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>> Farber: DAVID BOWIE SAID THAT
HE BROUGHT A WHOLE NEW LEVEL OF
PRETENTIOUSNESS TO ROCK AND
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00:00:03,871 --> 00:00:05,571
HE BROUGHT A WHOLE NEW LEVEL OF
PRETENTIOUSNESS TO ROCK AND
ROLL.
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00:00:05,573 --> 00:00:07,006
PRETENTIOUSNESS TO ROCK AND
ROLL.
>> Drew: HE'S THE FIRST ONE TO
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00:00:07,008 --> 00:00:09,008
ROLL.
>> Drew: HE'S THE FIRST ONE TO
REALLY DEFY ALL GENRES.
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00:00:09,010 --> 00:00:10,209
>> Drew: HE'S THE FIRST ONE TO
REALLY DEFY ALL GENRES.
>> Loder: HIS MUSIC WILL LIVE ON
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00:00:10,211 --> 00:00:11,610
REALLY DEFY ALL GENRES.
>> Loder: HIS MUSIC WILL LIVE ON
FOR A LONG, LONG TIME, AS LONG
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00:00:11,612 --> 00:00:12,845
>> Loder: HIS MUSIC WILL LIVE ON
FOR A LONG, LONG TIME, AS LONG
AS THERE ARE RECORDS OR
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00:00:12,847 --> 00:00:13,812
FOR A LONG, LONG TIME, AS LONG
AS THERE ARE RECORDS OR
DOWNLOADS.
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00:00:13,814 --> 00:00:15,347
AS THERE ARE RECORDS OR
DOWNLOADS.
>> Farber: HE CONCEIVED HIMSELF
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00:00:15,349 --> 00:00:17,282
DOWNLOADS.
>> Farber: HE CONCEIVED HIMSELF
AS THIS CHARACTER OF THE WORLD'S
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00:00:17,284 --> 00:00:19,485
>> Farber: HE CONCEIVED HIMSELF
AS THIS CHARACTER OF THE WORLD'S
GREATEST ROCK STAR, AND THEN IT
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00:00:19,487 --> 00:00:22,187
AS THIS CHARACTER OF THE WORLD'S
GREATEST ROCK STAR, AND THEN IT
TOOK.
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00:00:22,189 --> 00:00:23,355
GREATEST ROCK STAR, AND THEN IT
TOOK.
>> Levy: NO MATTER HOW FAR
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00:00:23,357 --> 00:00:26,058
TOOK.
>> Levy: NO MATTER HOW FAR
ANYBODY WENT UP TO THAT POINT,
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00:00:26,060 --> 00:00:28,894
>> Levy: NO MATTER HOW FAR
ANYBODY WENT UP TO THAT POINT,
NO ONE HAD GONE THAT FAR.
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00:00:28,896 --> 00:00:30,362
ANYBODY WENT UP TO THAT POINT,
NO ONE HAD GONE THAT FAR.
>> Kandell: THE IDEA OF, LIKE,
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00:00:30,364 --> 00:00:31,597
NO ONE HAD GONE THAT FAR.
>> Kandell: THE IDEA OF, LIKE,
ROCK STARS POSSIBLY SLEEPING
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00:00:31,599 --> 00:00:32,765
>> Kandell: THE IDEA OF, LIKE,
ROCK STARS POSSIBLY SLEEPING
WITH EACH OTHER, ALL OF A
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00:00:32,767 --> 00:00:33,932
ROCK STARS POSSIBLY SLEEPING
WITH EACH OTHER, ALL OF A
SUDDEN, OKAY, YOU'VE GOT OUR
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00:00:33,934 --> 00:00:35,000
WITH EACH OTHER, ALL OF A
SUDDEN, OKAY, YOU'VE GOT OUR
ATTENTION AGAIN.
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00:00:35,002 --> 00:00:36,235
SUDDEN, OKAY, YOU'VE GOT OUR
ATTENTION AGAIN.
>> Collis: BOWIE SAID THAT HE
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00:00:36,237 --> 00:00:37,336
ATTENTION AGAIN.
>> Collis: BOWIE SAID THAT HE
LITERALLY CAN'T REMEMBER MAKING
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00:00:37,338 --> 00:00:39,271
>> Collis: BOWIE SAID THAT HE
LITERALLY CAN'T REMEMBER MAKING
THE RECORD.
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00:00:39,273 --> 00:00:40,572
LITERALLY CAN'T REMEMBER MAKING
THE RECORD.
>> Levy: WHERE DID THESE KIDS
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00:00:40,574 --> 00:00:42,775
THE RECORD.
>> Levy: WHERE DID THESE KIDS
LEARN THAT MUSIC WAS A
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00:00:42,777 --> 00:00:45,277
>> Levy: WHERE DID THESE KIDS
LEARN THAT MUSIC WAS A
SENSATION?
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00:00:45,279 --> 00:00:49,381
LEARN THAT MUSIC WAS A
SENSATION?
ALL OF THAT WENT BACK TO BOWIE.
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Captioned by Elrom, Inc.
www.elrom.tv
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>> Narrator: HE'S BEEN MAJOR
TOM, ZIGGY STARDUST, THE THIN
WHITE DUKE, THE KING OF
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00:01:15,976 --> 00:01:19,011
TOM, ZIGGY STARDUST, THE THIN
WHITE DUKE, THE KING OF
GLAM, AND OF COURSE DAVID BOWIE.
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00:01:19,013 --> 00:01:20,813
WHITE DUKE, THE KING OF
GLAM, AND OF COURSE DAVID BOWIE.
OVER THE PAST FIVE DECADES, HE'S
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00:01:20,815 --> 00:01:22,314
GLAM, AND OF COURSE DAVID BOWIE.
OVER THE PAST FIVE DECADES, HE'S
BEEN PUSHING THE BOUNDARIES OF
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00:01:22,316 --> 00:01:24,483
OVER THE PAST FIVE DECADES, HE'S
BEEN PUSHING THE BOUNDARIES OF
WHAT IT MEANS TO BE AN ARTIST,
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00:01:24,485 --> 00:01:27,386
BEEN PUSHING THE BOUNDARIES OF
WHAT IT MEANS TO BE AN ARTIST,
A ROCK STAR, A CELEBRITY, AND A
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00:01:27,388 --> 00:01:28,754
WHAT IT MEANS TO BE AN ARTIST,
A ROCK STAR, A CELEBRITY, AND A
PERFORMER.
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00:01:28,756 --> 00:01:29,855
A ROCK STAR, A CELEBRITY, AND A
PERFORMER.
>> Rock: I WOULD SUGGEST HIS
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00:01:29,857 --> 00:01:31,223
PERFORMER.
>> Rock: I WOULD SUGGEST HIS
INFLUENCE ON MODERN CULTURE,
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00:01:31,225 --> 00:01:32,458
>> Rock: I WOULD SUGGEST HIS
INFLUENCE ON MODERN CULTURE,
AND CERTAINLY MODERN ROCK-AND-
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00:01:32,460 --> 00:01:34,560
INFLUENCE ON MODERN CULTURE,
AND CERTAINLY MODERN ROCK-AND-
ROLL CULTURE, IS BY FAR--IS A
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00:01:34,562 --> 00:01:35,828
AND CERTAINLY MODERN ROCK-AND-
ROLL CULTURE, IS BY FAR--IS A
LOT BIGGER THAN THE STONES OR
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00:01:35,830 --> 00:01:37,129
ROLL CULTURE, IS BY FAR--IS A
LOT BIGGER THAN THE STONES OR
THE BEATLES.
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00:01:37,131 --> 00:01:38,464
LOT BIGGER THAN THE STONES OR
THE BEATLES.
>> Drew: THE AMOUNT OF ARTISTS
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00:01:38,466 --> 00:01:40,999
THE BEATLES.
>> Drew: THE AMOUNT OF ARTISTS
THAT HE'S INSPIRED HAS BEEN
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00:01:41,001 --> 00:01:41,867
>> Drew: THE AMOUNT OF ARTISTS
THAT HE'S INSPIRED HAS BEEN
INSANE.
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00:01:41,869 --> 00:01:45,571
>> Hynde: DAVID BOWIE, OH, HE
CHANGED MY LIFE.
>> I MEAN, MADONNA HAS CLAIMED
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00:01:45,573 --> 00:01:48,073
>> I MEAN, MADONNA HAS CLAIMED
THAT HE IS ACTUALLY THE BIGGEST
INFLUENCE ON HER.
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00:01:48,075 --> 00:01:48,974
THAT HE IS ACTUALLY THE BIGGEST
INFLUENCE ON HER.
>> Madonna: I WOULD JUST LIKE TO
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00:01:48,976 --> 00:01:50,542
INFLUENCE ON HER.
>> Madonna: I WOULD JUST LIKE TO
THANK YOU, DAVID BOWIE, WHEREVER
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00:01:50,544 --> 00:01:52,377
>> Madonna: I WOULD JUST LIKE TO
THANK YOU, DAVID BOWIE, WHEREVER
YOU ARE, FOR INSPIRING ME.
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THANK YOU, DAVID BOWIE, WHEREVER
YOU ARE, FOR INSPIRING ME.
>> Narrator: FROM SMASHING
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YOU ARE, FOR INSPIRING ME.
>> Narrator: FROM SMASHING
PUMPKINS TO MARILYN MANSON, U2
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00:01:55,649 --> 00:01:57,416
>> Narrator: FROM SMASHING
PUMPKINS TO MARILYN MANSON, U2
TO LUTHER VANDROSS, ARTISTS FROM
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00:01:57,418 --> 00:01:59,084
PUMPKINS TO MARILYN MANSON, U2
TO LUTHER VANDROSS, ARTISTS FROM
ALL GENRES HAVE CITED DAVID
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00:01:59,086 --> 00:02:01,386
TO LUTHER VANDROSS, ARTISTS FROM
ALL GENRES HAVE CITED DAVID
BOWIE AS A MAJOR INFLUENCE ON
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00:02:01,388 --> 00:02:02,321
ALL GENRES HAVE CITED DAVID
BOWIE AS A MAJOR INFLUENCE ON
THEIR CRAFT.
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00:02:02,323 --> 00:02:03,155
BOWIE AS A MAJOR INFLUENCE ON
THEIR CRAFT.
>> Bowie: I'D BE A FOOL NOT TO
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00:02:03,157 --> 00:02:04,156
THEIR CRAFT.
>> Bowie: I'D BE A FOOL NOT TO
BE AWARE OF WHAT MY CONTRIBUTION
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00:02:04,158 --> 00:02:05,190
>> Bowie: I'D BE A FOOL NOT TO
BE AWARE OF WHAT MY CONTRIBUTION
HAS BEEN TO MUSIC OVER THE
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00:02:05,192 --> 00:02:05,891
BE AWARE OF WHAT MY CONTRIBUTION
HAS BEEN TO MUSIC OVER THE
YEARS.
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00:02:05,893 --> 00:02:07,059
HAS BEEN TO MUSIC OVER THE
YEARS.
YOU KNOW, I KIND OF HEAR TRACES
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00:02:07,061 --> 00:02:07,926
YEARS.
YOU KNOW, I KIND OF HEAR TRACES
OF IT HERE, THERE, AND
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00:02:07,928 --> 00:02:08,727
YOU KNOW, I KIND OF HEAR TRACES
OF IT HERE, THERE, AND
EVERYWHERE.
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00:02:08,729 --> 00:02:09,661
OF IT HERE, THERE, AND
EVERYWHERE.
>> Drew: A LOT OF THESE ARTISTS
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00:02:09,663 --> 00:02:10,662
EVERYWHERE.
>> Drew: A LOT OF THESE ARTISTS
THAT ARE CONSTANTLY SWITCHING
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00:02:10,664 --> 00:02:11,797
>> Drew: A LOT OF THESE ARTISTS
THAT ARE CONSTANTLY SWITCHING
THINGS UP AND DON'T STICK TO THE
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00:02:11,799 --> 00:02:13,832
THAT ARE CONSTANTLY SWITCHING
THINGS UP AND DON'T STICK TO THE
REGULAR ROUTINE OWE EVERYTHING
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00:02:13,834 --> 00:02:14,500
THINGS UP AND DON'T STICK TO THE
REGULAR ROUTINE OWE EVERYTHING
TO BOWIE.
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00:02:14,502 --> 00:02:15,434
REGULAR ROUTINE OWE EVERYTHING
TO BOWIE.
>> Kandell: TO A CERTAIN EXTENT,
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00:02:15,436 --> 00:02:16,802
TO BOWIE.
>> Kandell: TO A CERTAIN EXTENT,
YOU COULD ALMOST, YOU KNOW, MAKE
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00:02:16,804 --> 00:02:18,003
>> Kandell: TO A CERTAIN EXTENT,
YOU COULD ALMOST, YOU KNOW, MAKE
THE ARGUMENT THAT HE INVENTED
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00:02:18,005 --> 00:02:19,238
YOU COULD ALMOST, YOU KNOW, MAKE
THE ARGUMENT THAT HE INVENTED
THE ROCK STAR, AND I MEAN, LIKE,
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00:02:19,240 --> 00:02:20,639
THE ARGUMENT THAT HE INVENTED
THE ROCK STAR, AND I MEAN, LIKE,
YOU KNOW, CAPITAL "R," CAPITAL
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00:02:20,641 --> 00:02:21,306
THE ROCK STAR, AND I MEAN, LIKE,
YOU KNOW, CAPITAL "R," CAPITAL
"S."
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00:02:21,308 --> 00:02:22,808
YOU KNOW, CAPITAL "R," CAPITAL
"S."
IN TERMS OF THAT, LIKE, LARGER-
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00:02:22,810 --> 00:02:24,510
"S."
IN TERMS OF THAT, LIKE, LARGER-
THAN-LIFE CHARACTER, WHENEVER
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00:02:24,512 --> 00:02:25,677
IN TERMS OF THAT, LIKE, LARGER-
THAN-LIFE CHARACTER, WHENEVER
YOU'D SEE, LIKE, SOME MOVIE
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00:02:25,679 --> 00:02:26,979
THAN-LIFE CHARACTER, WHENEVER
YOU'D SEE, LIKE, SOME MOVIE
WHERE'S THERE'S SOME, LIKE,
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00:02:26,981 --> 00:02:28,447
YOU'D SEE, LIKE, SOME MOVIE
WHERE'S THERE'S SOME, LIKE,
CRAZY ROCK STAR, MORE OFTEN THAN
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00:02:28,449 --> 00:02:29,948
WHERE'S THERE'S SOME, LIKE,
CRAZY ROCK STAR, MORE OFTEN THAN
NOT, THERE'S SOMETHING ABOUT IT
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00:02:29,950 --> 00:02:35,154
CRAZY ROCK STAR, MORE OFTEN THAN
NOT, THERE'S SOMETHING ABOUT IT
THAT SCREAMS "BOWIE."
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NOT, THERE'S SOMETHING ABOUT IT
THAT SCREAMS "BOWIE."
>> Narrator: BEFORE DAVID BOWIE
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00:02:36,457 --> 00:02:37,623
THAT SCREAMS "BOWIE."
>> Narrator: BEFORE DAVID BOWIE
BECAME ONE OF THE MOST
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00:02:37,625 --> 00:02:39,024
>> Narrator: BEFORE DAVID BOWIE
BECAME ONE OF THE MOST
INFLUENTIAL MUSIC ICONS IN
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00:02:39,026 --> 00:02:41,193
BECAME ONE OF THE MOST
INFLUENTIAL MUSIC ICONS IN
HISTORY, HE WAS DAVID JONES,
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00:02:41,195 --> 00:02:42,494
INFLUENTIAL MUSIC ICONS IN
HISTORY, HE WAS DAVID JONES,
PART OF THE BABY BOOMER
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00:02:42,496 --> 00:02:44,363
HISTORY, HE WAS DAVID JONES,
PART OF THE BABY BOOMER
GENERATION IN POST-WAR LONDON.
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00:02:44,365 --> 00:02:46,165
PART OF THE BABY BOOMER
GENERATION IN POST-WAR LONDON.
DAVID'S FATHER, HAYWARD, A
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00:02:46,167 --> 00:02:47,699
GENERATION IN POST-WAR LONDON.
DAVID'S FATHER, HAYWARD, A
PUBLICIST, WAS MARRIED TO
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00:02:47,701 --> 00:02:49,201
DAVID'S FATHER, HAYWARD, A
PUBLICIST, WAS MARRIED TO
ANOTHER WOMAN WHEN AN AFFAIR
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00:02:49,203 --> 00:02:50,669
PUBLICIST, WAS MARRIED TO
ANOTHER WOMAN WHEN AN AFFAIR
WITH DAVID'S MOTHER, MARGARET
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00:02:50,671 --> 00:02:53,605
ANOTHER WOMAN WHEN AN AFFAIR
WITH DAVID'S MOTHER, MARGARET
BURNS, LED TO A PREGNANCY.
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00:02:53,607 --> 00:02:55,574
WITH DAVID'S MOTHER, MARGARET
BURNS, LED TO A PREGNANCY.
THE TWO MARRIED SHORTLY AFTER
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00:02:55,576 --> 00:02:57,409
BURNS, LED TO A PREGNANCY.
THE TWO MARRIED SHORTLY AFTER
DAVID ROBERT JONES'S BIRTH ON
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00:02:57,411 --> 00:02:59,978
THE TWO MARRIED SHORTLY AFTER
DAVID ROBERT JONES'S BIRTH ON
JANUARY 8, 1947.
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00:02:59,980 --> 00:03:01,079
DAVID ROBERT JONES'S BIRTH ON
JANUARY 8, 1947.
>> Collis: I THINK DAVID BOWIE
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00:03:01,081 --> 00:03:02,181
JANUARY 8, 1947.
>> Collis: I THINK DAVID BOWIE
ALWAYS REGARDED HIMSELF AS
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00:03:02,183 --> 00:03:03,549
>> Collis: I THINK DAVID BOWIE
ALWAYS REGARDED HIMSELF AS
SOMETHING OF AN OUTSIDER.
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00:03:03,551 --> 00:03:08,520
HE HAD A UNUSUAL FAMILY
SITUATION GROWING UP IN THE
'50s AND '60s.
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00:03:08,522 --> 00:03:09,955
SITUATION GROWING UP IN THE
'50s AND '60s.
HIS FATHER HAD BEEN PREVIOUSLY
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00:03:09,957 --> 00:03:12,524
'50s AND '60s.
HIS FATHER HAD BEEN PREVIOUSLY
MARRIED TO ANOTHER WOMAN, WHO HE
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00:03:12,526 --> 00:03:14,026
HIS FATHER HAD BEEN PREVIOUSLY
MARRIED TO ANOTHER WOMAN, WHO HE
DIVORCED, WHICH IS VERY, VERY
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00:03:14,028 --> 00:03:15,961
MARRIED TO ANOTHER WOMAN, WHO HE
DIVORCED, WHICH IS VERY, VERY
UNUSUAL FOR THE TIME.
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00:03:15,963 --> 00:03:17,062
DIVORCED, WHICH IS VERY, VERY
UNUSUAL FOR THE TIME.
>> Narrator: THINGS DIDN'T GET
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00:03:17,064 --> 00:03:20,365
>> Narrator: THINGS DIDN'T GET
MUCH BETTER FOR DAVID AS A TEEN
WHEN A SCHOOLYARD ALTERCATION
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00:03:20,367 --> 00:03:21,833
MUCH BETTER FOR DAVID AS A TEEN
WHEN A SCHOOLYARD ALTERCATION
WITH HIS BEST FRIEND GEORGE
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00:03:21,835 --> 00:03:23,602
WHEN A SCHOOLYARD ALTERCATION
WITH HIS BEST FRIEND GEORGE
UNDERWOOD PERMANENTLY DAMAGED
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00:03:23,604 --> 00:03:25,137
WITH HIS BEST FRIEND GEORGE
UNDERWOOD PERMANENTLY DAMAGED
DAVID'S LEFT EYE.
