a dress. 1346 01:20:41,166 --> 01:20:45,041 It's not gonna happen, just from the cover alone. 1347 01:20:48,083 --> 01:20:50,375 ♪ Who knows? ♪ 1348 01:20:50,375 --> 01:20:52,417 ♪ Not me ♪ 1349 01:20:52,417 --> 01:20:56,542 ♪ We never lost control ♪ 1350 01:20:56,542 --> 01:21:00,834 ♪ You're face to face ♪ 1351 01:21:00,834 --> 01:21:03,917 ♪ With the man who sold the world ♪ 1352 01:21:19,375 --> 01:21:22,083 [Coleman] I was having to create a bill out of nothing. 1353 01:21:22,083 --> 01:21:26,250 And so, I started off with people that I liked and knew. 1354 01:21:26,250 --> 01:21:29,208 So, I rang David and said, "Are you interested in doing it?" 1355 01:21:29,208 --> 01:21:33,083 Got Angie, who said, "No, he's doing some solo gigs, and 1356 01:21:33,083 --> 01:21:36,959 he's not enjoying them very much," um, 1357 01:21:36,959 --> 01:21:40,333 in her inimitable way. 1358 01:21:40,333 --> 01:21:43,208 And then, I rang again and got David a couple of days later, 1359 01:21:43,208 --> 01:21:46,750 and he said, "Well, I'm kind of interested in doing it." 1360 01:21:48,667 --> 01:21:52,959 [Bowie] I did the second festival ever in 1971. 1361 01:21:52,959 --> 01:21:56,583 I got on at 5:30 in the morning. 1362 01:21:56,583 --> 01:22:01,417 And it was just me and this electric Woolworth's organ that I'd brought. 1363 01:22:01,417 --> 01:22:04,417 [organ playing "Oh, You Pretty Things"] 1364 01:22:04,417 --> 01:22:06,458 ♪ Wake up you sleepy head ♪ 1365 01:22:06,458 --> 01:22:09,625 ♪ Put on some clothes, shake out your bed ♪ 1366 01:22:11,125 --> 01:22:14,041 [David and crowd laughing] 1367 01:22:14,041 --> 01:22:16,917 [Bowie on stage] This is about homo superior. 1368 01:22:16,917 --> 01:22:19,041 You're letting the lyrics down, badly. 1369 01:22:19,041 --> 01:22:20,792 [laughter] 1370 01:22:20,792 --> 01:22:23,792 [Gillespie] David, Angie, and I went to Glastonbury. 1371 01:22:23,792 --> 01:22:29,792 And I do remember people crawling out of their sleeping bags and their tents. 1372 01:22:29,792 --> 01:22:32,834 And he was up there on his own. 1373 01:22:32,834 --> 01:22:38,083 ♪ I still don't know what I was waiting for ♪ 1374 01:22:38,083 --> 01:22:42,959 ♪ And my time was running wild ♪ 1375 01:22:42,959 --> 01:22:46,166 ♪ A million dead end streets and ♪ 1376 01:22:47,834 --> 01:22:52,208 ♪ Every time I thought I'd got it made ♪ 1377 01:22:52,208 --> 01:22:56,500 ♪ It seemed the taste was not so sweet... ♪ 1378 01:22:56,500 --> 01:22:59,375 [Coleman] Then, a few more arrived, and a few more arrived, 1379 01:22:59,375 --> 01:23:01,542 and then, people were running around waking people up. 1380 01:23:01,542 --> 01:23:03,000 I could see people, 1381 01:23:03,000 --> 01:23:05,166 I could see little scurrying figures up the hillside 1382 01:23:05,166 --> 01:23:07,208 from my seat on the side of the stage. 1383 01:23:07,208 --> 01:23:11,333 Until eventually there were about 4-500 people there. 