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00:03:25,139 --> 00:03:32,477
>> Underwood: MY FIST AND HIS
FACE MADE CONTACT, SHALL WE SAY.
UNFORTUNATELY CAUSED A BIT OF
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00:03:32,479 --> 00:03:34,279
FACE MADE CONTACT, SHALL WE SAY.
UNFORTUNATELY CAUSED A BIT OF
DAMAGE TO HIS EYE, AND THAT WAS
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00:03:34,281 --> 00:03:36,348
UNFORTUNATELY CAUSED A BIT OF
DAMAGE TO HIS EYE, AND THAT WAS
NOT THE INTENTION AT ALL.
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00:03:36,350 --> 00:03:37,849
DAMAGE TO HIS EYE, AND THAT WAS
NOT THE INTENTION AT ALL.
>> Collis: PEOPLE THINK THAT
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00:03:37,851 --> 00:03:39,751
>> Collis: PEOPLE THINK THAT
DAVID BOWIE'S GOT DIFFERENT-
COLORED EYES.
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00:03:39,753 --> 00:03:41,920
DAVID BOWIE'S GOT DIFFERENT-
COLORED EYES.
IN FACT, ONE OF HIS EYES, THE
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00:03:41,922 --> 00:03:43,655
COLORED EYES.
IN FACT, ONE OF HIS EYES, THE
PUPIL IS PERMANENTLY DILATED.
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00:03:43,657 --> 00:03:44,823
IN FACT, ONE OF HIS EYES, THE
PUPIL IS PERMANENTLY DILATED.
AND IT'S REALLY INTERESTING
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00:03:44,825 --> 00:03:46,091
PUPIL IS PERMANENTLY DILATED.
AND IT'S REALLY INTERESTING
TALKING TO HIM BECAUSE YOU DO
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00:03:46,093 --> 00:03:48,660
AND IT'S REALLY INTERESTING
TALKING TO HIM BECAUSE YOU DO
FIND YOURSELF DRAWN TO THIS--YOU
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00:03:48,662 --> 00:03:50,996
TALKING TO HIM BECAUSE YOU DO
FIND YOURSELF DRAWN TO THIS--YOU
KNOW, THIS PERMANENTLY DILATED
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00:03:50,998 --> 00:03:51,930
FIND YOURSELF DRAWN TO THIS--YOU
KNOW, THIS PERMANENTLY DILATED
PUPIL.
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00:03:51,932 --> 00:03:52,965
KNOW, THIS PERMANENTLY DILATED
PUPIL.
>> Narrator: LATER IN HIS
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00:03:52,967 --> 00:03:54,199
PUPIL.
>> Narrator: LATER IN HIS
CAREER, DAVID'S EYE WOULD HELP
122
00:03:54,201 --> 00:03:55,567
>> Narrator: LATER IN HIS
CAREER, DAVID'S EYE WOULD HELP
ADD TO HIS MYSTIQUE.
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00:03:55,569 --> 00:03:57,336
CAREER, DAVID'S EYE WOULD HELP
ADD TO HIS MYSTIQUE.
HOWEVER AT THE TIME, HIS ODD
124
00:03:57,338 --> 00:03:59,104
ADD TO HIS MYSTIQUE.
HOWEVER AT THE TIME, HIS ODD
APPEARANCE SERVED TO FURTHER SET
125
00:03:59,106 --> 00:04:00,239
HOWEVER AT THE TIME, HIS ODD
APPEARANCE SERVED TO FURTHER SET
HIM APART.
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00:04:00,241 --> 00:04:01,974
APPEARANCE SERVED TO FURTHER SET
HIM APART.
AS A RESULT, HE RETREATED TO
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00:04:01,976 --> 00:04:03,675
HIM APART.
AS A RESULT, HE RETREATED TO
HIS ROOM, WHERE HE READ AND
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00:04:03,677 --> 00:04:05,410
AS A RESULT, HE RETREATED TO
HIS ROOM, WHERE HE READ AND
LISTENED TO AMERICAN ROCK AND
129
00:04:05,412 --> 00:04:07,312
HIS ROOM, WHERE HE READ AND
LISTENED TO AMERICAN ROCK AND
ROLL, BECOMING INFATUATED WITH
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00:04:07,314 --> 00:04:09,014
LISTENED TO AMERICAN ROCK AND
ROLL, BECOMING INFATUATED WITH
THE FLAMBOYANT MUSIC OF LITTLE
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00:04:09,016 --> 00:04:13,518
ROLL, BECOMING INFATUATED WITH
THE FLAMBOYANT MUSIC OF LITTLE
RICHARD.
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00:04:13,520 --> 00:04:14,953
THE FLAMBOYANT MUSIC OF LITTLE
RICHARD.
>> Bowie: I USED TO WAIT OUTSIDE
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00:04:14,955 --> 00:04:17,256
RICHARD.
>> Bowie: I USED TO WAIT OUTSIDE
CLOSED RECORD STORES ALONE TO BE
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00:04:17,258 --> 00:04:18,590
>> Bowie: I USED TO WAIT OUTSIDE
CLOSED RECORD STORES ALONE TO BE
THE FIRST IN TOWN TO GET THE NEW
135
00:04:18,592 --> 00:04:19,458
CLOSED RECORD STORES ALONE TO BE
THE FIRST IN TOWN TO GET THE NEW
LITTLE RICHARD SINGLE.
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00:04:19,460 --> 00:04:21,159
THE FIRST IN TOWN TO GET THE NEW
LITTLE RICHARD SINGLE.
I WAS JUST CRAZY ABOUT HIM.
137
00:04:21,161 --> 00:04:25,197
>> Levy: THE BRITISH
RELATIONSHIP TO BLACK AMERICAN
MUSIC AND TO SOUL MUSIC IS
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00:04:25,199 --> 00:04:26,598
RELATIONSHIP TO BLACK AMERICAN
MUSIC AND TO SOUL MUSIC IS
COMPLETELY DIFFERENT THAN THE
139
00:04:26,600 --> 00:04:28,500
MUSIC AND TO SOUL MUSIC IS
COMPLETELY DIFFERENT THAN THE
WHITE AMERICAN RELATIONSHIP TO
140
00:04:28,502 --> 00:04:29,635
COMPLETELY DIFFERENT THAN THE
WHITE AMERICAN RELATIONSHIP TO
THAT MUSIC.
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00:04:29,637 --> 00:04:31,970
WHITE AMERICAN RELATIONSHIP TO
THAT MUSIC.
IT GOES BACK TO A MOMENT AROUND
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00:04:31,972 --> 00:04:37,442
IT GOES BACK TO A MOMENT AROUND
WORLD WAR II AND AFTERWARDS WHEN
AMERICAN SAILORS BROUGHT MUSIC
143
00:04:37,444 --> 00:04:39,211
WORLD WAR II AND AFTERWARDS WHEN
AMERICAN SAILORS BROUGHT MUSIC
WITH THEM THAT NO ONE IN ENGLAND
144
00:04:39,213 --> 00:04:40,979
AMERICAN SAILORS BROUGHT MUSIC
WITH THEM THAT NO ONE IN ENGLAND
HAD EVER HEARD BEFORE.
145
00:04:40,981 --> 00:04:42,214
WITH THEM THAT NO ONE IN ENGLAND
HAD EVER HEARD BEFORE.
>> Narrator: ENTERTAINING DREAMS
146
00:04:42,216 --> 00:04:43,715
HAD EVER HEARD BEFORE.
>> Narrator: ENTERTAINING DREAMS
OF PLAYING THE HORN IN LITTLE
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00:04:43,717 --> 00:04:45,617
>> Narrator: ENTERTAINING DREAMS
OF PLAYING THE HORN IN LITTLE
RICHARD'S BAND, 15-YEAR-OLD
148
00:04:45,619 --> 00:04:47,252
OF PLAYING THE HORN IN LITTLE
RICHARD'S BAND, 15-YEAR-OLD
DAVEY JONES GOT A JOB WORKING
149
00:04:47,254 --> 00:04:48,887
RICHARD'S BAND, 15-YEAR-OLD
DAVEY JONES GOT A JOB WORKING
FOR A BUTCHER TO PAY OFF A
150
00:04:48,889 --> 00:04:50,522
DAVEY JONES GOT A JOB WORKING
FOR A BUTCHER TO PAY OFF A
SECONDHAND SAXOPHONE.
151
00:04:50,524 --> 00:04:51,890
FOR A BUTCHER TO PAY OFF A
SECONDHAND SAXOPHONE.
IN ADDITION TO HIS LOVE OF
152
00:04:51,892 --> 00:04:53,659
SECONDHAND SAXOPHONE.
IN ADDITION TO HIS LOVE OF
AMERICAN ROCK AND ROLL, YOUNG
153
00:04:53,661 --> 00:04:55,193
IN ADDITION TO HIS LOVE OF
AMERICAN ROCK AND ROLL, YOUNG
DAVID HARBORED OTHER CREATIVE
154
00:04:55,195 --> 00:04:56,128
AMERICAN ROCK AND ROLL, YOUNG
DAVID HARBORED OTHER CREATIVE
INTERESTS.
155
00:04:56,130 --> 00:04:57,262
DAVID HARBORED OTHER CREATIVE
INTERESTS.
>> Collis: IT IS A CLICHé THAT
156
00:04:57,264 --> 00:04:58,497
INTERESTS.
>> Collis: IT IS A CLICHé THAT
YOU'VE GOT THE ROCK STAR WHO
157
00:04:58,499 --> 00:05:00,399
>> Collis: IT IS A CLICHé THAT
YOU'VE GOT THE ROCK STAR WHO
ALSO DABBLES IN PAINTING, BUT TO
158
00:05:00,401 --> 00:05:01,900
YOU'VE GOT THE ROCK STAR WHO
ALSO DABBLES IN PAINTING, BUT TO
BOWIE, I THINK, MUSIC WAS JUST
159
00:05:01,902 --> 00:05:03,368
ALSO DABBLES IN PAINTING, BUT TO
BOWIE, I THINK, MUSIC WAS JUST
ONE OF THE, YOU KNOW, WAYS THAT
160
00:05:03,370 --> 00:05:05,771
BOWIE, I THINK, MUSIC WAS JUST
ONE OF THE, YOU KNOW, WAYS THAT
HE COULD HAVE BECOME FAMOUS.
161
00:05:05,773 --> 00:05:11,777
>> Rock: DAVID I THINK WENT TO
ART COLLEGE ABOUT 15, 16, BUT
HE'S ABOUT AS SHARP A PERSON AS
162
00:05:11,779 --> 00:05:14,780
ART COLLEGE ABOUT 15, 16, BUT
HE'S ABOUT AS SHARP A PERSON AS
I'VE EVER COME ACROSS.
163
00:05:14,782 --> 00:05:16,214
HE'S ABOUT AS SHARP A PERSON AS
I'VE EVER COME ACROSS.
HE HAD STUDIED WITH A GENTLEMAN
164
00:05:16,216 --> 00:05:20,552
HE HAD STUDIED WITH A GENTLEMAN
CALLED LINDSAY KEMP, WHO WAS A
MIME CHOREOGRAPHER IN THE LATE
165
00:05:20,554 --> 00:05:22,654
CALLED LINDSAY KEMP, WHO WAS A
MIME CHOREOGRAPHER IN THE LATE
'60s, AND HE HAD LEARNED A LOT
166
00:05:22,656 --> 00:05:24,856
MIME CHOREOGRAPHER IN THE LATE
'60s, AND HE HAD LEARNED A LOT
ABOUT STAGECRAFT FROM HIM,
167
00:05:24,858 --> 00:05:27,392
'60s, AND HE HAD LEARNED A LOT
ABOUT STAGECRAFT FROM HIM,
ABOUT MAKEUP, ABOUT COSTUME,
168
00:05:27,394 --> 00:05:30,762
ABOUT STAGECRAFT FROM HIM,
ABOUT MAKEUP, ABOUT COSTUME,
ABOUT PLEASING THE EYE OF THE
169
00:05:30,764 --> 00:05:33,765
ABOUT MAKEUP, ABOUT COSTUME,
ABOUT PLEASING THE EYE OF THE
AUDIENCE AS MUCH AS--AS MUCH AS
170
00:05:33,767 --> 00:05:34,499
ABOUT PLEASING THE EYE OF THE
AUDIENCE AS MUCH AS--AS MUCH AS
THE EAR.
171
00:05:34,501 --> 00:05:35,667
AUDIENCE AS MUCH AS--AS MUCH AS
THE EAR.
>> Narrator: PAINTING, THEATER,
172
00:05:35,669 --> 00:05:37,636
THE EAR.
>> Narrator: PAINTING, THEATER,
MIME--ADOLESCENT DAVID STUDIED
173
00:05:37,638 --> 00:05:39,738
>> Narrator: PAINTING, THEATER,
MIME--ADOLESCENT DAVID STUDIED
AND ABSORBED IT ALL, BUT MUSIC
174
00:05:39,740 --> 00:05:41,973
MIME--ADOLESCENT DAVID STUDIED
AND ABSORBED IT ALL, BUT MUSIC
WAS HIS OBSESSION.
175
00:05:41,975 --> 00:05:43,742
AND ABSORBED IT ALL, BUT MUSIC
WAS HIS OBSESSION.
DAVID PERFORMED AROUND LONDON
176
00:05:43,744 --> 00:05:45,444
WAS HIS OBSESSION.
DAVID PERFORMED AROUND LONDON
IN SEVERAL DIFFERENT BANDS AND
177
00:05:45,446 --> 00:05:46,978
DAVID PERFORMED AROUND LONDON
IN SEVERAL DIFFERENT BANDS AND
EVEN RELEASED 45s WITH THE
178
00:05:46,980 --> 00:05:49,748
IN SEVERAL DIFFERENT BANDS AND
EVEN RELEASED 45s WITH THE
MANNISH BOYS AND DAVY JONES
179
00:05:49,750 --> 00:05:51,116
EVEN RELEASED 45s WITH THE
MANNISH BOYS AND DAVY JONES
AND THE LOWER THIRD.
180
00:05:51,118 --> 00:05:52,551
MANNISH BOYS AND DAVY JONES
AND THE LOWER THIRD.
>> Collis: I MEAN, BOWIE WENT
181
00:05:52,553 --> 00:05:54,186
AND THE LOWER THIRD.
>> Collis: I MEAN, BOWIE WENT
THROUGH A LOT DIFFERENT MUSICAL
182
00:05:54,188 --> 00:05:54,986
>> Collis: I MEAN, BOWIE WENT
THROUGH A LOT DIFFERENT MUSICAL
GENRES.
183
00:05:54,988 --> 00:05:55,987
THROUGH A LOT DIFFERENT MUSICAL
GENRES.
HE WAS A MOD.
184
00:05:55,989 --> 00:05:57,589
GENRES.
HE WAS A MOD.
HE WAS INTERESTED IN THE BLUES.
185
00:05:57,591 --> 00:05:58,924
HE WAS A MOD.
HE WAS INTERESTED IN THE BLUES.
HE WAS, YOU KNOW, SORT OF
186
00:05:58,926 --> 00:06:00,992
HE WAS INTERESTED IN THE BLUES.
HE WAS, YOU KNOW, SORT OF
SINGER/SONGWRITER HIPPIE TYPE,
187
00:06:00,994 --> 00:06:02,260
HE WAS, YOU KNOW, SORT OF
SINGER/SONGWRITER HIPPIE TYPE,
BUT I THINK WHAT YOU'VE GOTTA
188
00:06:02,262 --> 00:06:03,695
SINGER/SONGWRITER HIPPIE TYPE,
BUT I THINK WHAT YOU'VE GOTTA
REMEMBER AT THAT TIME IS THAT
189
00:06:03,697 --> 00:06:05,430
BUT I THINK WHAT YOU'VE GOTTA
REMEMBER AT THAT TIME IS THAT
EVERY YEAR, REALLY, YOU KNOW,
190
00:06:05,432 --> 00:06:06,798
REMEMBER AT THAT TIME IS THAT
EVERY YEAR, REALLY, YOU KNOW,
THERE WAS THIS NEW THING COMING
191
00:06:06,800 --> 00:06:07,999
EVERY YEAR, REALLY, YOU KNOW,
THERE WAS THIS NEW THING COMING
ALONG, AND IF YOU LIVED IN, YOU
192
00:06:08,001 --> 00:06:09,634
THERE WAS THIS NEW THING COMING
ALONG, AND IF YOU LIVED IN, YOU
KNOW, SO-CALLED SWINGING LONDON
193
00:06:09,636 --> 00:06:11,436
ALONG, AND IF YOU LIVED IN, YOU
KNOW, SO-CALLED SWINGING LONDON
AT THE TIME, THEN IT WAS VERY
194
00:06:11,438 --> 00:06:13,572
KNOW, SO-CALLED SWINGING LONDON
AT THE TIME, THEN IT WAS VERY
HARD NOT TO BE AFFECTED BY, YOU
195
00:06:13,574 --> 00:06:15,474
AT THE TIME, THEN IT WAS VERY
HARD NOT TO BE AFFECTED BY, YOU
KNOW, THIS CONTINUALLY SORT OF
196
00:06:15,476 --> 00:06:18,443
HARD NOT TO BE AFFECTED BY, YOU
KNOW, THIS CONTINUALLY SORT OF
CHURNING, CHANGING MUSIC SCENE.
197
00:06:18,445 --> 00:06:19,945
KNOW, THIS CONTINUALLY SORT OF
CHURNING, CHANGING MUSIC SCENE.
>> Narrator: IN 1965, AN
198
00:06:19,947 --> 00:06:21,580
CHURNING, CHANGING MUSIC SCENE.
>> Narrator: IN 1965, AN
AMERICAN BAND CALLED THE MONKEES
199
00:06:21,582 --> 00:06:23,382
>> Narrator: IN 1965, AN
AMERICAN BAND CALLED THE MONKEES
HIT THE SCENE, AND THEIR LEAD
200
00:06:23,384 --> 00:06:25,117
AMERICAN BAND CALLED THE MONKEES
HIT THE SCENE, AND THEIR LEAD
SINGER, DAVEY JONES, BECAME A
201
00:06:25,119 --> 00:06:26,284
HIT THE SCENE, AND THEIR LEAD
SINGER, DAVEY JONES, BECAME A
TEEN PIN-UP.
202
00:06:26,286 --> 00:06:28,019
SINGER, DAVEY JONES, BECAME A
TEEN PIN-UP.
TO AVOID CONFUSION, DAVID
203
00:06:28,021 --> 00:06:30,155
TEEN PIN-UP.
TO AVOID CONFUSION, DAVID
CHANGED HIS SURNAME TO BOWIE,
204
00:06:30,157 --> 00:06:31,623
TO AVOID CONFUSION, DAVID
CHANGED HIS SURNAME TO BOWIE,
INSPIRED BY THE AMERICAN
205
00:06:31,625 --> 00:06:32,524
CHANGED HIS SURNAME TO BOWIE,
INSPIRED BY THE AMERICAN
HUNTING KNIFE.
206
00:06:32,526 --> 00:06:35,494
>> Loder: THE MONKEES WERE VERY
BIG.
THAT MUST HAVE BEEN A DRAG
207
00:06:35,496 --> 00:06:36,795
BIG.
THAT MUST HAVE BEEN A DRAG
BECAUSE HE'S CALLING HIMSELF
208
00:06:36,797 --> 00:06:38,163
THAT MUST HAVE BEEN A DRAG
BECAUSE HE'S CALLING HIMSELF
DAVID JONES, AND HERE'S THIS
209
00:06:38,165 --> 00:06:39,898
BECAUSE HE'S CALLING HIMSELF
DAVID JONES, AND HERE'S THIS
OTHER GUY CALLING HIMSELF DAVEY
210
00:06:39,900 --> 00:06:40,832
DAVID JONES, AND HERE'S THIS
OTHER GUY CALLING HIMSELF DAVEY
JONES.
211
00:06:40,834 --> 00:06:41,833
OTHER GUY CALLING HIMSELF DAVEY
JONES.
SO NO WONDER HE JUST CHANGED
212
00:06:41,835 --> 00:06:43,835
SO NO WONDER HE JUST CHANGED
HIS NAME.
I GUESS HE JUST WANTED TO GET
213
00:06:43,837 --> 00:06:45,036
HIS NAME.
I GUESS HE JUST WANTED TO GET
OUT OF WHERE HE WAS, AND THAT'S
214
00:06:45,038 --> 00:06:46,438
I GUESS HE JUST WANTED TO GET
OUT OF WHERE HE WAS, AND THAT'S
THE WAY TO DO IT, YOU KNOW,
215
00:06:46,440 --> 00:06:48,607
OUT OF WHERE HE WAS, AND THAT'S
THE WAY TO DO IT, YOU KNOW,
JUST CHANGE YOUR NAME ENTIRELY.
216
00:06:53,179 --> 00:06:58,350
>> Narrator: IN 1967,
20-YEAR-OLD DAVID BOWIE HAD MET
WITH LOCAL SUCCESS THROUGH HIS
217
00:06:58,352 --> 00:07:00,085
20-YEAR-OLD DAVID BOWIE HAD MET
WITH LOCAL SUCCESS THROUGH HIS
BANDS, BUT HE WAS HUNGRY FOR
218
00:07:00,087 --> 00:07:00,752
WITH LOCAL SUCCESS THROUGH HIS
BANDS, BUT HE WAS HUNGRY FOR
MORE.
219
00:07:00,754 --> 00:07:02,287
BANDS, BUT HE WAS HUNGRY FOR
MORE.
HE DITCHED HIS BANDMATES AND
220
00:07:02,289 --> 00:07:03,922
MORE.
HE DITCHED HIS BANDMATES AND
MADE A GO OF IT ON HIS OWN,
221
00:07:03,924 --> 00:07:05,490
HE DITCHED HIS BANDMATES AND
MADE A GO OF IT ON HIS OWN,
LEADING TO A RECORD DEAL AS A
222
00:07:05,492 --> 00:07:07,726
MADE A GO OF IT ON HIS OWN,
LEADING TO A RECORD DEAL AS A
SOLO ARTIST WITH DERAM RECORDS
223
00:07:07,728 --> 00:07:09,294
LEADING TO A RECORD DEAL AS A
SOLO ARTIST WITH DERAM RECORDS
AND RELEASING HIS FIRST ALBUM
224
00:07:09,296 --> 00:07:11,263
SOLO ARTIST WITH DERAM RECORDS
AND RELEASING HIS FIRST ALBUM
EXCLUSIVELY IN THE UK TO LITTLE
225
00:07:11,265 --> 00:07:13,131
AND RELEASING HIS FIRST ALBUM
EXCLUSIVELY IN THE UK TO LITTLE
NOTICE.
226
00:07:13,133 --> 00:07:15,233
EXCLUSIVELY IN THE UK TO LITTLE
NOTICE.
UNDETERRED, DAVID KEPT AT IT,
227
00:07:15,235 --> 00:07:16,701
NOTICE.
UNDETERRED, DAVID KEPT AT IT,
AND HIS BREAKTHROUGH CAME TWO
228
00:07:16,703 --> 00:07:18,370
UNDETERRED, DAVID KEPT AT IT,
AND HIS BREAKTHROUGH CAME TWO
YEARS LATER, WITH THE MERCURY
229
00:07:18,372 --> 00:07:20,372
AND HIS BREAKTHROUGH CAME TWO
YEARS LATER, WITH THE MERCURY
RECORD SINGLE "SPACE ODDITY,"
230
00:07:20,374 --> 00:07:22,040
YEARS LATER, WITH THE MERCURY
RECORD SINGLE "SPACE ODDITY,"
A DYLANESQUE BALLAD ABOUT AN
231
00:07:22,042 --> 00:07:25,877
RECORD SINGLE "SPACE ODDITY,"
A DYLANESQUE BALLAD ABOUT AN
ASTRONAUT NAMED MAJOR TOM.
232
00:07:25,879 --> 00:07:27,446
A DYLANESQUE BALLAD ABOUT AN
ASTRONAUT NAMED MAJOR TOM.
"SPACE ODDITY" WAS ONE EARLY
233
00:07:27,448 --> 00:07:29,147
ASTRONAUT NAMED MAJOR TOM.
"SPACE ODDITY" WAS ONE EARLY
EXAMPLE OF BOWIE USING A
234
00:07:29,149 --> 00:07:30,615
"SPACE ODDITY" WAS ONE EARLY
EXAMPLE OF BOWIE USING A
CHARACTER TO EXPRESS HIS
235
00:07:30,617 --> 00:07:31,283
EXAMPLE OF BOWIE USING A
CHARACTER TO EXPRESS HIS
THOUGHTS.
236
00:07:31,285 --> 00:07:33,585
CHARACTER TO EXPRESS HIS
THOUGHTS.
IN THIS CASE, MAJOR TOM CONVEYED
237
00:07:33,587 --> 00:07:35,754
THOUGHTS.
IN THIS CASE, MAJOR TOM CONVEYED
HIS FEELINGS OF ALIENATION.
238
00:07:35,756 --> 00:07:37,355
IN THIS CASE, MAJOR TOM CONVEYED
HIS FEELINGS OF ALIENATION.
>> Drew: BOWIE CHARACTERS ARE
239
00:07:37,357 --> 00:07:39,257
HIS FEELINGS OF ALIENATION.
>> Drew: BOWIE CHARACTERS ARE
VERY ORNATE AND VERY INTRICATE,
240
00:07:39,259 --> 00:07:42,627
>> Drew: BOWIE CHARACTERS ARE
VERY ORNATE AND VERY INTRICATE,
BUT THEY ALL REST ON A--A SLIGHT
241
00:07:42,629 --> 00:07:44,529
VERY ORNATE AND VERY INTRICATE,
BUT THEY ALL REST ON A--A SLIGHT
OR MAJOR BED OF INSECURITY.
242
00:07:44,531 --> 00:07:45,931
BUT THEY ALL REST ON A--A SLIGHT
OR MAJOR BED OF INSECURITY.
THERE'S ALWAYS SOME ELEMENT OF
243
00:07:45,933 --> 00:07:47,933
OR MAJOR BED OF INSECURITY.
THERE'S ALWAYS SOME ELEMENT OF
THE OUTCAST, THE REJECT, THE
244
00:07:47,935 --> 00:07:48,867
THERE'S ALWAYS SOME ELEMENT OF
THE OUTCAST, THE REJECT, THE
LONER.
245
00:07:48,869 --> 00:07:49,901
THE OUTCAST, THE REJECT, THE
LONER.
>> Collis: BOWIE SAID THAT HE
246
00:07:49,903 --> 00:07:51,002
LONER.
>> Collis: BOWIE SAID THAT HE
WAS A PRETTY INSECURE CHARACTER,
247
00:07:51,004 --> 00:07:52,237
>> Collis: BOWIE SAID THAT HE
WAS A PRETTY INSECURE CHARACTER,
WHICH IS WHY HE DEVELOPED ALL
248
00:07:52,239 --> 00:07:53,839
WAS A PRETTY INSECURE CHARACTER,
WHICH IS WHY HE DEVELOPED ALL
THESE ALTER EGOS.
249
00:07:53,841 --> 00:07:54,940
WHICH IS WHY HE DEVELOPED ALL
THESE ALTER EGOS.
>> Narrator: "SPACE ODDITY" HIT
250
00:07:54,942 --> 00:07:56,675
THESE ALTER EGOS.
>> Narrator: "SPACE ODDITY" HIT
NUMBER 5 ON THE UK CHARTS.
251
00:07:56,677 --> 00:07:58,310
>> Narrator: "SPACE ODDITY" HIT
NUMBER 5 ON THE UK CHARTS.
THANKS TO THE SINGLE'S SUCCESS,
252
00:07:58,312 --> 00:08:00,212
NUMBER 5 ON THE UK CHARTS.
THANKS TO THE SINGLE'S SUCCESS,
BOWIE WAS THE TOAST OF SWINGING
253
00:08:00,214 --> 00:08:01,413
THANKS TO THE SINGLE'S SUCCESS,
BOWIE WAS THE TOAST OF SWINGING
LONDON.
254
00:08:01,415 --> 00:08:02,981
BOWIE WAS THE TOAST OF SWINGING
LONDON.
WHILE ATTENDING A DONOVAN GIG,
255
00:08:02,983 --> 00:08:05,350
LONDON.
WHILE ATTENDING A DONOVAN GIG,
BOWIE SPOTTED 18-YEAR-OLD MODEL,
256
00:08:05,352 --> 00:08:06,785
WHILE ATTENDING A DONOVAN GIG,
BOWIE SPOTTED 18-YEAR-OLD MODEL,
MUSICIAN AND LONDON SCENESTER
257
00:08:06,787 --> 00:08:08,820
BOWIE SPOTTED 18-YEAR-OLD MODEL,
MUSICIAN AND LONDON SCENESTER
MARY ANGELA BARNETT AND ASKED
258
00:08:08,822 --> 00:08:10,188
MUSICIAN AND LONDON SCENESTER
MARY ANGELA BARNETT AND ASKED
HER TO DANCE.
259
00:08:10,190 --> 00:08:11,623
MARY ANGELA BARNETT AND ASKED
HER TO DANCE.
IMPRESSED WITH HER VAST
260
00:08:11,625 --> 00:08:13,058
HER TO DANCE.
IMPRESSED WITH HER VAST
KNOWLEDGE OF CUTTING-EDGE ART
261
00:08:13,060 --> 00:08:15,093
IMPRESSED WITH HER VAST
KNOWLEDGE OF CUTTING-EDGE ART
AND MUSIC, DAVID FELL IN LOVE
262
00:08:15,095 --> 00:08:16,928
KNOWLEDGE OF CUTTING-EDGE ART
AND MUSIC, DAVID FELL IN LOVE
AND MARRIED ANGELA IN MARCH OF
263
00:08:16,930 --> 00:08:18,296
AND MUSIC, DAVID FELL IN LOVE
AND MARRIED ANGELA IN MARCH OF
1970.
264
00:08:18,298 --> 00:08:20,265
AND MARRIED ANGELA IN MARCH OF
1970.
A YEAR LATER, THE COUPLE HAD A
265
00:08:20,267 --> 00:08:22,000
1970.
A YEAR LATER, THE COUPLE HAD A
SON, ZOWIE.
266
00:08:22,002 --> 00:08:24,369
A YEAR LATER, THE COUPLE HAD A
SON, ZOWIE.
AT 23 YEARS OLD, DAVID BOWIE
267
00:08:24,371 --> 00:08:26,238
SON, ZOWIE.
AT 23 YEARS OLD, DAVID BOWIE
HAD KICKED OFF A JOURNEY THAT
268
00:08:26,240 --> 00:08:27,839
AT 23 YEARS OLD, DAVID BOWIE
HAD KICKED OFF A JOURNEY THAT
WOULD REDEFINE HOW THE WORLD
269
00:08:27,841 --> 00:08:30,175
HAD KICKED OFF A JOURNEY THAT
WOULD REDEFINE HOW THE WORLD
VIEWED SEX, DRUGS, AND ROCK AND
270
00:08:30,177 --> 00:08:37,182
WOULD REDEFINE HOW THE WORLD
VIEWED SEX, DRUGS, AND ROCK AND
ROLL.
271
00:08:38,818 --> 00:08:43,588
>> Narrator: AFTER NEARLY FIVE
YEARS OF GRINDING IT OUT ON THE
LONDON CLUB SCENE, DAVID BOWIE
272
00:08:43,590 --> 00:08:45,690
YEARS OF GRINDING IT OUT ON THE
LONDON CLUB SCENE, DAVID BOWIE
FOUND HIS FIRST TASTE OF SUCCESS
273
00:08:45,692 --> 00:08:48,260
LONDON CLUB SCENE, DAVID BOWIE
FOUND HIS FIRST TASTE OF SUCCESS
IN 1969 WHEN HIS SINGLE "SPACE
274
00:08:48,262 --> 00:08:49,628
FOUND HIS FIRST TASTE OF SUCCESS
IN 1969 WHEN HIS SINGLE "SPACE
ODDITY" HIT THE CHARTS IN THE
275
00:08:49,630 --> 00:08:51,830
IN 1969 WHEN HIS SINGLE "SPACE
ODDITY" HIT THE CHARTS IN THE
UK, BUT DAVID WAS STILL AN
276
00:08:51,832 --> 00:08:54,165
ODDITY" HIT THE CHARTS IN THE
UK, BUT DAVID WAS STILL AN
UNKNOWN IN AMERICA.
277
00:08:54,167 --> 00:08:55,667
UK, BUT DAVID WAS STILL AN
UNKNOWN IN AMERICA.
OBSESSED WITH THE LAND THAT
278
00:08:55,669 --> 00:08:57,269
UNKNOWN IN AMERICA.
OBSESSED WITH THE LAND THAT
INVENTED ROCK AND ROLL, DAVID
279
00:08:57,271 --> 00:08:59,237
OBSESSED WITH THE LAND THAT
INVENTED ROCK AND ROLL, DAVID
TRAVELED TO NEW YORK TO MEET TWO
280
00:08:59,239 --> 00:09:01,907
INVENTED ROCK AND ROLL, DAVID
TRAVELED TO NEW YORK TO MEET TWO
OF HIS IDOLS, ARTIST ANDY WARHOL
281
00:09:01,909 --> 00:09:03,675
TRAVELED TO NEW YORK TO MEET TWO
OF HIS IDOLS, ARTIST ANDY WARHOL
AND LOU REED, LEAD SINGER OF
282
00:09:03,677 --> 00:09:05,577
OF HIS IDOLS, ARTIST ANDY WARHOL
AND LOU REED, LEAD SINGER OF
WARHOL'S HOUSE BAND, THE VELVET
283
00:09:05,579 --> 00:09:08,046
AND LOU REED, LEAD SINGER OF
WARHOL'S HOUSE BAND, THE VELVET
UNDERGROUND.
284
00:09:08,048 --> 00:09:13,952
>> O'Brien: I WAS AT THE--AT
ANDY WARHOL'S THE DAY THAT BOWIE
CAME UP TO ANDY, AND ANDY DIDN'T
285
00:09:13,954 --> 00:09:15,487
ANDY WARHOL'S THE DAY THAT BOWIE
CAME UP TO ANDY, AND ANDY DIDN'T
KNOW WHO HE WAS.
286
00:09:15,489 --> 00:09:17,088
CAME UP TO ANDY, AND ANDY DIDN'T
KNOW WHO HE WAS.
AND I SAID, "OH, HE'S REALLY BIG
287
00:09:17,090 --> 00:09:18,290
KNOW WHO HE WAS.
AND I SAID, "OH, HE'S REALLY BIG
IN ENGLAND.
288
00:09:18,292 --> 00:09:19,691
AND I SAID, "OH, HE'S REALLY BIG
IN ENGLAND.
SHOULD WE LET HIM IN?"
289
00:09:19,693 --> 00:09:23,128
SHOULD WE LET HIM IN?"
"YEAH, YEAH, LET'S LET HIM IN."
SO HE CAME IN, AND BEFORE HE
290
00:09:23,130 --> 00:09:26,464
"YEAH, YEAH, LET'S LET HIM IN."
SO HE CAME IN, AND BEFORE HE
SANG, HE DID THIS MIME ROUTINE.
291
00:09:26,466 --> 00:09:29,167
SO HE CAME IN, AND BEFORE HE
SANG, HE DID THIS MIME ROUTINE.
YOU KNOW LIKE...
292
00:09:29,169 --> 00:09:31,937
SANG, HE DID THIS MIME ROUTINE.
YOU KNOW LIKE...
AND ANDY WAS LIKE, "SHOULD WE
293
00:09:31,939 --> 00:09:33,204
YOU KNOW LIKE...
AND ANDY WAS LIKE, "SHOULD WE
LAUGH?"
294
00:09:33,206 --> 00:09:34,105
AND ANDY WAS LIKE, "SHOULD WE
LAUGH?"
>> Farber: I MEAN, CERINLY,
295
00:09:34,107 --> 00:09:35,507
LAUGH?"
>> Farber: I MEAN, CERINLY,
BOWIE WAS COMPLETELY TRANSFIXED
296
00:09:35,509 --> 00:09:36,875
>> Farber: I MEAN, CERINLY,
BOWIE WAS COMPLETELY TRANSFIXED
BY THE WHOLE WARHOL WORLD, BY
297
00:09:36,877 --> 00:09:38,443
BOWIE WAS COMPLETELY TRANSFIXED
BY THE WHOLE WARHOL WORLD, BY
THE WHOLE FACTORY IDEA, BY THIS
298
00:09:38,445 --> 00:09:40,211
BY THE WHOLE WARHOL WORLD, BY
THE WHOLE FACTORY IDEA, BY THIS
WHOLE IDEA OF STARS WHO ARE
299
00:09:40,213 --> 00:09:41,513
THE WHOLE FACTORY IDEA, BY THIS
WHOLE IDEA OF STARS WHO ARE
STARS BECAUSE THEY SAY THEY ARE,
300
00:09:41,515 --> 00:09:42,948
WHOLE IDEA OF STARS WHO ARE
STARS BECAUSE THEY SAY THEY ARE,
PEOPLE FROM THE MARGINS, YOU
301
00:09:42,950 --> 00:09:44,349
STARS BECAUSE THEY SAY THEY ARE,
PEOPLE FROM THE MARGINS, YOU
KNOW, JUNKIES AND DRAG QUEENS
302
00:09:44,351 --> 00:09:45,483
PEOPLE FROM THE MARGINS, YOU
KNOW, JUNKIES AND DRAG QUEENS
AND EVERYTHING AND THIS, AND
303
00:09:45,485 --> 00:09:46,551
KNOW, JUNKIES AND DRAG QUEENS
AND EVERYTHING AND THIS, AND
THEY'RE SAYING, "NO, WE'RE THE
304
00:09:46,553 --> 00:09:47,385
AND EVERYTHING AND THIS, AND
THEY'RE SAYING, "NO, WE'RE THE
MOST IMPORTANT PEOPLE IN THE
305
00:09:47,387 --> 00:09:48,053
THEY'RE SAYING, "NO, WE'RE THE
MOST IMPORTANT PEOPLE IN THE
WORLD.
306
00:09:48,055 --> 00:09:49,020
MOST IMPORTANT PEOPLE IN THE
WORLD.
WE'RE LIVING LIFE THE WAY IT'S
307
00:09:49,022 --> 00:09:49,921
WORLD.
WE'RE LIVING LIFE THE WAY IT'S
SUPPOSED TO BE LIVED."
308
00:09:49,923 --> 00:09:51,056
WE'RE LIVING LIFE THE WAY IT'S
SUPPOSED TO BE LIVED."
IT WAS A REALLY EXCITING,
309
00:09:51,058 --> 00:09:51,556
SUPPOSED TO BE LIVED."
IT WAS A REALLY EXCITING,
SUBVERSIVE IDEA.
310
00:09:51,558 --> 00:09:52,724
IT WAS A REALLY EXCITING,
SUBVERSIVE IDEA.
IT REALLY FIRED BOWIE'S
311
00:09:52,726 --> 00:09:57,896
SUBVERSIVE IDEA.
IT REALLY FIRED BOWIE'S
IMAGINATION.
312
00:09:57,898 --> 00:09:59,431
IT REALLY FIRED BOWIE'S
IMAGINATION.