1384 01:23:11,333 --> 01:23:16,625 ♪ How the others must see the faker... ♪ 1385 01:23:16,625 --> 01:23:19,000 [Coleman] The sun was out, it was warming up, 1386 01:23:19,000 --> 01:23:22,917 and these people had obviously thought they were the only people on the planet 1387 01:23:22,917 --> 01:23:25,041 that had discovered this young man, and it r--, 1388 01:23:25,041 --> 01:23:29,542 it really was an important moment for a lot of people. 1389 01:23:32,667 --> 01:23:34,291 [Bowie on stage] I tell you what, um, 1390 01:23:34,291 --> 01:23:37,375 I just wanna say that you've given me more pleasure 1391 01:23:37,375 --> 01:23:39,875 than I've had in a good few months of working, 1392 01:23:39,875 --> 01:23:43,041 and I don't do gigs anymore, because I got so pissed off 1393 01:23:43,041 --> 01:23:45,792 with working and dying a death every time I worked. 1394 01:23:45,792 --> 01:23:50,041 And it's really nice to have somebody appreciate me for a change. 1395 01:23:50,041 --> 01:23:52,375 [applause] 1396 01:23:54,291 --> 01:23:56,834 [Bowie] '71 is when I got down to seriously writing 1397 01:23:56,834 --> 01:24:00,208 and trying to, uh, not diversify too much. 1398 01:24:00,208 --> 01:24:02,959 I was, uh, trying to be a one-man revolution. 1399 01:24:02,959 --> 01:24:04,375 [laughter] 1400 01:24:06,083 --> 01:24:09,917 ["Changes" by David Bowie playing] 1401 01:24:09,917 --> 01:24:11,834 [Grace] I know exactly what he wanted, he told me. 1402 01:24:11,834 --> 01:24:14,625 He said, "World domination." 1403 01:24:14,625 --> 01:24:17,458 He said there was absolutely no doubt that he was going to be, 1404 01:24:17,458 --> 01:24:20,959 you know, a world-class superstar that he became. 1405 01:24:20,959 --> 01:24:22,792 And that's what he wanted. 1406 01:24:22,792 --> 01:24:26,625 ♪ Still don't know what I was waiting for ♪ 1407 01:24:26,625 --> 01:24:29,250 ♪ Time was running wild ♪ 1408 01:24:29,250 --> 01:24:31,417 ♪ A million dead end streets and ♪ 1409 01:24:31,417 --> 01:24:34,250 ♪ Every time I thought I'd got it made ♪ 1410 01:24:34,250 --> 01:24:37,333 ♪ It seemed the taste was not so sweet ♪ 1411 01:24:38,750 --> 01:24:43,375 ♪ Then I turned myself to face me ♪ 1412 01:24:43,375 --> 01:24:47,250 ♪ But I've never caught a glimpse ♪ 1413 01:24:47,250 --> 01:24:51,291 ♪ How the others must see the faker ♪ 1414 01:24:51,291 --> 01:24:54,333 ♪ I'm much too fast to take that test ♪ 1415 01:24:54,333 --> 01:24:56,458 ♪ Ch-ch-ch-ch-changes ♪ 1416 01:24:56,458 --> 01:24:58,583 ♪ Turn and face the strange ♪ 1417 01:24:58,583 --> 01:25:00,125 ♪ Ch-ch-ch-ch-changes ♪ 1418 01:25:00,125 --> 01:25:03,458 ♪ Don't want to be a richer man ♪ 1419 01:25:03,458 --> 01:25:05,208 ♪ Ch-ch-ch-ch-changes ♪ 1420 01:25:05,208 --> 01:25:07,250 ♪ Turn and face the strange ♪ 1421 01:25:07,250 --> 01:25:09,291 ♪ Ch-ch-ch-ch-changes ♪ 1422 01:25:09,291 --> 01:25:12,125 ♪ Don't tell them to grow up and out of it ♪ 1423 01:25:12,125 --> 01:25:14,041 ♪ Ch-ch-ch-ch-changes ♪ 1424 01:25:14,041 --> 01:25:16,000 ♪ Turn and face the strange ♪ 1425 01:25:16,000 --> 01:25:17,750 ♪ Oh, changes ♪ 1426 01:25:17,750 --> 01:25:20,917 ♪ But you see, you've left us up to our necks in it ♪ 1427 01:25:20,917 --> 01:25:23,291 ♪ Time may change me ♪ 1428 01:25:23,291 --> 01:25:26,417 ♪ But I can't trace time... ♪ 1429 01:25:26,417 --> 01:25:29,291 [Bowie] God came to me and he said, "Let there be Ziggy," you know? 1430 01:25:29,291 --> 01:25:31,375 And I just saw the world in another kind of fashion. 1431 01:25:31,375 --> 01:25:34,959 And it was about pushing together all the pieces 1432 01:25:34,959 --> 01:25:37,750 and all the things that fascinated me culturally. 1433 01:25:37,750 --> 01:25:39,834 A hybrid of everything I liked. 1434 01:25:39,834 --> 01:25:42,000 Just playing around with the idea of rock 'n' roll. 1435 01:25:42,000 --> 01:25:44,834 ♪ Turn and face the strange ♪ 1436 01:25:44,834 --> 01:25:46,542 ♪ Ch-ch-ch-ch-changes ♪ 1437 01:25:46,542 --> 01:25:49,208 ♪ Look out all you rock 'n' rollers... ♪ 1438 01:25:49,208 --> 01:25:51,166 [Woodmansey] He needed a vehicle, 1439 01:25:51,166 --> 01:25:55,166 he needed a character to feel comfortable 1440 01:25:55,166 --> 01:25:57,542 and to put his ideas across. 1441 01:25:57,542 --> 01:26:00,709 It seemed like he really needed that. 1442 01:26:00,709 --> 01:26:04,667 Which was missing from all those earlier attempts at success. 1443 01:26:04,667 --> 01:26:06,917 ♪ Time may change me ♪ 1444 01:26:06,917 --> 01:26:10,333 ♪ But I can't trace time ♪ 1445 01:26:31,083 --> 01:26:32,750 [audience applauding] 1446 01:26:34,000 --> 01:26:36,542 ["My Death" by David Bowie playing] 1447 01:26:40,709 --> 01:26:45,458 ♪ My death waits like ♪ 1448 01:26:45,458 --> 01:26:47,625 ♪ A beggar blind ♪ 1449 01:26:49,000 --> 01:26:52,291 ♪ Who sees the world ♪ 1450 01:26:52,291 --> 01:26:54,834 ♪ Through an unlit mind ♪ 1451 01:26:56,083 --> 01:26:59,250 ♪ Throw him a dime ♪ 1452 01:26:59,250 --> 01:27:01,750 ♪ For the passing time ♪ 1453 01:27:04,250 --> 01:27:07,417 ♪ My death waits ♪ 1454 01:27:09,083 --> 01:27:11,959 ♪ To allow my friends ♪ 1455 01:27:14,458 --> 01:27:18,166 ♪ A few good times before it ends ♪ 1456 01:27:18,166 --> 01:27:21,125 Is it difficult for you to do what you've just been doing 1457 01:27:21,125 --> 01:27:23,417 in a tiny television studio? I mean, 1458 01:27:23,417 --> 01:27:24,917 throwing yourself outwards. 1459 01:27:24,917 --> 01:27:28,417 Uh, I find singing and performing very easy. 1460 01:27:28,417 --> 01:27:30,291 But, uh, this is awful. 1461 01:27:30,291 --> 01:27:32,250 I've never done this before, chat show like this. 1462 01:27:32,250 --> 01:27:34,083 -Never done-- -I find this very difficult. 1463 01:27:34,083 --> 01:27:36,041 -Are you nervous? -Yes, very. 1464 01:27:36,041 --> 01:27:40,250 ♪ Oh, let's pick violets for ♪ 1465 01:27:40,250 --> 01:27:43,208 ♪ The passing time ♪ 1466 01:27:44,959 --> 01:27:49,041 ♪ My death waits there ♪ 1467 01:27:49,041 --> 01:27:52,667 ♪ In a double bed ♪ 1468 01:27:52,667 --> 01:27:56,667 ♪ Sails of oblivion ♪ 1469 01:27:56,667 --> 01:27:59,959 ♪ At my head ♪ 1470 01:27:59,959 --> 01:28:02,834 ♪ Pull up the sheets against ♪ 1471 01:28:04,166 --> 01:28:07,375 ♪ The passing time... ♪ 1472 01:28:08,250 --> 01:28:09,709 [Harty] How long do you give it? 1473 01:28:09,709 --> 01:28:11,083 -What, me? -Yeah. 1474 01:28:11,083 --> 01:28:12,250 -How long do I give me? -Yeah, 1475 01:28:12,250 --> 01:28:14,250 how many years do you give yourself? 