>> Narrator: DAVID'S BRIEF PEEK
313
00:09:59,433 --> 00:10:00,832
IMAGINATION.
>> Narrator: DAVID'S BRIEF PEEK
INTO NEW YORK'S AVANT-GARDE ART
314
00:10:00,834 --> 00:10:02,634
>> Narrator: DAVID'S BRIEF PEEK
INTO NEW YORK'S AVANT-GARDE ART
SCENE WAS CRITICAL IN SHAPING
315
00:10:02,636 --> 00:10:03,935
INTO NEW YORK'S AVANT-GARDE ART
SCENE WAS CRITICAL IN SHAPING
HIS CAREER FROM THAT MOMENT
316
00:10:03,937 --> 00:10:05,003
SCENE WAS CRITICAL IN SHAPING
HIS CAREER FROM THAT MOMENT
FORWARD.
317
00:10:05,005 --> 00:10:06,671
HIS CAREER FROM THAT MOMENT
FORWARD.
DAVID CELEBRATED ALL THE
318
00:10:06,673 --> 00:10:08,073
FORWARD.
DAVID CELEBRATED ALL THE
GENDER-BENDING AND FREAKY
319
00:10:08,075 --> 00:10:10,075
DAVID CELEBRATED ALL THE
GENDER-BENDING AND FREAKY
FREEDOM OF WARHOL'S CIRCLE ON
320
00:10:10,077 --> 00:10:14,245
GENDER-BENDING AND FREAKY
FREEDOM OF WARHOL'S CIRCLE ON
1971'S "HUNKY DORY."
321
00:10:14,247 --> 00:10:18,149
>> Levy: NOW, "HUNKY DORY" IS A
MOMENT WHERE THINGS CRYSTALLIZE
FOR BOWIE VISUALLY AND
322
00:10:18,151 --> 00:10:19,084
MOMENT WHERE THINGS CRYSTALLIZE
FOR BOWIE VISUALLY AND
MUSICALLY.
323
00:10:19,086 --> 00:10:21,353
FOR BOWIE VISUALLY AND
MUSICALLY.
THE ALBUM CONTAINS "CHANGES,"
324
00:10:21,355 --> 00:10:28,893
HE COMES TO THE ALBUM-COVER
SHOOT WITH A BOOK OF MARLENA
DIETRICH PHOTOS BECAUSE THIS IS
325
00:10:28,895 --> 00:10:34,966
SHOOT WITH A BOOK OF MARLENA
DIETRICH PHOTOS BECAUSE THIS IS
THE WAY HE WANTS TO LOOK.
326
00:10:34,968 --> 00:10:36,334
DIETRICH PHOTOS BECAUSE THIS IS
THE WAY HE WANTS TO LOOK.
>> Narrator: DAVID BOWIE AND A
327
00:10:36,336 --> 00:10:39,170
>> Narrator: DAVID BOWIE AND A
HANDFUL OF OTHERS WERE PUSHING
THE BOUNDARIES OF MUSIC,
328
00:10:39,172 --> 00:10:41,072
HANDFUL OF OTHERS WERE PUSHING
THE BOUNDARIES OF MUSIC,
SEXUALITY, FASHION, AND
329
00:10:41,074 --> 00:10:43,141
THE BOUNDARIES OF MUSIC,
SEXUALITY, FASHION, AND
PERFORMANCE FURTHER THAN ANYONE
330
00:10:43,143 --> 00:10:44,476
SEXUALITY, FASHION, AND
PERFORMANCE FURTHER THAN ANYONE
EVER HAD.
331
00:10:44,478 --> 00:10:46,111
PERFORMANCE FURTHER THAN ANYONE
EVER HAD.
THEY WERE CREATING A NEW KIND
332
00:10:46,113 --> 00:10:48,179
EVER HAD.
THEY WERE CREATING A NEW KIND
OF MUSIC CALLED GLAM.
333
00:10:48,181 --> 00:10:53,251
>> Drew: GLAM ROCK PUSHED THE
BUTTONS OF PEOPLE AT A TIME WHEN
THEY WERE LOOKING FOR THEIR
334
00:10:53,253 --> 00:10:54,386
BUTTONS OF PEOPLE AT A TIME WHEN
THEY WERE LOOKING FOR THEIR
BUTTONS TO BE PUSHED.
335
00:10:54,388 --> 00:10:55,987
THEY WERE LOOKING FOR THEIR
BUTTONS TO BE PUSHED.
THEY PUT OUT AN ELEMENT OF
336
00:10:55,989 --> 00:10:57,088
BUTTONS TO BE PUSHED.
THEY PUT OUT AN ELEMENT OF
CROSS-DRESSING, OF
337
00:10:57,090 --> 00:10:58,990
THEY PUT OUT AN ELEMENT OF
CROSS-DRESSING, OF
GENDER-BENDING, OF PUSHING THE
338
00:10:58,992 --> 00:11:01,059
CROSS-DRESSING, OF
GENDER-BENDING, OF PUSHING THE
LIMITS WHILE STILL BEING VERY
339
00:11:01,061 --> 00:11:03,061
GENDER-BENDING, OF PUSHING THE
LIMITS WHILE STILL BEING VERY
MASCULINE IN THEIR PRESENTATION.
340
00:11:03,063 --> 00:11:03,962
LIMITS WHILE STILL BEING VERY
MASCULINE IN THEIR PRESENTATION.
>> Farber: THEY HATED THE WHOLE
341
00:11:03,964 --> 00:11:06,331
>> Farber: THEY HATED THE WHOLE
DRABNESS OF HIPPIES.
THEY HATED THE WHOLE--YOU KNOW,
342
00:11:06,333 --> 00:11:08,400
DRABNESS OF HIPPIES.
THEY HATED THE WHOLE--YOU KNOW,
THE CLOTHES WERE BORING, THEY
343
00:11:08,402 --> 00:11:10,201
THEY HATED THE WHOLE--YOU KNOW,
THE CLOTHES WERE BORING, THEY
SEEMED SELF-RIGHTEOUS, YOU KNOW,
344
00:11:10,203 --> 00:11:12,771
THE CLOTHES WERE BORING, THEY
SEEMED SELF-RIGHTEOUS, YOU KNOW,
AND SMUG, AND THIS WAS VERY
345
00:11:12,773 --> 00:11:13,738
SEEMED SELF-RIGHTEOUS, YOU KNOW,
AND SMUG, AND THIS WAS VERY
PUNKY, IN ITS WAY.
346
00:11:13,740 --> 00:11:15,340
AND SMUG, AND THIS WAS VERY
PUNKY, IN ITS WAY.
IT WAS A REAL SORT OF, LIKE,
347
00:11:15,342 --> 00:11:17,509
PUNKY, IN ITS WAY.
IT WAS A REAL SORT OF, LIKE,
MIDDLE FINGER TO HIPPIES.
348
00:11:17,511 --> 00:11:18,777
IT WAS A REAL SORT OF, LIKE,
MIDDLE FINGER TO HIPPIES.
YOU KNOW, IT WAS LIKE A WAKE-UP
349
00:11:18,779 --> 00:11:19,678
MIDDLE FINGER TO HIPPIES.
YOU KNOW, IT WAS LIKE A WAKE-UP
CALL IN A WAY, SAYING, "YOU'VE
350
00:11:19,680 --> 00:11:20,612
YOU KNOW, IT WAS LIKE A WAKE-UP
CALL IN A WAY, SAYING, "YOU'VE
BECOME COMPLACENT.
351
00:11:20,614 --> 00:11:21,513
CALL IN A WAY, SAYING, "YOU'VE
BECOME COMPLACENT.
YOU HAVE BECOME BORING."
352
00:11:21,515 --> 00:11:23,214
BECOME COMPLACENT.
YOU HAVE BECOME BORING."
>> Levy: BOWIE IS WHAT BRIDGES
353
00:11:23,216 --> 00:11:25,450
YOU HAVE BECOME BORING."
>> Levy: BOWIE IS WHAT BRIDGES
THE SPACE BETWEEN THE HIPPIES
354
00:11:25,452 --> 00:11:26,851
>> Levy: BOWIE IS WHAT BRIDGES
THE SPACE BETWEEN THE HIPPIES
AND THE PUNKS IN ENGLAND.
355
00:11:26,853 --> 00:11:27,786
THE SPACE BETWEEN THE HIPPIES
AND THE PUNKS IN ENGLAND.
>> Farber: WELL, YOU CAN IMAGINE
356
00:11:27,788 --> 00:11:28,820
AND THE PUNKS IN ENGLAND.
>> Farber: WELL, YOU CAN IMAGINE
HOW SHOCKED PEOPLE WOULD HAVE
357
00:11:28,822 --> 00:11:29,621
>> Farber: WELL, YOU CAN IMAGINE
HOW SHOCKED PEOPLE WOULD HAVE
BEEN BY BOWIE.
358
00:11:29,623 --> 00:11:30,889
HOW SHOCKED PEOPLE WOULD HAVE
BEEN BY BOWIE.
FIRST OF ALL, HE HAD A LOOK WITH
359
00:11:30,891 --> 00:11:32,424
BEEN BY BOWIE.
FIRST OF ALL, HE HAD A LOOK WITH
LONG BLOND HAIR AND DRESSES
360
00:11:32,426 --> 00:11:33,558
FIRST OF ALL, HE HAD A LOOK WITH
LONG BLOND HAIR AND DRESSES
WHERE HE LOOKED BASICALLY LIKE
361
00:11:33,560 --> 00:11:34,726
LONG BLOND HAIR AND DRESSES
WHERE HE LOOKED BASICALLY LIKE
LAUREN BACALL'S YOUNGER SISTER.
362
00:11:34,728 --> 00:11:36,594
WHERE HE LOOKED BASICALLY LIKE
LAUREN BACALL'S YOUNGER SISTER.
YOU KNOW, I MEAN, THIS IS A BIG
363
00:11:36,596 --> 00:11:37,462
LAUREN BACALL'S YOUNGER SISTER.
YOU KNOW, I MEAN, THIS IS A BIG
DEAL.
364
00:11:37,464 --> 00:11:38,530
YOU KNOW, I MEAN, THIS IS A BIG
DEAL.
THIS IS SHOCKING.
365
00:11:38,532 --> 00:11:40,065
DEAL.
THIS IS SHOCKING.
ROCK STARS HAD LONG HAIR,
366
00:11:40,067 --> 00:11:41,332
THIS IS SHOCKING.
ROCK STARS HAD LONG HAIR,
OBVIOUSLY, IN THE LATE '60s BUT
367
00:11:41,334 --> 00:11:42,801
ROCK STARS HAD LONG HAIR,
OBVIOUSLY, IN THE LATE '60s BUT
DIDN'T STYLE THEMSELVES IN AN
368
00:11:42,803 --> 00:11:44,436
OBVIOUSLY, IN THE LATE '60s BUT
DIDN'T STYLE THEMSELVES IN AN
AGGRESSIVELY FEMININE WAY, IN A
369
00:11:44,438 --> 00:11:46,404
DIDN'T STYLE THEMSELVES IN AN
AGGRESSIVELY FEMININE WAY, IN A
GENDER-BENDING WAY WITH SUCH
370
00:11:46,406 --> 00:11:47,138
AGGRESSIVELY FEMININE WAY, IN A
GENDER-BENDING WAY WITH SUCH
PURPOSE.
371
00:11:47,140 --> 00:11:48,406
GENDER-BENDING WAY WITH SUCH
PURPOSE.
THAT WAS VERY SUBVERSIVE IN ITS
372
00:11:48,408 --> 00:11:49,374
PURPOSE.
THAT WAS VERY SUBVERSIVE IN ITS
DAY.
373
00:11:49,376 --> 00:11:53,411
>> Collis: BOWIE TOLD ME THAT
WHEN THEY DID THEIR VERY, VERY
FIRST GIG, HIS BAND WERE
374
00:11:53,413 --> 00:11:54,713
WHEN THEY DID THEIR VERY, VERY
FIRST GIG, HIS BAND WERE
BITTERLY COMPLAINING ABOUT
375
00:11:54,715 --> 00:11:55,980
FIRST GIG, HIS BAND WERE
BITTERLY COMPLAINING ABOUT
HAVING TO WEAR I GUESS WHAT THEY
376
00:11:55,982 --> 00:11:57,582
BITTERLY COMPLAINING ABOUT
HAVING TO WEAR I GUESS WHAT THEY
ASSUMED OR THOUGHT OF AS WOMEN'S
377
00:11:57,584 --> 00:11:59,517
HAVING TO WEAR I GUESS WHAT THEY
ASSUMED OR THOUGHT OF AS WOMEN'S
CLOTHING, BUT THEN THEY PLAYED
378
00:11:59,519 --> 00:12:01,386
ASSUMED OR THOUGHT OF AS WOMEN'S
CLOTHING, BUT THEN THEY PLAYED
THE SHOW, AND THE BAND NOTICED
379
00:12:01,388 --> 00:12:02,954
CLOTHING, BUT THEN THEY PLAYED
THE SHOW, AND THE BAND NOTICED
HOW THE WOMEN KIND OF FLOCKED TO
380
00:12:02,956 --> 00:12:03,788
THE SHOW, AND THE BAND NOTICED
HOW THE WOMEN KIND OF FLOCKED TO
THEM.
381
00:12:03,790 --> 00:12:04,823
HOW THE WOMEN KIND OF FLOCKED TO
THEM.
>> Bowie: AND SUDDENLY THE
382
00:12:04,825 --> 00:12:06,725
>> Bowie: AND SUDDENLY THE
DRESSING ROOM PROCEDURE IS
REALLY DIFFERENT.
383
00:12:06,727 --> 00:12:07,892
DRESSING ROOM PROCEDURE IS
REALLY DIFFERENT.
IT'S, "RIGHT, WHO'S GOT THE
384
00:12:07,894 --> 00:12:08,693
REALLY DIFFERENT.
IT'S, "RIGHT, WHO'S GOT THE
BLUSH?"
385
00:12:08,695 --> 00:12:09,894
IT'S, "RIGHT, WHO'S GOT THE
BLUSH?"
(laughter)
386
00:12:09,896 --> 00:12:12,030
BLUSH?"
(laughter)
>> Narrator: IN 1972, EVERYTHING
387
00:12:12,032 --> 00:12:14,332
(laughter)
>> Narrator: IN 1972, EVERYTHING
BOWIE HAD HINTED AT IN HIS PAST
388
00:12:14,334 --> 00:12:16,301
>> Narrator: IN 1972, EVERYTHING
BOWIE HAD HINTED AT IN HIS PAST
PROJECTS GELLED INTO A FULLY
389
00:12:16,303 --> 00:12:18,136
BOWIE HAD HINTED AT IN HIS PAST
PROJECTS GELLED INTO A FULLY
REALIZED VISION CALLED "THE
390
00:12:18,138 --> 00:12:19,938
PROJECTS GELLED INTO A FULLY
REALIZED VISION CALLED "THE
RISE AND FALL OF ZIGGY STARDUST
391
00:12:19,940 --> 00:12:21,706
REALIZED VISION CALLED "THE
RISE AND FALL OF ZIGGY STARDUST
AND THE SPIDERS FROM MARS," A
392
00:12:21,708 --> 00:12:23,608
RISE AND FALL OF ZIGGY STARDUST
AND THE SPIDERS FROM MARS," A
CONCEPT ALBUM THAT TOLD THE
393
00:12:23,610 --> 00:12:25,276
AND THE SPIDERS FROM MARS," A
CONCEPT ALBUM THAT TOLD THE
STORY OF AN ANDROGYNOUS ALIEN
394
00:12:25,278 --> 00:12:27,345
CONCEPT ALBUM THAT TOLD THE
STORY OF AN ANDROGYNOUS ALIEN
ROCK STAR WHO SAVED THE WORLD
395
00:12:27,347 --> 00:12:30,315
STORY OF AN ANDROGYNOUS ALIEN
ROCK STAR WHO SAVED THE WORLD
WITH ROCK AND ROLL.
396
00:12:30,317 --> 00:12:32,917
ROCK STAR WHO SAVED THE WORLD
WITH ROCK AND ROLL.
THANKS TO THE BBC, BOWIE'S ALIEN
397
00:12:32,919 --> 00:12:34,586
WITH ROCK AND ROLL.
THANKS TO THE BBC, BOWIE'S ALIEN
ROCK STAR LANDED IN LIVING
398
00:12:34,588 --> 00:12:36,521
THANKS TO THE BBC, BOWIE'S ALIEN
ROCK STAR LANDED IN LIVING
ROOMS ACROSS ENGLAND AND SHOCKED
399
00:12:36,523 --> 00:12:37,922
ROCK STAR LANDED IN LIVING
ROOMS ACROSS ENGLAND AND SHOCKED
THE COUNTRY.
400
00:12:37,924 --> 00:12:39,724
ROOMS ACROSS ENGLAND AND SHOCKED
THE COUNTRY.
>> Bowie: IMPROMPTU, ISN'T IT?
401
00:12:39,726 --> 00:12:41,059
THE COUNTRY.
>> Bowie: IMPROMPTU, ISN'T IT?
>> Collis: IT'S HARD TO REMEMBER
402
00:12:41,061 --> 00:12:42,594
>> Bowie: IMPROMPTU, ISN'T IT?
>> Collis: IT'S HARD TO REMEMBER
NOW, BUT IN THE EARLY '70s, THE
403
00:12:42,596 --> 00:12:44,162
>> Collis: IT'S HARD TO REMEMBER
NOW, BUT IN THE EARLY '70s, THE
IDEA OF ZIGGY STARDUST WAS
404
00:12:44,164 --> 00:12:45,597
NOW, BUT IN THE EARLY '70s, THE
IDEA OF ZIGGY STARDUST WAS
REALLY INCREDIBLE.
405
00:12:45,599 --> 00:12:46,931
IDEA OF ZIGGY STARDUST WAS
REALLY INCREDIBLE.
I MEAN, YOU'VE ONLY--YOU'RE
406
00:12:46,933 --> 00:12:48,500
REALLY INCREDIBLE.
I MEAN, YOU'VE ONLY--YOU'RE
ONLY 10 YEARS ON FROM THE VERY
407
00:12:48,502 --> 00:12:50,001
I MEAN, YOU'VE ONLY--YOU'RE
ONLY 10 YEARS ON FROM THE VERY
EARLY BEATLES SONGS, WHERE IT'S
408
00:12:50,003 --> 00:12:51,302
ONLY 10 YEARS ON FROM THE VERY
EARLY BEATLES SONGS, WHERE IT'S
"LOVE ME DO" AND ALL REST OF IT.
409
00:12:51,304 --> 00:12:53,371
EARLY BEATLES SONGS, WHERE IT'S
"LOVE ME DO" AND ALL REST OF IT.
AND NOW YOU'VE GOT THIS, YOU
410
00:12:53,373 --> 00:12:55,006
"LOVE ME DO" AND ALL REST OF IT.
AND NOW YOU'VE GOT THIS, YOU
KNOW, INCREDIBLE ALIEN SUDDENLY
411
00:12:55,008 --> 00:12:56,908
AND NOW YOU'VE GOT THIS, YOU
KNOW, INCREDIBLE ALIEN SUDDENLY
INVADING PEOPLE'S TELEVISION
412
00:12:56,910 --> 00:12:58,409
KNOW, INCREDIBLE ALIEN SUDDENLY
INVADING PEOPLE'S TELEVISION
SCREENS.
413
00:12:58,411 --> 00:12:59,944
INVADING PEOPLE'S TELEVISION
SCREENS.
A LOT OF THE KIDS ARE LOVING IT,
414
00:12:59,946 --> 00:13:01,346
SCREENS.
A LOT OF THE KIDS ARE LOVING IT,
AND A LOT OF THE PARENTS ARE
415
00:13:01,348 --> 00:13:02,814
A LOT OF THE KIDS ARE LOVING IT,
AND A LOT OF THE PARENTS ARE
GOING, YOU KNOW, "WHAT ON EARTH
416
00:13:02,816 --> 00:13:05,250
AND A LOT OF THE PARENTS ARE
GOING, YOU KNOW, "WHAT ON EARTH
IS THIS?"
417
00:13:05,252 --> 00:13:07,819
GOING, YOU KNOW, "WHAT ON EARTH
IS THIS?"
>> Levy: BOWIE, HE'S VOICING
418
00:13:07,821 --> 00:13:09,187
IS THIS?"
>> Levy: BOWIE, HE'S VOICING
WHAT KIDS AROUND HIM ARE
419
00:13:09,189 --> 00:13:11,089
>> Levy: BOWIE, HE'S VOICING
WHAT KIDS AROUND HIM ARE
FEELING, WHICH IS, "WE DON'T
420
00:13:11,091 --> 00:13:12,590
WHAT KIDS AROUND HIM ARE
FEELING, WHICH IS, "WE DON'T
FEEL LIKE WE BELONG.
421
00:13:12,592 --> 00:13:14,192
FEELING, WHICH IS, "WE DON'T
FEEL LIKE WE BELONG.
WE SHOULDN'T EVEN BE HERE ON
422
00:13:14,194 --> 00:13:15,193
FEEL LIKE WE BELONG.
WE SHOULDN'T EVEN BE HERE ON
EARTH."
423
00:13:15,195 --> 00:13:17,629
WE SHOULDN'T EVEN BE HERE ON
EARTH."
WE SHOULD BE UP IN THE SKIES."
424
00:13:17,631 --> 00:13:20,498
EARTH."
WE SHOULD BE UP IN THE SKIES."
YOU KNOW, A COMBINATION OF HIGH
425
00:13:20,500 --> 00:13:25,403
WE SHOULD BE UP IN THE SKIES."
YOU KNOW, A COMBINATION OF HIGH
AND IN OUTER SPACE.
426
00:13:25,405 --> 00:13:28,873
>> Farber: THAT ALBUM WAS A
SELF-FULFILLING PROPHECY.
YOU KNOW, HE CONCEIVED HIMSELF
427
00:13:28,875 --> 00:13:31,142
SELF-FULFILLING PROPHECY.
YOU KNOW, HE CONCEIVED HIMSELF
AS THIS CHARACTER OF THE WORLD'S
428
00:13:31,144 --> 00:13:33,678
YOU KNOW, HE CONCEIVED HIMSELF
AS THIS CHARACTER OF THE WORLD'S
GREATEST ROCK STAR AND THEN IT--
429
00:13:33,680 --> 00:13:35,246
AS THIS CHARACTER OF THE WORLD'S
GREATEST ROCK STAR AND THEN IT--
IT TOOK.
430
00:13:35,248 --> 00:13:36,447
GREATEST ROCK STAR AND THEN IT--
IT TOOK.
>> Narrator: AS ZIGGY STARDUST,
431
00:13:36,449 --> 00:13:40,318
>> Narrator: AS ZIGGY STARDUST,
BOWIE PUSHED ALL THE RIGHT
BUTTONS AND BECAME A GLAM GOD.
432
00:13:40,320 --> 00:13:42,387
BOWIE PUSHED ALL THE RIGHT
BUTTONS AND BECAME A GLAM GOD.
UNDERSTANDING THAT SHOCK SELLS,
433
00:13:42,389 --> 00:13:44,255
BUTTONS AND BECAME A GLAM GOD.
UNDERSTANDING THAT SHOCK SELLS,
DAVID USED HIS MAKE-UP-WEARING,
434
00:13:44,257 --> 00:13:45,990
UNDERSTANDING THAT SHOCK SELLS,
DAVID USED HIS MAKE-UP-WEARING,
CROSS-DRESSING ALTER EGO TO
435
00:13:45,992 --> 00:13:47,625
DAVID USED HIS MAKE-UP-WEARING,
CROSS-DRESSING ALTER EGO TO
SHAKE UP THE ESTABLISHMENT WHEN
436
00:13:47,627 --> 00:13:49,727
CROSS-DRESSING ALTER EGO TO
SHAKE UP THE ESTABLISHMENT WHEN
HE HINTED TO THE ENGLISH PRESS
437
00:13:49,729 --> 00:13:52,163
SHAKE UP THE ESTABLISHMENT WHEN
HE HINTED TO THE ENGLISH PRESS
HE WAS BISEXUAL.
438
00:13:52,165 --> 00:13:53,264
HE HINTED TO THE ENGLISH PRESS
HE WAS BISEXUAL.
>> Bowie: I WAS PLAYING AROUND
439
00:13:53,266 --> 00:13:54,566
HE WAS BISEXUAL.
>> Bowie: I WAS PLAYING AROUND
WITH THE IDEA OF DEVELOPING
440
00:13:54,568 --> 00:13:55,800
>> Bowie: I WAS PLAYING AROUND
WITH THE IDEA OF DEVELOPING
CHARACTERS THAT ONE COULD TAKE
441
00:13:55,802 --> 00:13:56,968
WITH THE IDEA OF DEVELOPING
CHARACTERS THAT ONE COULD TAKE
INTO REAL LIFE, THAT ZIGGY WOULD
442
00:13:56,970 --> 00:13:58,570
CHARACTERS THAT ONE COULD TAKE
INTO REAL LIFE, THAT ZIGGY WOULD
GO AND DO INTERVIEWS AND SAY
443
00:13:58,572 --> 00:14:00,071
INTO REAL LIFE, THAT ZIGGY WOULD
GO AND DO INTERVIEWS AND SAY
THINGS THAT DAVID BOWIE WOULD
444
00:14:00,073 --> 00:14:01,606
GO AND DO INTERVIEWS AND SAY
THINGS THAT DAVID BOWIE WOULD
NEVER SAY, PROBABLY.
445
00:14:01,608 --> 00:14:02,707
THINGS THAT DAVID BOWIE WOULD
NEVER SAY, PROBABLY.
>> Rock: LET'S GET THAT FOR THE
446
00:14:02,709 --> 00:14:03,641
NEVER SAY, PROBABLY.
>> Rock: LET'S GET THAT FOR THE
RECORD.
447
00:14:03,643 --> 00:14:04,909
>> Rock: LET'S GET THAT FOR THE
RECORD.
DAVID BOWIE WOULD SAY JUST
448
00:14:04,911 --> 00:14:06,144
RECORD.
DAVID BOWIE WOULD SAY JUST
ABOUT ANYTHING 'CAUSE HE WAS
449
00:14:06,146 --> 00:14:07,512
DAVID BOWIE WOULD SAY JUST
ABOUT ANYTHING 'CAUSE HE WAS
INCREDIBLY AMBITIOUS.
450
00:14:07,514 --> 00:14:12,083
THAT WAS A REVOLUTIONARY
STATEMENT--WHETHER YOU ARE
BISEXUAL OR GAY OR NOT, IF HE
451
00:14:12,085 --> 00:14:13,818
STATEMENT--WHETHER YOU ARE
BISEXUAL OR GAY OR NOT, IF HE
HAD TO PLAY UP TO THE MEDIA IN
452
00:14:13,820 --> 00:14:15,220
BISEXUAL OR GAY OR NOT, IF HE
HAD TO PLAY UP TO THE MEDIA IN
SOME WAY, HE WAS QUITE HAPPY TO
453
00:14:15,222 --> 00:14:16,120
HAD TO PLAY UP TO THE MEDIA IN
SOME WAY, HE WAS QUITE HAPPY TO
DO IT.
454
00:14:16,122 --> 00:14:17,288
SOME WAY, HE WAS QUITE HAPPY TO
DO IT.
>> Narrator: AT A DAVID BOWIE
455
00:14:17,290 --> 00:14:20,625
>> Narrator: AT A DAVID BOWIE
CONCERT DURING THE ZIGGY
STARDUST TOUR IN 1972,
456
00:14:20,627 --> 00:14:22,427
CONCERT DURING THE ZIGGY
STARDUST TOUR IN 1972,
PHOTOGRAPHER MICK ROCK TOOK A
457
00:14:22,429 --> 00:14:24,062
STARDUST TOUR IN 1972,
PHOTOGRAPHER MICK ROCK TOOK A
PHOTOGRAPH OF DAVID BOWIE THAT
458
00:14:24,064 --> 00:14:25,463
PHOTOGRAPHER MICK ROCK TOOK A
PHOTOGRAPH OF DAVID BOWIE THAT
WOULD BECOME ONE OF BOWIE'S MOST
459
00:14:25,465 --> 00:14:28,766
PHOTOGRAPH OF DAVID BOWIE THAT
WOULD BECOME ONE OF BOWIE'S MOST
TALKED-ABOUT AND ICONIC IMAGES.
460
00:14:28,768 --> 00:14:29,968
WOULD BECOME ONE OF BOWIE'S MOST
TALKED-ABOUT AND ICONIC IMAGES.
>> Levy: WHEN MICK RONSON, HIS
461
00:14:29,970 --> 00:14:31,402
TALKED-ABOUT AND ICONIC IMAGES.
>> Levy: WHEN MICK RONSON, HIS
GUITARIST IN THE SPIDERS FROM
462
00:14:31,404 --> 00:14:33,371
>> Levy: WHEN MICK RONSON, HIS
GUITARIST IN THE SPIDERS FROM
MARS, PLAYS A GUITAR SOLO.
463
00:14:33,373 --> 00:14:35,139
GUITARIST IN THE SPIDERS FROM
MARS, PLAYS A GUITAR SOLO.
DAVID BOWIE GETS ON HIS KNEES
464
00:14:35,141 --> 00:14:38,910
MARS, PLAYS A GUITAR SOLO.
DAVID BOWIE GETS ON HIS KNEES
IN FRONT OF HIM TO ENACT THE
465
00:14:38,912 --> 00:14:42,714
DAVID BOWIE GETS ON HIS KNEES
IN FRONT OF HIM TO ENACT THE
FANTASY OF FELLATIO.
466
00:14:42,716 --> 00:14:46,484
IN FRONT OF HIM TO ENACT THE
FANTASY OF FELLATIO.
NO MATTER HOW FAR ANYBODY WENT
467
00:14:46,486 --> 00:14:48,286
FANTASY OF FELLATIO.
NO MATTER HOW FAR ANYBODY WENT
UP TO THAT POINT, NO ONE HAD
468
00:14:48,288 --> 00:14:51,289
NO MATTER HOW FAR ANYBODY WENT
UP TO THAT POINT, NO ONE HAD
GONE THAT FAR.
469
00:14:51,291 --> 00:14:56,027
>> Kandell: THE IDEA OF A ROCK
STAR, YOU KNOW, SLEEPING WITH
TONS OF BEAUTIFUL WOMEN, LIKE,
470
00:14:56,029 --> 00:14:57,562
STAR, YOU KNOW, SLEEPING WITH
TONS OF BEAUTIFUL WOMEN, LIKE,
THAT SORT OF LOSES ITS POWER TO
471
00:14:57,564 --> 00:14:59,297
TONS OF BEAUTIFUL WOMEN, LIKE,
THAT SORT OF LOSES ITS POWER TO
SHOCK, BUT THE IDEA OF, LIKE,
472
00:14:59,299 --> 00:15:00,798
THAT SORT OF LOSES ITS POWER TO
SHOCK, BUT THE IDEA OF, LIKE,
ROCK STARS POSSIBLY SLEEPING
473
00:15:00,800 --> 00:15:02,133
SHOCK, BUT THE IDEA OF, LIKE,
ROCK STARS POSSIBLY SLEEPING
WITH EACH OTHER, YOU KNOW, ALL
474
00:15:02,135 --> 00:15:03,401
ROCK STARS POSSIBLY SLEEPING
WITH EACH OTHER, YOU KNOW, ALL
OF A SUDDEN, OKAY, YOU'VE GOT
475
00:15:03,403 --> 00:15:05,103
WITH EACH OTHER, YOU KNOW, ALL
OF A SUDDEN, OKAY, YOU'VE GOT
OUR ATTENTION.
476
00:15:05,105 --> 00:15:06,871
OF A SUDDEN, OKAY, YOU'VE GOT
OUR ATTENTION.
NO ONE'S EVER REALLY GONNA KNOW
477
00:15:06,873 --> 00:15:10,375
NO ONE'S EVER REALLY GONNA KNOW
IF ANY OF THAT STUFF IS TRUE.
I DON'T--I PERSONALLY DON'T EVEN
478
00:15:10,377 --> 00:15:11,976
IF ANY OF THAT STUFF IS TRUE.
I DON'T--I PERSONALLY DON'T EVEN
REALLY NEED TO KNOW, BUT THE
479
00:15:11,978 --> 00:15:14,612
I DON'T--I PERSONALLY DON'T EVEN
REALLY NEED TO KNOW, BUT THE
IDEA THAT IT WAS A POSSIBILITY
480
00:15:14,614 --> 00:15:16,114
REALLY NEED TO KNOW, BUT THE
IDEA THAT IT WAS A POSSIBILITY
SORT OF FUELED A LOT OF THE
481
00:15:16,116 --> 00:15:17,916
IDEA THAT IT WAS A POSSIBILITY
SORT OF FUELED A LOT OF THE
IMAGINATION OF WHAT IT MEANT TO
482
00:15:17,918 --> 00:15:19,350
SORT OF FUELED A LOT OF THE
IMAGINATION OF WHAT IT MEANT TO
BE A ROCK STAR.
483
00:15:19,352 --> 00:15:20,618
IMAGINATION OF WHAT IT MEANT TO
BE A ROCK STAR.
>> Levy: WHERE DID THESE KIDS
484
00:15:20,620 --> 00:15:22,687
BE A ROCK STAR.
>> Levy: WHERE DID THESE KIDS
LEARN THAT MUSIC WAS A
485
00:15:22,689 --> 00:15:24,222
>> Levy: WHERE DID THESE KIDS
LEARN THAT MUSIC WAS A
SENSATION, SOMETHING THAT COULD
486
00:15:24,224 --> 00:15:26,291
LEARN THAT MUSIC WAS A
SENSATION, SOMETHING THAT COULD
MAKE YOUR PARENTS GO "UH, NO.
487
00:15:26,293 --> 00:15:29,160
SENSATION, SOMETHING THAT COULD
MAKE YOUR PARENTS GO "UH, NO.
UH, NO, NO, NO, THERE'LL BE NONE
488
00:15:29,162 --> 00:15:30,728
MAKE YOUR PARENTS GO "UH, NO.
UH, NO, NO, NO, THERE'LL BE NONE
OF THAT IN THIS HOUSE"?
489
00:15:30,730 --> 00:15:37,936
UH, NO, NO, NO, THERE'LL BE NONE
OF THAT IN THIS HOUSE"?
ALL OF THAT WENT BACK TO BOWIE.
490
00:15:37,938 --> 00:15:39,237
OF THAT IN THIS HOUSE"?
ALL OF THAT WENT BACK TO BOWIE.
>> Narrator: "ZIGGY STARDUST"
491
00:15:39,239 --> 00:15:41,239
ALL OF THAT WENT BACK TO BOWIE.
>> Narrator: "ZIGGY STARDUST"
WAS A ZEITGEIST DEFINING WORK,
492
00:15:41,241 --> 00:15:42,540
>> Narrator: "ZIGGY STARDUST"
WAS A ZEITGEIST DEFINING WORK,
AND BOWIE BECAME AN
493
00:15:42,542 --> 00:15:44,008
WAS A ZEITGEIST DEFINING WORK,
AND BOWIE BECAME AN
INTERNATIONAL SUPERSTAR.
494
00:15:44,010 --> 00:15:45,743
AND BOWIE BECAME AN
INTERNATIONAL SUPERSTAR.
THE SUCCESS FUELED DAVID'S
495
00:15:45,745 --> 00:15:47,946
INTERNATIONAL SUPERSTAR.
THE SUCCESS FUELED DAVID'S
CREATIVITY AS HE DOVE HEADFIRST
496
00:15:47,948 --> 00:15:49,948
THE SUCCESS FUELED DAVID'S
CREATIVITY AS HE DOVE HEADFIRST
INTO MULTIPLE PROJECTS.
497
00:15:49,950 --> 00:15:51,849
CREATIVITY AS HE DOVE HEADFIRST
INTO MULTIPLE PROJECTS.
HE MIXED "RAW POWER," THE MOST
498
00:15:51,851 --> 00:15:53,718
INTO MULTIPLE PROJECTS.
HE MIXED "RAW POWER," THE MOST
SUCCESSFUL ALBUM BY IGGY POP
499
00:15:53,720 --> 00:15:55,620
HE MIXED "RAW POWER," THE MOST
SUCCESSFUL ALBUM BY IGGY POP
AND HIS BAND THE STOOGES, AND
500
00:15:55,622 --> 00:15:57,121
SUCCESSFUL ALBUM BY IGGY POP
AND HIS BAND THE STOOGES, AND
PRODUCED LOU REED'S
501
00:15:57,123 --> 00:15:58,556
AND HIS BAND THE STOOGES, AND
PRODUCED LOU REED'S
"TRANSFORMER," A RECORD THAT
502
00:15:58,558 --> 00:16:00,058
PRODUCED LOU REED'S
"TRANSFORMER," A RECORD THAT
CONTAINED "WALK ON THE WILD
503
00:16:00,060 --> 00:16:02,527
"TRANSFORMER," A RECORD THAT
CONTAINED "WALK ON THE WILD
SIDE," REED'S ONLY TOP-40 HIT.
504
00:16:02,529 --> 00:16:04,095
CONTAINED "WALK ON THE WILD
SIDE," REED'S ONLY TOP-40 HIT.
>> Rock: IGGY AND LOU REED, WHO
505
00:16:04,097 --> 00:16:05,830
SIDE," REED'S ONLY TOP-40 HIT.
>> Rock: IGGY AND LOU REED, WHO
HAD NOT BEEN SUCCESSFUL IN ANY
506
00:16:05,832 --> 00:16:06,965
>> Rock: IGGY AND LOU REED, WHO
HAD NOT BEEN SUCCESSFUL IN ANY
COMMERCIAL SENSE--LOU HADN'T
507
00:16:06,967 --> 00:16:08,366
HAD NOT BEEN SUCCESSFUL IN ANY
COMMERCIAL SENSE--LOU HADN'T
BEEN ABLE TO GIVE AWAY ANY
508
00:16:08,368 --> 00:16:10,735
COMMERCIAL SENSE--LOU HADN'T
BEEN ABLE TO GIVE AWAY ANY
RECORDS BEFORE "WALK ON THE WILD
509
00:16:10,737 --> 00:16:11,736
BEEN ABLE TO GIVE AWAY ANY
RECORDS BEFORE "WALK ON THE WILD
SIDE."
510
00:16:11,738 --> 00:16:12,737
RECORDS BEFORE "WALK ON THE WILD
SIDE."
>> Loder: NOBODY HAD TO MAKE A
511
00:16:12,739 --> 00:16:13,638
SIDE."
>> Loder: NOBODY HAD TO MAKE A
LOU REED RECORD.
512
00:16:13,640 --> 00:16:14,973
>> Loder: NOBODY HAD TO MAKE A
LOU REED RECORD.
THE STOOGES, I MEAN, NOBODY KNEW
513
00:16:14,975 --> 00:16:15,907
LOU REED RECORD.
THE STOOGES, I MEAN, NOBODY KNEW
WHO THEY WERE, SO YOU GOTTA
514
00:16:15,909 --> 00:16:16,975
THE STOOGES, I MEAN, NOBODY KNEW
WHO THEY WERE, SO YOU GOTTA
ADMIRE HIM FOR DOING THAT.
515
00:16:16,977 --> 00:16:18,376
WHO THEY WERE, SO YOU GOTTA
ADMIRE HIM FOR DOING THAT.