1476 01:28:14,250 --> 01:28:16,250 I don't mean, "How many years do you give yourself in life?" 1477 01:28:16,250 --> 01:28:18,583 But how many years can you be a head of the glamor field 1478 01:28:18,583 --> 01:28:20,208 and the head of the glitter field? 1479 01:28:20,208 --> 01:28:22,333 Oh, no, I've never been ahead of anything. 1480 01:28:22,333 --> 01:28:25,166 I've been, I think on my own. 1481 01:28:25,166 --> 01:28:27,375 I'm not, I'm not in an Olympics. 1482 01:28:28,000 --> 01:28:30,375 [piano playing] 1483 01:28:35,458 --> 01:28:38,083 [Bowie] The artist is strictly a figment 1484 01:28:38,083 --> 01:28:40,125 of people's imagination. 1485 01:28:40,125 --> 01:28:41,750 I really believe that. 1486 01:28:41,750 --> 01:28:45,083 We're the original false prophets, we are the Gods. 1487 01:28:45,083 --> 01:28:47,917 We want it all, you know, we want all the adulation 1488 01:28:47,917 --> 01:28:49,625 and people to read the lyrics and everything, 1489 01:28:49,625 --> 01:28:51,959 just to play the game. 1490 01:28:51,959 --> 01:28:53,667 We don't exist. 1491 01:28:53,667 --> 01:28:56,834 And I know that that, that's-- I feel that same emptiness 1492 01:28:56,834 --> 01:29:00,333 that they all feel when they get there. 1493 01:29:00,333 --> 01:29:02,583 'Cause they know that it's not real. 1494 01:29:04,500 --> 01:29:06,667 [Garson] David didn't like a comfort zone. 1495 01:29:06,667 --> 01:29:08,709 He could've done Ziggy for his whole life, 1496 01:29:08,709 --> 01:29:12,834 and he would've had fans, but he wanted to move on. 1497 01:29:12,834 --> 01:29:16,208 So, I knew Ziggy was not gonna be long-lived. 1498 01:29:17,917 --> 01:29:20,208 [Bowie] Well, it's the last one tonight, you know? 1499 01:29:20,208 --> 01:29:23,375 [interviewer] Is it? Oh, I heard it was last for all time, is that right? 1500 01:29:23,375 --> 01:29:25,208 We shall see at the end of the show. 1501 01:29:25,208 --> 01:29:26,375 [laughs] 1502 01:29:26,375 --> 01:29:28,125 Has been mentioned. 1503 01:29:28,125 --> 01:29:30,375 [interviewer] You're making an announcement, are you, tonight? 1504 01:29:30,375 --> 01:29:33,875 [Bowie] Um, if that's the case, I will be. 1505 01:29:33,875 --> 01:29:36,959 I knew that it was a very important show. 1506 01:29:36,959 --> 01:29:38,417 I knew he was nervous. 1507 01:29:38,417 --> 01:29:41,542 Because something was really working. 1508 01:29:41,542 --> 01:29:45,083 And he spent a decade working to that. 1509 01:29:48,583 --> 01:29:49,709 Go away. 1510 01:29:49,709 --> 01:29:51,333 [interviewer] I can glean that you're nervous, 1511 01:29:51,333 --> 01:29:53,750 but I really think the audience you have tonight, 1512 01:29:53,750 --> 01:29:56,583 it's the easiest you've ever had. 1513 01:29:56,583 --> 01:29:59,125 -You think so? -Oh. And how. 1514 01:29:59,125 --> 01:30:03,166 ["Moonage Daydream" by David Bowie playing] 1515 01:30:03,166 --> 01:30:06,291 ♪ I'm a mama-papa coming for you ♪ 1516 01:30:06,291 --> 01:30:09,417 ♪ I'm the space invader ♪ 1517 01:30:09,417 --> 01:30:13,125 ♪ I'll be a rock 'n' rolling bitch for you ♪ 1518 01:30:13,125 --> 01:30:15,834 ♪ Keep your mouth shut ♪ 1519 01:30:15,834 --> 01:30:19,166 ♪ You're squawking like a pink monkey bird ♪ 1520 01:30:19,166 --> 01:30:24,000 ♪ And I'm busting up my brains for the words ♪ 1521 01:30:24,000 --> 01:30:25,625 ♪ You know I am ♪ 1522 01:30:28,125 --> 01:30:32,208 ♪ Keep your electric eye on me, babe... ♪ 1523 01:30:32,208 --> 01:30:37,083 The Hammersmith gig, of the thousand shows I did with him, 1524 01:30:37,083 --> 01:30:41,125 had a mystique, an energy. 