I MEAN, HE REALLY WENT TO THE
516
00:16:18,378 --> 00:16:19,777
ADMIRE HIM FOR DOING THAT.
I MEAN, HE REALLY WENT TO THE
PEOPLE WHO INFLUENCED HIM AND
517
00:16:19,779 --> 00:16:20,812
I MEAN, HE REALLY WENT TO THE
PEOPLE WHO INFLUENCED HIM AND
TRIED TO BRING THEM BACK.
518
00:16:20,814 --> 00:16:22,080
PEOPLE WHO INFLUENCED HIM AND
TRIED TO BRING THEM BACK.
"THIS IS WHERE IT CAME FROM FOR
519
00:16:22,082 --> 00:16:27,919
TRIED TO BRING THEM BACK.
"THIS IS WHERE IT CAME FROM FOR
ME."
520
00:16:27,921 --> 00:16:29,354
"THIS IS WHERE IT CAME FROM FOR
ME."
>> Narrator: "ZIGGY STARDUST"
521
00:16:29,356 --> 00:16:30,755
ME."
>> Narrator: "ZIGGY STARDUST"
PUT DAVID IN A POSITION WHERE
522
00:16:30,757 --> 00:16:32,023
>> Narrator: "ZIGGY STARDUST"
PUT DAVID IN A POSITION WHERE
THE WORLD WAS HIS FOR THE
523
00:16:32,025 --> 00:16:33,091
PUT DAVID IN A POSITION WHERE
THE WORLD WAS HIS FOR THE
TAKING.
524
00:16:33,093 --> 00:16:35,026
THE WORLD WAS HIS FOR THE
TAKING.
SO THE WORLD WAS STUNNED WHEN ON
525
00:16:35,028 --> 00:16:37,929
TAKING.
SO THE WORLD WAS STUNNED WHEN ON
JULY 3, 1973, DURING A SHOW AT
526
00:16:37,931 --> 00:16:39,497
SO THE WORLD WAS STUNNED WHEN ON
JULY 3, 1973, DURING A SHOW AT
LONDON'S HAMMERSMITH ODEON
527
00:16:39,499 --> 00:16:41,566
JULY 3, 1973, DURING A SHOW AT
LONDON'S HAMMERSMITH ODEON
THEATER, ZIGGY STARDUST
528
00:16:41,568 --> 00:16:43,067
LONDON'S HAMMERSMITH ODEON
THEATER, ZIGGY STARDUST
COMMITTED AN ONSTAGE
529
00:16:43,069 --> 00:16:45,737
THEATER, ZIGGY STARDUST
COMMITTED AN ONSTAGE
ROCK-AND-ROLL SUICIDE.
530
00:16:55,614 --> 00:17:01,753
>> Narrator: IN 1972, A
25-YEAR-OLD DAVID BOWIE CREATED
"ZIGGY STARDUST," AN ALBUM AND A
531
00:17:01,755 --> 00:17:03,554
25-YEAR-OLD DAVID BOWIE CREATED
"ZIGGY STARDUST," AN ALBUM AND A
CHARACTER THAT MADE BOWIE AN
532
00:17:03,556 --> 00:17:05,456
"ZIGGY STARDUST," AN ALBUM AND A
CHARACTER THAT MADE BOWIE AN
INTERNATIONAL SUPERSTAR AND
533
00:17:05,458 --> 00:17:06,858
CHARACTER THAT MADE BOWIE AN
INTERNATIONAL SUPERSTAR AND
SHOCKED THE WORLD.
534
00:17:06,860 --> 00:17:08,259
INTERNATIONAL SUPERSTAR AND
SHOCKED THE WORLD.
BUT NOTHING COULD HAVE PREPARED
535
00:17:08,261 --> 00:17:09,727
SHOCKED THE WORLD.
BUT NOTHING COULD HAVE PREPARED
FANS FOR BOWIE'S STARTLING
536
00:17:09,729 --> 00:17:11,496
BUT NOTHING COULD HAVE PREPARED
FANS FOR BOWIE'S STARTLING
ONSTAGE ANNOUNCEMENT AT LONDON'S
537
00:17:11,498 --> 00:17:13,398
FANS FOR BOWIE'S STARTLING
ONSTAGE ANNOUNCEMENT AT LONDON'S
HAMMERSMITH ODEON THEATER A
538
00:17:13,400 --> 00:17:15,166
ONSTAGE ANNOUNCEMENT AT LONDON'S
HAMMERSMITH ODEON THEATER A
SHORT YEAR LATER.
539
00:17:15,168 --> 00:17:16,334
HAMMERSMITH ODEON THEATER A
SHORT YEAR LATER.
>> Bowie: OF ALL THE SHOWS ON
540
00:17:16,336 --> 00:17:18,603
SHORT YEAR LATER.
>> Bowie: OF ALL THE SHOWS ON
THIS TOUR, THIS PARTICULAR SHOW
541
00:17:18,605 --> 00:17:20,471
>> Bowie: OF ALL THE SHOWS ON
THIS TOUR, THIS PARTICULAR SHOW
WILL REMAIN WITH US THE LONGEST
542
00:17:20,473 --> 00:17:21,806
THIS TOUR, THIS PARTICULAR SHOW
WILL REMAIN WITH US THE LONGEST
BECAUSE...
543
00:17:21,808 --> 00:17:24,776
WILL REMAIN WITH US THE LONGEST
BECAUSE...
(cheers and applause)
544
00:17:24,778 --> 00:17:27,178
BECAUSE...
(cheers and applause)
NOT ONLY IS IT--NOT ONLY IS IT
545
00:17:27,180 --> 00:17:29,313
(cheers and applause)
NOT ONLY IS IT--NOT ONLY IS IT
THE LAST SHOW OF THE TOUR, BUT
546
00:17:29,315 --> 00:17:31,582
NOT ONLY IS IT--NOT ONLY IS IT
THE LAST SHOW OF THE TOUR, BUT
IT'S THE LAST SHOW THAT WE'LL
547
00:17:31,584 --> 00:17:32,984
THE LAST SHOW OF THE TOUR, BUT
IT'S THE LAST SHOW THAT WE'LL
EVER DO.
548
00:17:32,986 --> 00:17:34,452
IT'S THE LAST SHOW THAT WE'LL
EVER DO.
THANK YOU.
549
00:17:34,454 --> 00:17:36,454
EVER DO.
THANK YOU.
(audience screaming)
550
00:17:36,456 --> 00:17:38,523
THANK YOU.
(audience screaming)
>> Narrator: FANS AND THE PRESS
551
00:17:38,525 --> 00:17:40,058
(audience screaming)
>> Narrator: FANS AND THE PRESS
WERE STUNNED BY THE NEWS THAT
552
00:17:40,060 --> 00:17:41,592
>> Narrator: FANS AND THE PRESS
WERE STUNNED BY THE NEWS THAT
BOWIE WOULD QUIT HAVING JUST
553
00:17:41,594 --> 00:17:42,994
WERE STUNNED BY THE NEWS THAT
BOWIE WOULD QUIT HAVING JUST
FOUND SUCCESS.
554
00:17:42,996 --> 00:17:44,929
BOWIE WOULD QUIT HAVING JUST
FOUND SUCCESS.
THE TRUTH WAS, BOWIE HAD NO
555
00:17:44,931 --> 00:17:46,597
FOUND SUCCESS.
THE TRUTH WAS, BOWIE HAD NO
PLANS TO RETIRE.
556
00:17:46,599 --> 00:17:48,199
THE TRUTH WAS, BOWIE HAD NO
PLANS TO RETIRE.
IT WAS ZIGGY WHO WOULD NEVER
557
00:17:48,201 --> 00:17:49,934
PLANS TO RETIRE.
IT WAS ZIGGY WHO WOULD NEVER
TAKE THE STAGE AGAIN.
558
00:17:49,936 --> 00:17:51,102
IT WAS ZIGGY WHO WOULD NEVER
TAKE THE STAGE AGAIN.
>> Collis: HE DOES HAVE A KIND
559
00:17:51,104 --> 00:17:53,237
TAKE THE STAGE AGAIN.
>> Collis: HE DOES HAVE A KIND
OF P.T. BARNUM ASPECT TO IT.
560
00:17:53,239 --> 00:17:57,408
ZIGGY STARDUST IS GOOD FOR ONE
ALBUM, TWO ALBUMS, BUT YOU
REALLY WANT TO LEAVE THEM--YOU
561
00:17:57,410 --> 00:17:58,776
ALBUM, TWO ALBUMS, BUT YOU
REALLY WANT TO LEAVE THEM--YOU
KNOW, LEAVE THEM WANTING MORE,
562
00:17:58,778 --> 00:18:00,344
REALLY WANT TO LEAVE THEM--YOU
KNOW, LEAVE THEM WANTING MORE,
WHICH IS THE KIND OF CLASSIC
563
00:18:00,346 --> 00:18:02,780
KNOW, LEAVE THEM WANTING MORE,
WHICH IS THE KIND OF CLASSIC
P.T. BARNUM IDEA.
564
00:18:02,782 --> 00:18:03,948
WHICH IS THE KIND OF CLASSIC
P.T. BARNUM IDEA.
>> Narrator: BY THE TIME DAVID
565
00:18:03,950 --> 00:18:07,318
>> Narrator: BY THE TIME DAVID
WAS TOURING BEHIND HIS 1974
ALBUM "DIAMOND DOGS," HE HAD
566
00:18:07,320 --> 00:18:08,986
WAS TOURING BEHIND HIS 1974
ALBUM "DIAMOND DOGS," HE HAD
GROWN TIRED OF THE GLITTER
567
00:18:08,988 --> 00:18:10,021
ALBUM "DIAMOND DOGS," HE HAD
GROWN TIRED OF THE GLITTER
SCENE.
568
00:18:10,023 --> 00:18:11,556
GROWN TIRED OF THE GLITTER
SCENE.
HE WANTED TO DITCH THE MAKE-UP
569
00:18:11,558 --> 00:18:13,558
SCENE.
HE WANTED TO DITCH THE MAKE-UP
AND GET BACK TO BASICS.
570
00:18:13,560 --> 00:18:14,859
HE WANTED TO DITCH THE MAKE-UP
AND GET BACK TO BASICS.
>> Bowie: I MOVED TO
571
00:18:14,861 --> 00:18:16,828
AND GET BACK TO BASICS.
>> Bowie: I MOVED TO
PHILADELPHIA AND STARTED GOING
572
00:18:16,830 --> 00:18:18,830
>> Bowie: I MOVED TO
PHILADELPHIA AND STARTED GOING
OUT TO A LOT OF DISCOS AND
573
00:18:18,832 --> 00:18:20,498
PHILADELPHIA AND STARTED GOING
OUT TO A LOT OF DISCOS AND
REALLY GETTING INVOLVED WITH
574
00:18:20,500 --> 00:18:21,766
OUT TO A LOT OF DISCOS AND
REALLY GETTING INVOLVED WITH
BLACK MUSIC, AMERICAN BLACK
575
00:18:21,768 --> 00:18:22,934
REALLY GETTING INVOLVED WITH
BLACK MUSIC, AMERICAN BLACK
MUSIC AGAIN.
576
00:18:22,936 --> 00:18:24,602
BLACK MUSIC, AMERICAN BLACK
MUSIC AGAIN.
I PUT TOGETHER A BAND WITH
577
00:18:24,604 --> 00:18:26,370
MUSIC AGAIN.
I PUT TOGETHER A BAND WITH
A--KIND OF A EUROPEAN-AMERICAN
578
00:18:26,372 --> 00:18:27,772
I PUT TOGETHER A BAND WITH
A--KIND OF A EUROPEAN-AMERICAN
SOUND, AND WE MADE AN ALBUM
579
00:18:27,774 --> 00:18:30,141
A--KIND OF A EUROPEAN-AMERICAN
SOUND, AND WE MADE AN ALBUM
CALLED "YOUNG AMERICANS."
580
00:18:30,143 --> 00:18:31,275
SOUND, AND WE MADE AN ALBUM
CALLED "YOUNG AMERICANS."
>> Narrator: "YOUNG AMERICANS"
581
00:18:31,277 --> 00:18:32,610
CALLED "YOUNG AMERICANS."
>> Narrator: "YOUNG AMERICANS"
CAPTURED A SOUND BOWIE CALLED
582
00:18:32,612 --> 00:18:34,645
>> Narrator: "YOUNG AMERICANS"
CAPTURED A SOUND BOWIE CALLED
PLASTIC SOUL AND PRODUCED HIS
583
00:18:34,647 --> 00:18:36,314
CAPTURED A SOUND BOWIE CALLED
PLASTIC SOUL AND PRODUCED HIS
FIRST AMERICAN NUMBER ONE,
584
00:18:36,316 --> 00:18:38,583
PLASTIC SOUL AND PRODUCED HIS
FIRST AMERICAN NUMBER ONE,
"FAME," A SONG CO-WRITTEN WITH
585
00:18:38,585 --> 00:18:40,218
FIRST AMERICAN NUMBER ONE,
"FAME," A SONG CO-WRITTEN WITH
JOHN LENNON DURING AN IMPROMPTU
586
00:18:40,220 --> 00:18:41,552
"FAME," A SONG CO-WRITTEN WITH
JOHN LENNON DURING AN IMPROMPTU
JAM SESSION.
587
00:18:41,554 --> 00:18:43,421
JOHN LENNON DURING AN IMPROMPTU
JAM SESSION.
FINDING INSPIRATION AND SUCCESS
588
00:18:43,423 --> 00:18:45,790
JAM SESSION.
FINDING INSPIRATION AND SUCCESS
IN AMERICA, 26-YEAR-OLD DAVID
589
00:18:45,792 --> 00:18:48,292
FINDING INSPIRATION AND SUCCESS
IN AMERICA, 26-YEAR-OLD DAVID
STAYED STATESIDE AND RELOCATED
590
00:18:48,294 --> 00:18:49,594
IN AMERICA, 26-YEAR-OLD DAVID
STAYED STATESIDE AND RELOCATED
TO LOS ANGELES.
591
00:18:49,596 --> 00:18:52,730
STAYED STATESIDE AND RELOCATED
TO LOS ANGELES.
IN 1975, HE SHOT HIS FIRST FILM,
592
00:18:52,732 --> 00:18:54,398
TO LOS ANGELES.
IN 1975, HE SHOT HIS FIRST FILM,
NICOLAS ROEG'S "THE MAN WHO
593
00:18:54,400 --> 00:18:55,766
IN 1975, HE SHOT HIS FIRST FILM,
NICOLAS ROEG'S "THE MAN WHO
FELL TO EARTH."
594
00:18:55,768 --> 00:18:58,603
NICOLAS ROEG'S "THE MAN WHO
FELL TO EARTH."
>> I CAN'T STAY.
595
00:18:58,605 --> 00:19:03,341
FELL TO EARTH."
>> I CAN'T STAY.
>> YOU'RE AN ALIEN!
596
00:19:03,343 --> 00:19:04,342
>> I CAN'T STAY.
>> YOU'RE AN ALIEN!
DO YOU KNOW WHAT WOULD HAPPEN
597
00:19:04,344 --> 00:19:06,210
>> YOU'RE AN ALIEN!
DO YOU KNOW WHAT WOULD HAPPEN
IF THEY FOUND OUT YOUR VISA HAD
598
00:19:06,212 --> 00:19:07,078
DO YOU KNOW WHAT WOULD HAPPEN
IF THEY FOUND OUT YOUR VISA HAD
EXPIRED?
599
00:19:07,080 --> 00:19:12,450
>> Drew: BOWIE REALLY SAW L.A.
AS ANOTHER ELEMENT OF HIS
INCARNATION, AS ANOTHER STAGE IN
600
00:19:12,452 --> 00:19:13,684
AS ANOTHER ELEMENT OF HIS
INCARNATION, AS ANOTHER STAGE IN
HIS EXPERIMENTATION.
601
00:19:13,686 --> 00:19:14,986
INCARNATION, AS ANOTHER STAGE IN
HIS EXPERIMENTATION.
HE SAW IT ALMOST AS AN ARTISTIC
602
00:19:14,988 --> 00:19:17,188
HIS EXPERIMENTATION.
HE SAW IT ALMOST AS AN ARTISTIC
EXERCISE IN ITSELF, RUNNING
603
00:19:17,190 --> 00:19:18,756
HE SAW IT ALMOST AS AN ARTISTIC
EXERCISE IN ITSELF, RUNNING
AROUND TOWN WITH JOHN LENNON,
604
00:19:18,758 --> 00:19:20,057
EXERCISE IN ITSELF, RUNNING
AROUND TOWN WITH JOHN LENNON,
PLAYING THE DRUG-ADDICTED ROCK
605
00:19:20,059 --> 00:19:21,792
AROUND TOWN WITH JOHN LENNON,
PLAYING THE DRUG-ADDICTED ROCK
STAR, AND HE REALLY SAW AN
606
00:19:21,794 --> 00:19:23,694
PLAYING THE DRUG-ADDICTED ROCK
STAR, AND HE REALLY SAW AN
ALMOST ART TO PLAYING THAT ROLE
607
00:19:23,696 --> 00:19:25,129
STAR, AND HE REALLY SAW AN
ALMOST ART TO PLAYING THAT ROLE
THERE.
608
00:19:25,131 --> 00:19:25,997
ALMOST ART TO PLAYING THAT ROLE
THERE.
>> Narrator: DAVID HAD BEEN
609
00:19:25,999 --> 00:19:29,634
>> Narrator: DAVID HAD BEEN
DABBLING IN DRUGS SINCE '73,
BUT BY THE TIME HE MOVED INTO A
610
00:19:29,636 --> 00:19:31,068
DABBLING IN DRUGS SINCE '73,
BUT BY THE TIME HE MOVED INTO A
RENTED MANSION IN THE HOLLYWOOD
611
00:19:31,070 --> 00:19:32,837
BUT BY THE TIME HE MOVED INTO A
RENTED MANSION IN THE HOLLYWOOD
HILLS, HE HAD BECOME A FULL-
612
00:19:32,839 --> 00:19:37,308
RENTED MANSION IN THE HOLLYWOOD
HILLS, HE HAD BECOME A FULL-
BLOWN PARANOID COCAINE ADDICT.
613
00:19:37,310 --> 00:19:41,012
>> Levy: NOT JUST COCAINE, BY
THE WAY.
BOWIE RECALLS THIS PERIOD AS
614
00:19:41,014 --> 00:19:43,548
THE WAY.
BOWIE RECALLS THIS PERIOD AS
ONE FULL OF AMPHETAMINE, PCP,
615
00:19:43,550 --> 00:19:45,583
BOWIE RECALLS THIS PERIOD AS
ONE FULL OF AMPHETAMINE, PCP,
AND COCAINE.
616
00:19:45,585 --> 00:19:47,785
ONE FULL OF AMPHETAMINE, PCP,
AND COCAINE.
THE PCP IS CRUCIAL.
617
00:19:47,787 --> 00:19:55,626
THE PCP IS CRUCIAL.
IT'S A HALLUCINOGENIC DRUG AND
NOT A PLEASANT DRUG FOR MANY
618
00:19:55,628 --> 00:19:57,828
IT'S A HALLUCINOGENIC DRUG AND
NOT A PLEASANT DRUG FOR MANY
WHO TAKE IT, AND BOWIE AT THIS
619
00:19:57,830 --> 00:20:00,031
NOT A PLEASANT DRUG FOR MANY
WHO TAKE IT, AND BOWIE AT THIS
POINT BECOMES CONVINCED, AMONG
620
00:20:00,033 --> 00:20:01,732
WHO TAKE IT, AND BOWIE AT THIS
POINT BECOMES CONVINCED, AMONG
OTHER THINGS, THAT EITHER
621
00:20:01,734 --> 00:20:03,367
POINT BECOMES CONVINCED, AMONG
OTHER THINGS, THAT EITHER
DEMONS OR THE GOVERNMENT WANT
622
00:20:03,369 --> 00:20:04,969
OTHER THINGS, THAT EITHER
DEMONS OR THE GOVERNMENT WANT
TO STEAL HIS PRECIOUS BODILY
623
00:20:04,971 --> 00:20:06,237
DEMONS OR THE GOVERNMENT WANT
TO STEAL HIS PRECIOUS BODILY
FLUIDS.