1525 01:30:41,125 --> 01:30:42,959 This is something special. 1526 01:30:42,959 --> 01:30:46,000 It was something electric about it. 1527 01:30:46,000 --> 01:30:47,750 ["Suffragette City" by David Bowie playing] 1528 01:30:47,750 --> 01:30:49,375 ♪ Oh, don't lean on me man ♪ 1529 01:30:49,375 --> 01:30:51,208 ♪ 'cause you can't afford the ticket ♪ 1530 01:30:51,208 --> 01:30:53,333 ♪ I'm back on Suffragette City ♪ 1531 01:30:53,333 --> 01:30:55,125 ♪ Oh, don't lean on me man ♪ 1532 01:30:55,125 --> 01:30:57,083 ♪ 'cause you can't afford the ticket ♪ 1533 01:30:57,083 --> 01:30:59,208 ♪ I'm back on Suffragette City... ♪ 1534 01:30:59,208 --> 01:31:00,667 [Hutchinson] We finished the last song 1535 01:31:00,667 --> 01:31:03,333 and David walked to my side of the stage. 1536 01:31:03,333 --> 01:31:06,208 And said, "Don't start 'Rock And Roll Suicide,'" 1537 01:31:06,208 --> 01:31:08,875 which I play the intro on, 1538 01:31:08,875 --> 01:31:10,333 "until I tell you." 1539 01:31:13,250 --> 01:31:15,417 So I figured he must be gonna say, 1540 01:31:15,417 --> 01:31:19,041 "Thanks for the tour, we'll see you in September," or whatever. 1541 01:31:19,041 --> 01:31:20,458 But he didn't. 1542 01:31:20,458 --> 01:31:22,417 [Bowie] Of all the shows on this tour, 1543 01:31:22,417 --> 01:31:26,500 this, this particular show will remain with us the longest. 1544 01:31:26,500 --> 01:31:30,291 -Because... -[audience cheering] 1545 01:31:30,291 --> 01:31:34,709 not only is it, not only is it the last show of the tour, 1546 01:31:34,709 --> 01:31:40,458 but it's the last show that we'll ever do. Thank you. 1547 01:31:40,458 --> 01:31:44,417 [Woodmansey] I thought, "OK, maybe this is a stunt." 1548 01:31:44,417 --> 01:31:46,500 And then, part of me was going, 1549 01:31:46,500 --> 01:31:49,208 "I've just got the sack." [laughs] Live. 1550 01:31:50,417 --> 01:31:52,709 ♪ Time takes a cigarette ♪ 1551 01:31:54,250 --> 01:31:56,250 ♪ Puts it in your mouth ♪ 1552 01:31:57,500 --> 01:31:59,709 ♪ You pull on your finger ♪ 1553 01:31:59,709 --> 01:32:04,500 ♪ Then another finger, then your cigarette ♪ 1554 01:32:04,500 --> 01:32:07,333 ♪ The wall-to-wall is calling ♪ 1555 01:32:07,333 --> 01:32:11,083 ♪ It lingers, but still you forget ♪ 1556 01:32:11,083 --> 01:32:14,000 ♪ Oh ♪ 1557 01:32:14,000 --> 01:32:16,792 ♪ You're a rock 'n' roll suicide... ♪ 1558 01:32:16,792 --> 01:32:21,041 [MacCormack] It did really seem odd that, at the very height of his career, 1559 01:32:21,041 --> 01:32:26,542 he was extinguishing it with a couple of phrases. 