624
00:20:06,239 --> 00:20:08,839
TO STEAL HIS PRECIOUS BODILY
FLUIDS.
SO HE KEEPS THEM IN JARS IN THE
625
00:20:08,841 --> 00:20:10,575
FLUIDS.
SO HE KEEPS THEM IN JARS IN THE
REFRIGERATOR 'CAUSE YOU DON'T
626
00:20:10,577 --> 00:20:13,444
SO HE KEEPS THEM IN JARS IN THE
REFRIGERATOR 'CAUSE YOU DON'T
WANT THAT TO SPOIL.
627
00:20:13,446 --> 00:20:15,813
REFRIGERATOR 'CAUSE YOU DON'T
WANT THAT TO SPOIL.
BOWIE LOSES IT, EXCEPT
628
00:20:15,815 --> 00:20:16,414
WANT THAT TO SPOIL.
BOWIE LOSES IT, EXCEPT
CREATIVELY.
629
00:20:16,416 --> 00:20:17,715
BOWIE LOSES IT, EXCEPT
CREATIVELY.
>> Narrator: BOWIE TOOK HIS
630
00:20:17,717 --> 00:20:19,217
CREATIVELY.
>> Narrator: BOWIE TOOK HIS
DRUGGED-OUT ROCK-STAR PERSONA
631
00:20:19,219 --> 00:20:20,851
>> Narrator: BOWIE TOOK HIS
DRUGGED-OUT ROCK-STAR PERSONA
AND CREATED A NEW IDENTITY, THE
632
00:20:20,853 --> 00:20:22,853
DRUGGED-OUT ROCK-STAR PERSONA
AND CREATED A NEW IDENTITY, THE
THIN WHITE DUKE.
633
00:20:22,855 --> 00:20:24,322
AND CREATED A NEW IDENTITY, THE
THIN WHITE DUKE.
IT WAS AS THIS CHARACTER THAT
634
00:20:24,324 --> 00:20:25,856
THIN WHITE DUKE.
IT WAS AS THIS CHARACTER THAT
HE RECORDED HIS NEXT ALBUM,
635
00:20:25,858 --> 00:20:28,125
IT WAS AS THIS CHARACTER THAT
HE RECORDED HIS NEXT ALBUM,
"STATION TO STATION."
636
00:20:28,127 --> 00:20:29,760
HE RECORDED HIS NEXT ALBUM,
"STATION TO STATION."
THE CONSTANT INTAKE OF COCAINE
637
00:20:29,762 --> 00:20:31,529
"STATION TO STATION."
THE CONSTANT INTAKE OF COCAINE
PUSHED DAVID TO WORK FOR DAYS
638
00:20:31,531 --> 00:20:33,831
THE CONSTANT INTAKE OF COCAINE
PUSHED DAVID TO WORK FOR DAYS
AT A TIME WITHOUT SLEEP AND WITH
639
00:20:33,833 --> 00:20:38,603
PUSHED DAVID TO WORK FOR DAYS
AT A TIME WITHOUT SLEEP AND WITH
AN EYE TOWARDS EXPERIMENTATION.
640
00:20:38,605 --> 00:20:39,904
AT A TIME WITHOUT SLEEP AND WITH
AN EYE TOWARDS EXPERIMENTATION.
>> Collis: "STATION TO STATION"
641
00:20:39,906 --> 00:20:41,038
AN EYE TOWARDS EXPERIMENTATION.
>> Collis: "STATION TO STATION"
IS A REALLY, REALLY INTERESTING
642
00:20:41,040 --> 00:20:42,573
>> Collis: "STATION TO STATION"
IS A REALLY, REALLY INTERESTING
ALBUM, I THINK, IN AS MUCH AS
643
00:20:42,575 --> 00:20:43,708
IS A REALLY, REALLY INTERESTING
ALBUM, I THINK, IN AS MUCH AS
IT'S ONE OF THE--PROBABLY ONE OF
644
00:20:43,710 --> 00:20:45,142
ALBUM, I THINK, IN AS MUCH AS
IT'S ONE OF THE--PROBABLY ONE OF
THE FEW CASES WHERE THE ARTIST
645
00:20:45,144 --> 00:20:47,078
IT'S ONE OF THE--PROBABLY ONE OF
THE FEW CASES WHERE THE ARTIST
HAS NO RECOLLECTION WHATSOEVER
646
00:20:47,080 --> 00:20:49,747
THE FEW CASES WHERE THE ARTIST
HAS NO RECOLLECTION WHATSOEVER
OF MAKING IT.
647
00:20:49,749 --> 00:20:51,849
HAS NO RECOLLECTION WHATSOEVER
OF MAKING IT.
I INTERVIEWED BOWIE, AND HE SAID
648
00:20:51,851 --> 00:20:53,684
OF MAKING IT.
I INTERVIEWED BOWIE, AND HE SAID
THAT HE LITERALLY CAN'T REMEMBER
649
00:20:53,686 --> 00:20:55,353
I INTERVIEWED BOWIE, AND HE SAID
THAT HE LITERALLY CAN'T REMEMBER
MAKING THE RECORD, THAT WHEN HE
650
00:20:55,355 --> 00:20:56,887
THAT HE LITERALLY CAN'T REMEMBER
MAKING THE RECORD, THAT WHEN HE
HEARS THE SONGS ON THE RADIO, HE
651
00:20:56,889 --> 00:20:58,589
MAKING THE RECORD, THAT WHEN HE
HEARS THE SONGS ON THE RADIO, HE
KNOWS LOGICALLY THAT, YOU KNOW,
652
00:20:58,591 --> 00:20:59,457
HEARS THE SONGS ON THE RADIO, HE
KNOWS LOGICALLY THAT, YOU KNOW,
THEY'RE HIS.
653
00:20:59,459 --> 00:21:00,491
KNOWS LOGICALLY THAT, YOU KNOW,
THEY'RE HIS.
I MEAN, I PRESUME HE GETS
654
00:21:00,493 --> 00:21:01,826
THEY'RE HIS.
I MEAN, I PRESUME HE GETS
ROYALTY CHECKS FOR THEM, BUT,
655
00:21:01,828 --> 00:21:02,960
I MEAN, I PRESUME HE GETS
ROYALTY CHECKS FOR THEM, BUT,
YOU KNOW, IT'S JUST--IT'S LIKE
656
00:21:02,962 --> 00:21:04,462
ROYALTY CHECKS FOR THEM, BUT,
YOU KNOW, IT'S JUST--IT'S LIKE
SOMEONE ELSE MADE IT.
657
00:21:04,464 --> 00:21:05,630
YOU KNOW, IT'S JUST--IT'S LIKE
SOMEONE ELSE MADE IT.
>> Levy: BOWIE'S "STATION TO
658
00:21:05,632 --> 00:21:06,864
SOMEONE ELSE MADE IT.
>> Levy: BOWIE'S "STATION TO
STATION," THE RECORD FAMOUSLY
659
00:21:06,866 --> 00:21:08,432
>> Levy: BOWIE'S "STATION TO
STATION," THE RECORD FAMOUSLY
THAT HE DOESN'T REMEMBER MAKING,
660
00:21:08,434 --> 00:21:11,302
STATION," THE RECORD FAMOUSLY
THAT HE DOESN'T REMEMBER MAKING,
WEIRDLY IS NOT THE LONELY,
661
00:21:11,304 --> 00:21:13,571
THAT HE DOESN'T REMEMBER MAKING,
WEIRDLY IS NOT THE LONELY,
DISAFFECTED RECORD THAT YOU
662
00:21:13,573 --> 00:21:15,640
WEIRDLY IS NOT THE LONELY,
DISAFFECTED RECORD THAT YOU
WOULD SUSPECT A MAN WHO BELIEVES
663
00:21:15,642 --> 00:21:17,341
DISAFFECTED RECORD THAT YOU
WOULD SUSPECT A MAN WHO BELIEVES
THE GOVERNMENT AND SPACE ALIENS
664
00:21:17,343 --> 00:21:19,377
WOULD SUSPECT A MAN WHO BELIEVES
THE GOVERNMENT AND SPACE ALIENS
AND DEMONS AND WITCHES ARE OUT
665
00:21:19,379 --> 00:21:21,212
THE GOVERNMENT AND SPACE ALIENS
AND DEMONS AND WITCHES ARE OUT
TO GET HIM WOULD MAKE.
666
00:21:21,214 --> 00:21:23,281
AND DEMONS AND WITCHES ARE OUT
TO GET HIM WOULD MAKE.
IT'S NOT INSANE.
667
00:21:23,283 --> 00:21:25,916
TO GET HIM WOULD MAKE.
IT'S NOT INSANE.
IN FACT, IT'S ALMOST AS THOUGH
668
00:21:25,918 --> 00:21:27,685
IT'S NOT INSANE.
IN FACT, IT'S ALMOST AS THOUGH
WHILE THE REST OF HIS LIFE AND
669
00:21:27,687 --> 00:21:30,588
IN FACT, IT'S ALMOST AS THOUGH
WHILE THE REST OF HIS LIFE AND
MIND WENT ROUND THE BEND, BOWIE
670
00:21:30,590 --> 00:21:32,657
WHILE THE REST OF HIS LIFE AND
MIND WENT ROUND THE BEND, BOWIE
WAS DEEPLY ANCHORED IN THE
671
00:21:32,659 --> 00:21:36,994
MIND WENT ROUND THE BEND, BOWIE
WAS DEEPLY ANCHORED IN THE
MUSIC HE WAS MAKING.
672
00:21:36,996 --> 00:21:38,496
WAS DEEPLY ANCHORED IN THE
MUSIC HE WAS MAKING.
>> Narrator: DESPITE A CRIPPLING
673
00:21:38,498 --> 00:21:40,231
MUSIC HE WAS MAKING.
>> Narrator: DESPITE A CRIPPLING
COCAINE ADDICTION, BOWIE WAS
674
00:21:40,233 --> 00:21:41,766
>> Narrator: DESPITE A CRIPPLING
COCAINE ADDICTION, BOWIE WAS
PRODUCING GROUNDBREAKING MUSIC
675
00:21:41,768 --> 00:21:43,200
COCAINE ADDICTION, BOWIE WAS
PRODUCING GROUNDBREAKING MUSIC
LIKE THE "STATION TO STATION"
676
00:21:43,202 --> 00:21:44,935
PRODUCING GROUNDBREAKING MUSIC
LIKE THE "STATION TO STATION"
HIT, "GOLDEN YEARS," A TRIBUTE
677
00:21:44,937 --> 00:21:46,671
LIKE THE "STATION TO STATION"
HIT, "GOLDEN YEARS," A TRIBUTE
TO HIS WIFE ANGIE.
678
00:21:46,673 --> 00:21:47,972
HIT, "GOLDEN YEARS," A TRIBUTE
TO HIS WIFE ANGIE.
EVEN THOUGH HE WAS WRITING SONGS
679
00:21:47,974 --> 00:21:49,573
TO HIS WIFE ANGIE.
EVEN THOUGH HE WAS WRITING SONGS
FOR HER, THE RELATIONSHIP
680
00:21:49,575 --> 00:21:51,342
EVEN THOUGH HE WAS WRITING SONGS
FOR HER, THE RELATIONSHIP
BETWEEN DAVID AND HIS WIFE WAS
681
00:21:51,344 --> 00:21:52,977
FOR HER, THE RELATIONSHIP
BETWEEN DAVID AND HIS WIFE WAS
WELL PAST ITS GOLDEN YEARS.
682
00:21:52,979 --> 00:21:54,145
BETWEEN DAVID AND HIS WIFE WAS
WELL PAST ITS GOLDEN YEARS.
>> Seabrook: SHE WASN'T AROUND
683
00:21:54,147 --> 00:21:54,879
WELL PAST ITS GOLDEN YEARS.
>> Seabrook: SHE WASN'T AROUND
TOO MUCH.
684
00:21:54,881 --> 00:21:56,113
>> Seabrook: SHE WASN'T AROUND
TOO MUCH.
SHE PUT IT IN HER AUTOBIOGRAPHY
685
00:21:56,115 --> 00:21:57,315
TOO MUCH.
SHE PUT IT IN HER AUTOBIOGRAPHY
THEY HAD A MARRIAGE OF
686
00:21:57,317 --> 00:21:58,282
SHE PUT IT IN HER AUTOBIOGRAPHY
THEY HAD A MARRIAGE OF
CONVENIENCE.
687
00:21:58,284 --> 00:21:59,317
THEY HAD A MARRIAGE OF
CONVENIENCE.
WHEN THE GOING GOT TOUGH, AS IT
688
00:21:59,319 --> 00:22:00,718
CONVENIENCE.
WHEN THE GOING GOT TOUGH, AS IT
DID WHEN HE WAS IN L.A., SHE
689
00:22:00,720 --> 00:22:02,486
WHEN THE GOING GOT TOUGH, AS IT
DID WHEN HE WAS IN L.A., SHE
WASN'T AROUND TOO MUCH.
690
00:22:02,488 --> 00:22:06,691
SHE SPENT A LOT OF TIME IN
LONDON THEN, LEAVING HIM TO HIS
OWN DEVICES.
691
00:22:06,693 --> 00:22:07,958
LONDON THEN, LEAVING HIM TO HIS
OWN DEVICES.
THEY JUST HAD VERY SEPARATE
692
00:22:07,960 --> 00:22:09,260
OWN DEVICES.
THEY JUST HAD VERY SEPARATE
LIVES.
693
00:22:09,262 --> 00:22:10,261
THEY JUST HAD VERY SEPARATE
LIVES.
>> Narrator: HIS OLD FRIEND,
694
00:22:10,263 --> 00:22:13,264
>> Narrator: HIS OLD FRIEND,
EX-STOOGES SINGER IGGY POP, WAS
ALSO IN A PERIOD OF PERSONAL
695
00:22:13,266 --> 00:22:14,799
EX-STOOGES SINGER IGGY POP, WAS
ALSO IN A PERIOD OF PERSONAL
TURMOIL.
696
00:22:14,801 --> 00:22:16,367
ALSO IN A PERIOD OF PERSONAL
TURMOIL.
NOT ONLY WAS IGGY BROKE AND
697
00:22:16,369 --> 00:22:18,135
TURMOIL.
NOT ONLY WAS IGGY BROKE AND
HOMELESS, HE WAS SO RAVAGED BY
698
00:22:18,137 --> 00:22:19,970
NOT ONLY WAS IGGY BROKE AND
HOMELESS, HE WAS SO RAVAGED BY
HEROIN THAT HE ENDED UP IN AN
699
00:22:19,972 --> 00:22:23,908
HOMELESS, HE WAS SO RAVAGED BY
HEROIN THAT HE ENDED UP IN AN
L.A. MENTAL HOSPITAL.
700
00:22:23,910 --> 00:22:25,209
HEROIN THAT HE ENDED UP IN AN
L.A. MENTAL HOSPITAL.
>> Loder: IGGY WAS SORT OF AT A
701
00:22:25,211 --> 00:22:26,444
L.A. MENTAL HOSPITAL.
>> Loder: IGGY WAS SORT OF AT A
LOW POINT, AND THE ONLY PERSON
702
00:22:26,446 --> 00:22:27,645
>> Loder: IGGY WAS SORT OF AT A
LOW POINT, AND THE ONLY PERSON
THAT CARED ABOUT HIM WAS DAVID
703
00:22:27,647 --> 00:22:28,479
LOW POINT, AND THE ONLY PERSON
THAT CARED ABOUT HIM WAS DAVID
BOWIE.
704
00:22:28,481 --> 00:22:29,780
THAT CARED ABOUT HIM WAS DAVID
BOWIE.
NOBODY ELSE CARED.
705
00:22:29,782 --> 00:22:31,349
BOWIE.
NOBODY ELSE CARED.
HE COULD'VE DIED, AND NO ONE
706
00:22:31,351 --> 00:22:34,418
NOBODY ELSE CARED.
HE COULD'VE DIED, AND NO ONE
WOULD HAVE CARED AT ALL.
707
00:22:34,420 --> 00:22:36,721
HE COULD'VE DIED, AND NO ONE
WOULD HAVE CARED AT ALL.
>> Levy: AND SO IGGY ENDS UP IN
708
00:22:36,723 --> 00:22:39,857
WOULD HAVE CARED AT ALL.
>> Levy: AND SO IGGY ENDS UP IN
A SANITARIUM, AN INSANE ASYLUM,
709
00:22:39,859 --> 00:22:43,294
>> Levy: AND SO IGGY ENDS UP IN
A SANITARIUM, AN INSANE ASYLUM,
SOME SORT OF HOSPITAL WHERE HE
710
00:22:43,296 --> 00:22:47,365
A SANITARIUM, AN INSANE ASYLUM,
SOME SORT OF HOSPITAL WHERE HE
CAN DRY OUT, AND HE SAID ONE OF
711
00:22:47,367 --> 00:22:50,067
SOME SORT OF HOSPITAL WHERE HE
CAN DRY OUT, AND HE SAID ONE OF
THE FEW FRIENDS TO COME VISIT
712
00:22:50,069 --> 00:22:51,635
CAN DRY OUT, AND HE SAID ONE OF
THE FEW FRIENDS TO COME VISIT
HIM IS DAVID BOWIE.
713
00:22:51,637 --> 00:22:52,803
THE FEW FRIENDS TO COME VISIT
HIM IS DAVID BOWIE.
>> Collis: THERE'S THIS
714
00:22:52,805 --> 00:22:54,872
HIM IS DAVID BOWIE.
>> Collis: THERE'S THIS
LEGENDARY STORY ABOUT BOWIE
715
00:22:54,874 --> 00:22:57,141
>> Collis: THERE'S THIS
LEGENDARY STORY ABOUT BOWIE
GOING TO VISIT IGGY POP IN A
716
00:22:57,143 --> 00:22:58,909
LEGENDARY STORY ABOUT BOWIE
GOING TO VISIT IGGY POP IN A
PSYCHIATRIC HOSPITAL, AND THE
717
00:22:58,911 --> 00:23:00,811
GOING TO VISIT IGGY POP IN A
PSYCHIATRIC HOSPITAL, AND THE
APOCRYPHAL--WHAT I ASSUME TO BE
718
00:23:00,813 --> 00:23:02,346
PSYCHIATRIC HOSPITAL, AND THE
APOCRYPHAL--WHAT I ASSUME TO BE
THE APOCRYPHAL TALE WAS THAT
719
00:23:02,348 --> 00:23:04,215
APOCRYPHAL--WHAT I ASSUME TO BE
THE APOCRYPHAL TALE WAS THAT
HE'D TAKEN A BUNCH OF DRUGS IN
720
00:23:04,217 --> 00:23:05,416
THE APOCRYPHAL TALE WAS THAT
HE'D TAKEN A BUNCH OF DRUGS IN
FOR IGGY POP.
721
00:23:05,418 --> 00:23:07,118
HE'D TAKEN A BUNCH OF DRUGS IN
FOR IGGY POP.
WHEN I SAID, "WHY?" HE SAID--
722
00:23:07,120 --> 00:23:08,552
FOR IGGY POP.