1560 01:32:26,542 --> 01:32:29,834 It must've seemed to people, 1561 01:32:29,834 --> 01:32:33,583 "Why would you do that? Why would you give it all up? 1562 01:32:33,583 --> 01:32:36,542 When you're just at the starting grid." 1563 01:32:36,542 --> 01:32:40,083 ♪ But you can't eat when you've lived too long... ♪ 1564 01:32:40,083 --> 01:32:43,417 [MacCormack] Extraordinary night, an extraordinary statement. 1565 01:32:43,417 --> 01:32:46,583 ♪ You're a rock 'n' roll suicide... ♪ 1566 01:32:47,792 --> 01:32:50,458 There was something very calculated about it. 1567 01:32:50,458 --> 01:32:53,166 And I think 1568 01:32:53,166 --> 01:32:57,250 what he had that most artists didn't have is he had a sense of 1569 01:32:57,250 --> 01:32:59,250 what is commercial, what works, 1570 01:32:59,250 --> 01:33:03,750 what can sell in addition to his own integrity. 1571 01:33:03,750 --> 01:33:07,333 ♪ Don't let the sunlight blast your shadow ♪ 1572 01:33:07,333 --> 01:33:11,000 ♪ Don't let the milk float ride your mind... ♪ 1573 01:33:11,000 --> 01:33:14,083 [Hutchinson] Ziggy Stardust was a culmination 1574 01:33:14,083 --> 01:33:19,792 of all the things that David tried to do in the 60's. 1575 01:33:19,792 --> 01:33:24,917 I think with Ziggy Stardust, he achieved the success, 1576 01:33:24,917 --> 01:33:28,875 uh, that an individual like Ziggy Stardust would aim for. 1577 01:33:30,458 --> 01:33:33,333 But David himself wasn't Ziggy Stardust. 1578 01:33:33,333 --> 01:33:36,709 So, I think he'd already stepped outside of that character, 1579 01:33:36,709 --> 01:33:38,875 back into being David Bowie. 1580 01:33:41,583 --> 01:33:43,291 Thank you very much. 1581 01:33:43,291 --> 01:33:44,875 Bye-bye, we love you. 1582 01:33:44,875 --> 01:33:47,125 [audience cheering] 1583 01:33:52,000 --> 01:33:53,917 [Bowie] To make the kind of breakthrough I needed, 1584 01:33:53,917 --> 01:33:56,333 I had to put on a few trappings in the beginning. 1585 01:33:56,333 --> 01:33:58,125 And I think now, 1586 01:33:58,125 --> 01:34:02,125 I will just be David Bowie, period. 1587 01:34:02,125 --> 01:34:04,583 I've got massive plans for the future. 1588 01:34:04,583 --> 01:34:08,041 ["Rebel Rebel" by David Bowie playing] 1589 01:34:08,041 --> 01:34:09,291 ♪ Rebel rebel ♪ 1590 01:34:09,291 --> 01:34:11,166 ♪ You've torn your dress ♪ 1591 01:34:12,333 --> 01:34:13,500 ♪ Rebel rebel ♪ 1592 01:34:13,500 --> 01:34:15,333 ♪ Your face is a mess ♪ 1593 01:34:16,208 --> 01:34:17,458 ♪ Rebel rebel ♪ 1594 01:34:17,458 --> 01:34:19,917 ♪ How could they know? ♪ 1595 01:34:19,917 --> 01:34:23,667 ♪ Hot tramp, I love you so! ♪ 1596 01:34:24,250 --> 01:34:25,500 ♪ Rebel rebel ♪ 1597 01:34:25,500 --> 01:34:27,667 ♪ You've torn your dress ♪ 1598 01:34:27,667 --> 01:34:29,458 ♪ Rebel rebel ♪ 1599 01:34:29,458 --> 01:34:31,333 ♪ Your face is a mess ♪ 1600 01:34:31,333 --> 01:34:32,333 ♪ And you're a ♪ 1601 01:34:32,333 --> 01:34:33,834 ♪ Rebel rebel ♪ 1602 01:34:33,834 --> 01:34:35,875 ♪ How could they know? ♪ 1603 01:34:35,875 --> 01:34:39,250 [audience] ♪ Hot tramp, I love you so! ♪ 1604 01:34:39,250 --> 01:34:40,375 You bet! 1605 01:34:44,125 --> 01:34:47,875 ♪ Hey baby, let's stay out tonight ♪ 1606 01:34:47,875 --> 01:34:50,917 ♪ Hey baby, let's stay out tonight ♪