WHEN I SAID, "WHY?" HE SAID--
BOWIE SAID BECAUSE HE THOUGHT
723
00:23:08,554 --> 00:23:09,887
WHEN I SAID, "WHY?" HE SAID--
BOWIE SAID BECAUSE HE THOUGHT
THAT, YOU KNOW, IGGY HAD--
724
00:23:09,889 --> 00:23:11,088
BOWIE SAID BECAUSE HE THOUGHT
THAT, YOU KNOW, IGGY HAD--
WOULDN'T HAVE HAD ANY DRUGS FOR
725
00:23:11,090 --> 00:23:12,256
THAT, YOU KNOW, IGGY HAD--
WOULDN'T HAVE HAD ANY DRUGS FOR
A WHILE AND COULD--YOU KNOW,
726
00:23:12,258 --> 00:23:14,225
WOULDN'T HAVE HAD ANY DRUGS FOR
A WHILE AND COULD--YOU KNOW,
PROBABLY NEED THEM.
727
00:23:18,463 --> 00:23:23,734
>> Narrator: DAVID'S OWN DRUG
USE HAD BECOME SO BAD THAT HE
REPORTEDLY WEIGHED 80 POUNDS AND
728
00:23:23,736 --> 00:23:25,336
USE HAD BECOME SO BAD THAT HE
REPORTEDLY WEIGHED 80 POUNDS AND
WAS LIVING ON A DIET OF MILK AND
729
00:23:25,338 --> 00:23:26,570
REPORTEDLY WEIGHED 80 POUNDS AND
WAS LIVING ON A DIET OF MILK AND
COCAINE.
730
00:23:26,572 --> 00:23:28,606
WAS LIVING ON A DIET OF MILK AND
COCAINE.
DYING A SLOW DEATH, BOWIE KNEW
731
00:23:28,608 --> 00:23:30,274
COCAINE.
DYING A SLOW DEATH, BOWIE KNEW
HE HAD TO GET OUT OF HOLLYWOOD,
732
00:23:30,276 --> 00:23:31,742
DYING A SLOW DEATH, BOWIE KNEW
HE HAD TO GET OUT OF HOLLYWOOD,
AND HE WASN'T GOING TO LEAVE
733
00:23:31,744 --> 00:23:32,910
HE HAD TO GET OUT OF HOLLYWOOD,
AND HE WASN'T GOING TO LEAVE
IGGY BEHIND.
734
00:23:32,912 --> 00:23:34,178
AND HE WASN'T GOING TO LEAVE
IGGY BEHIND.
DAVID RESCUED IGGY FROM THE
735
00:23:34,180 --> 00:23:36,213
IGGY BEHIND.
DAVID RESCUED IGGY FROM THE
HOSPITAL, GOT HIM ON A PLANE,
736
00:23:36,215 --> 00:23:37,515
DAVID RESCUED IGGY FROM THE
HOSPITAL, GOT HIM ON A PLANE,
AND THE DAMAGED DUO FLED TO
737
00:23:37,517 --> 00:23:39,283
HOSPITAL, GOT HIM ON A PLANE,
AND THE DAMAGED DUO FLED TO
EUROPE, EVENTUALLY ENDING UP IN
738
00:23:39,285 --> 00:23:41,552
AND THE DAMAGED DUO FLED TO
EUROPE, EVENTUALLY ENDING UP IN
THE MOST UNLIKELY OF CITIES.
739
00:23:51,129 --> 00:23:57,401
>> Narrator: IN 1976, IGGY POP
AND 29-YEAR-OLD DAVID BOWIE FLED
LOS ANGELES FOR EUROPE WITH
740
00:23:57,403 --> 00:23:58,969
AND 29-YEAR-OLD DAVID BOWIE FLED
LOS ANGELES FOR EUROPE WITH
HOPES OF GETTING SOBER AND
741
00:23:58,971 --> 00:24:00,237
LOS ANGELES FOR EUROPE WITH
HOPES OF GETTING SOBER AND
FINDING REDEMPTION THROUGH
742
00:24:00,239 --> 00:24:02,706
HOPES OF GETTING SOBER AND
FINDING REDEMPTION THROUGH
MUSIC.
743
00:24:02,708 --> 00:24:04,275
FINDING REDEMPTION THROUGH
MUSIC.
THE PAIR EVENTUALLY ENDED UP IN
744
00:24:04,277 --> 00:24:06,243
MUSIC.
THE PAIR EVENTUALLY ENDED UP IN
THE DIVIDED CITY OF BERLIN,
745
00:24:06,245 --> 00:24:07,711
THE PAIR EVENTUALLY ENDED UP IN
THE DIVIDED CITY OF BERLIN,
KICKING OFF WHAT WOULD PROVE TO
746
00:24:07,713 --> 00:24:09,246
THE DIVIDED CITY OF BERLIN,
KICKING OFF WHAT WOULD PROVE TO
BE ONE OF THE MOST CREATIVE
747
00:24:09,248 --> 00:24:12,483
KICKING OFF WHAT WOULD PROVE TO
BE ONE OF THE MOST CREATIVE
PERIODS FOR BOTH MUSICIANS.
748
00:24:12,485 --> 00:24:16,921
>> Collis: I THINK WHAT'S
INTERESTING ABOUT WHEN BOWIE
WENT TO BERLIN IS THAT THE
749
00:24:16,923 --> 00:24:18,389
INTERESTING ABOUT WHEN BOWIE
WENT TO BERLIN IS THAT THE
TRADITION IS OF ROCK STARS GOING
750
00:24:18,391 --> 00:24:20,257
WENT TO BERLIN IS THAT THE
TRADITION IS OF ROCK STARS GOING
TO THE COUNTRY TO GET THEIR
751
00:24:20,259 --> 00:24:22,560
TRADITION IS OF ROCK STARS GOING
TO THE COUNTRY TO GET THEIR
HEADS TOGETHER, BUT BOWIE KIND
752
00:24:22,562 --> 00:24:23,727
TO THE COUNTRY TO GET THEIR
HEADS TOGETHER, BUT BOWIE KIND
OF DID THE REVERSE.
753
00:24:23,729 --> 00:24:24,662
HEADS TOGETHER, BUT BOWIE KIND
OF DID THE REVERSE.
IF YOUR HEAD'S NOT IN A GOOD
754
00:24:24,664 --> 00:24:28,399
IF YOUR HEAD'S NOT IN A GOOD
PLACE, WHERE DON'T YOU WANT TO
GO IS, LIKE, BERLIN IN THE MID-
755
00:24:28,401 --> 00:24:29,333
PLACE, WHERE DON'T YOU WANT TO
GO IS, LIKE, BERLIN IN THE MID-
'70s.
756
00:24:29,335 --> 00:24:30,534
GO IS, LIKE, BERLIN IN THE MID-
'70s.
>> Levy: WHY DOES DAVID BOWIE
757
00:24:30,536 --> 00:24:33,070
'70s.
>> Levy: WHY DOES DAVID BOWIE
GO TO BERLIN?
758
00:24:33,072 --> 00:24:36,807
>> Levy: WHY DOES DAVID BOWIE
GO TO BERLIN?
WELL, FOR ONE THING, THAT CITY
759
00:24:36,809 --> 00:24:40,411
GO TO BERLIN?
WELL, FOR ONE THING, THAT CITY
IS A METAPHOR IN CONCRETE FOR
760
00:24:40,413 --> 00:24:43,280
WELL, FOR ONE THING, THAT CITY
IS A METAPHOR IN CONCRETE FOR
THE KIND OF ALIENATION THAT
761
00:24:43,282 --> 00:24:45,716
IS A METAPHOR IN CONCRETE FOR
THE KIND OF ALIENATION THAT
BOWIE HAD WRITTEN ABOUT, SUNG
762
00:24:45,718 --> 00:24:47,918
THE KIND OF ALIENATION THAT
BOWIE HAD WRITTEN ABOUT, SUNG
ABOUT, MADE MUSIC ABOUT HIS
763
00:24:47,920 --> 00:24:49,587
BOWIE HAD WRITTEN ABOUT, SUNG
ABOUT, MADE MUSIC ABOUT HIS
ENTIRE CAREER UP TO THAT POINT.
764
00:24:49,589 --> 00:24:50,654
ABOUT, MADE MUSIC ABOUT HIS
ENTIRE CAREER UP TO THAT POINT.
>> Seabrook: I THINK HE NEEDED
765
00:24:50,656 --> 00:24:52,356
ENTIRE CAREER UP TO THAT POINT.
>> Seabrook: I THINK HE NEEDED
THAT SENSE OF ANONYMITY THAT HE
766
00:24:52,358 --> 00:24:53,491
>> Seabrook: I THINK HE NEEDED
THAT SENSE OF ANONYMITY THAT HE
FOUND IN BERLIN.
767
00:24:53,493 --> 00:24:56,327
THAT SENSE OF ANONYMITY THAT HE
FOUND IN BERLIN.
IT WAS A CITY FULL OF DRAFT
768
00:24:56,329 --> 00:24:58,162
FOUND IN BERLIN.
IT WAS A CITY FULL OF DRAFT
DODGERS AND OUTCASTS AND SOCIAL
769
00:24:58,164 --> 00:24:59,763
IT WAS A CITY FULL OF DRAFT
DODGERS AND OUTCASTS AND SOCIAL
MISFITS, AND HE WAS ABLE TO JUST
770
00:24:59,765 --> 00:25:02,500
DODGERS AND OUTCASTS AND SOCIAL
MISFITS, AND HE WAS ABLE TO JUST
GET ON AND DO WHAT HE WANTED AND
771
00:25:02,502 --> 00:25:04,869
MISFITS, AND HE WAS ABLE TO JUST
GET ON AND DO WHAT HE WANTED AND
DEVELOP HIS MUSIC WITHOUT HAVING
772
00:25:04,871 --> 00:25:07,571
GET ON AND DO WHAT HE WANTED AND
DEVELOP HIS MUSIC WITHOUT HAVING
TO BE DAVID BOWIE THE POP STAR.
773
00:25:07,573 --> 00:25:08,672
DEVELOP HIS MUSIC WITHOUT HAVING
TO BE DAVID BOWIE THE POP STAR.
>> Kandell: BERLIN KIND OF
774
00:25:08,674 --> 00:25:09,874
TO BE DAVID BOWIE THE POP STAR.
>> Kandell: BERLIN KIND OF
LOOKED THE WAY HE FELT.
775
00:25:09,876 --> 00:25:11,275
>> Kandell: BERLIN KIND OF
LOOKED THE WAY HE FELT.
YOU KNOW, KIND OF SHABBY, KIND
776
00:25:11,277 --> 00:25:12,543
LOOKED THE WAY HE FELT.
YOU KNOW, KIND OF SHABBY, KIND
OF AT ODDS WITH ITSELF, AND--
777
00:25:12,545 --> 00:25:19,450
AND, YOU KNOW, A BIT OF A--
A BIT OF A MESS, MAYBE TOO MANY
CHEMICALS IN IT, INDUSTRIAL
778
00:25:19,452 --> 00:25:20,384
A BIT OF A MESS, MAYBE TOO MANY
CHEMICALS IN IT, INDUSTRIAL
UGLINESS.
779
00:25:20,386 --> 00:25:21,886
CHEMICALS IN IT, INDUSTRIAL
UGLINESS.
HIS BRAIN FELT LIKE WHAT HE WAS
780
00:25:21,888 --> 00:25:26,056
HIS BRAIN FELT LIKE WHAT HE WAS
SEEING OUT HIS WINDOW, AND THAT
WAS PROBABLY PRETTY
781
00:25:26,058 --> 00:25:28,092
SEEING OUT HIS WINDOW, AND THAT
WAS PROBABLY PRETTY
INSPIRATIONAL, AND IT JUST MADE
782
00:25:28,094 --> 00:25:30,961
WAS PROBABLY PRETTY
INSPIRATIONAL, AND IT JUST MADE
HIM WANT TO WORK.
783
00:25:30,963 --> 00:25:32,129
INSPIRATIONAL, AND IT JUST MADE
HIM WANT TO WORK.
>> Narrator: BOWIE AND IGGY
784
00:25:32,131 --> 00:25:33,898
HIM WANT TO WORK.
>> Narrator: BOWIE AND IGGY
SPLIT THEIR TIME BETWEEN GERMANY
785
00:25:33,900 --> 00:25:35,599
>> Narrator: BOWIE AND IGGY
SPLIT THEIR TIME BETWEEN GERMANY
AND A STUDIO IN FRANCE WRITING
786
00:25:35,601 --> 00:25:37,001
SPLIT THEIR TIME BETWEEN GERMANY
AND A STUDIO IN FRANCE WRITING
AND RECORDING WHAT WOULD
787
00:25:37,003 --> 00:25:38,435
AND A STUDIO IN FRANCE WRITING
AND RECORDING WHAT WOULD
EVENTUALLY BECOME TWO VERY
788
00:25:38,437 --> 00:25:40,404
AND RECORDING WHAT WOULD
EVENTUALLY BECOME TWO VERY
DIFFERENT RECORDS, IGGY'S FIRST
789
00:25:40,406 --> 00:25:43,707
EVENTUALLY BECOME TWO VERY
DIFFERENT RECORDS, IGGY'S FIRST
SOLO ALBUM, "THE IDIOT"...
790
00:25:43,709 --> 00:25:46,477
DIFFERENT RECORDS, IGGY'S FIRST
SOLO ALBUM, "THE IDIOT"...
AND DAVID BOWIE'S "LOW."
791
00:25:46,479 --> 00:25:47,778
SOLO ALBUM, "THE IDIOT"...
AND DAVID BOWIE'S "LOW."
>> Collis: I THINK WHAT'S
792
00:25:47,780 --> 00:25:49,013
AND DAVID BOWIE'S "LOW."
>> Collis: I THINK WHAT'S
INTERESTING ABOUT THE
793
00:25:49,015 --> 00:25:50,748
>> Collis: I THINK WHAT'S
INTERESTING ABOUT THE
COLLABORATIONS THAT DAVID BOWIE
794
00:25:50,750 --> 00:25:52,383
INTERESTING ABOUT THE
COLLABORATIONS THAT DAVID BOWIE
DID IN THE '70s IS THAT THEY
795
00:25:52,385 --> 00:25:54,118
COLLABORATIONS THAT DAVID BOWIE
DID IN THE '70s IS THAT THEY
WERE PROPER COLLABORATIONS, AND
796
00:25:54,120 --> 00:25:55,786
DID IN THE '70s IS THAT THEY
WERE PROPER COLLABORATIONS, AND
BASED ON PROPER RELATIONSHIPS.
797
00:25:55,788 --> 00:25:57,154
WERE PROPER COLLABORATIONS, AND
BASED ON PROPER RELATIONSHIPS.
I THINK WE'VE ALL HEARD STORIES
798
00:25:57,156 --> 00:25:58,923
BASED ON PROPER RELATIONSHIPS.
I THINK WE'VE ALL HEARD STORIES
ABOUT SO-CALLED DUETS THAT TAKE
799
00:25:58,925 --> 00:26:00,758
I THINK WE'VE ALL HEARD STORIES
ABOUT SO-CALLED DUETS THAT TAKE
PLACE THESE DAYS WHERE THE
800
00:26:00,760 --> 00:26:02,126
ABOUT SO-CALLED DUETS THAT TAKE
PLACE THESE DAYS WHERE THE
PEOPLE AREN'T EVEN ON THE SAME
801
00:26:02,128 --> 00:26:03,928
PLACE THESE DAYS WHERE THE
PEOPLE AREN'T EVEN ON THE SAME
CONTINENT, WHEREAS, YOU KNOW, IN
802
00:26:03,930 --> 00:26:05,329
PEOPLE AREN'T EVEN ON THE SAME
CONTINENT, WHEREAS, YOU KNOW, IN
THE CASE OF BOWIE AND IGGY POP,
803
00:26:05,331 --> 00:26:06,664
CONTINENT, WHEREAS, YOU KNOW, IN
THE CASE OF BOWIE AND IGGY POP,
I MEAN, THESE ARE PEOPLE THAT,
804
00:26:06,666 --> 00:26:07,865
THE CASE OF BOWIE AND IGGY POP,
I MEAN, THESE ARE PEOPLE THAT,
YOU KNOW, KNEW AND LIKED EACH
805
00:26:07,867 --> 00:26:10,501
I MEAN, THESE ARE PEOPLE THAT,
YOU KNOW, KNEW AND LIKED EACH
OTHER, BUT THEIR COLLABORATIONS
806
00:26:10,503 --> 00:26:12,236
YOU KNOW, KNEW AND LIKED EACH
OTHER, BUT THEIR COLLABORATIONS
WERE BUILT ON THESE VERY REAL
807
00:26:12,238 --> 00:26:13,504
OTHER, BUT THEIR COLLABORATIONS
WERE BUILT ON THESE VERY REAL
RELATIONSHIPS.
808
00:26:13,506 --> 00:26:18,842
>> Levy: YOU KNOW, I MEAN, HE'S
VERY CLEAR ABOUT PAYING HOMAGE
TO THAT WHICH HELPED HIM ALONG
809
00:26:18,844 --> 00:26:20,311
VERY CLEAR ABOUT PAYING HOMAGE
TO THAT WHICH HELPED HIM ALONG
HIS WAY.
810
00:26:20,313 --> 00:26:21,579
TO THAT WHICH HELPED HIM ALONG
HIS WAY.
HE WANTS THE WORLD TO HEAR IGGY
811
00:26:21,581 --> 00:26:26,650
HE WANTS THE WORLD TO HEAR IGGY
POP, LITERALLY SAVES THAT GUY
FROM THE INSANE ASYLUM, GETS HIM
812
00:26:26,652 --> 00:26:28,552
POP, LITERALLY SAVES THAT GUY
FROM THE INSANE ASYLUM, GETS HIM
OUT TO MAKE MUSIC, RECORDS A
813
00:26:28,554 --> 00:26:30,120
FROM THE INSANE ASYLUM, GETS HIM
OUT TO MAKE MUSIC, RECORDS A
COUPLE OF RECORDS WITH HIM,
814
00:26:30,122 --> 00:26:32,056
OUT TO MAKE MUSIC, RECORDS A
COUPLE OF RECORDS WITH HIM,
TOURS WITH HIM PLAYING IN
815
00:26:32,058 --> 00:26:33,324
COUPLE OF RECORDS WITH HIM,
TOURS WITH HIM PLAYING IN
IGGY'S BAND.
816
00:26:33,326 --> 00:26:38,796
>> Seabrook: BOWIE DID GO OUT AS
IGGY'S KEYBOARD PLAYER ON A TOUR
IN SUPPORT OF "THE IDIOT," WHICH
817
00:26:38,798 --> 00:26:39,763
IGGY'S KEYBOARD PLAYER ON A TOUR
IN SUPPORT OF "THE IDIOT," WHICH
ALLOWED HIM TO GENTLY EASE
818
00:26:39,765 --> 00:26:41,632
IN SUPPORT OF "THE IDIOT," WHICH
ALLOWED HIM TO GENTLY EASE
HIMSELF BACK IN TO THE PROCESS
819
00:26:41,634 --> 00:26:42,866
ALLOWED HIM TO GENTLY EASE
HIMSELF BACK IN TO THE PROCESS
OF BEING A PERFORMER AND BEING
820
00:26:42,868 --> 00:26:44,501
HIMSELF BACK IN TO THE PROCESS
OF BEING A PERFORMER AND BEING
A ROCK STAR WITHOUT HAVING TO
821
00:26:44,503 --> 00:26:46,270
OF BEING A PERFORMER AND BEING
A ROCK STAR WITHOUT HAVING TO
STAND ON THE FRONT LINE OF IT,
822
00:26:46,272 --> 00:26:47,471
A ROCK STAR WITHOUT HAVING TO
STAND ON THE FRONT LINE OF IT,
GAVE HIM A BIT OF A CONFIDENCE
823
00:26:47,473 --> 00:26:50,007
GAVE HIM A BIT OF A CONFIDENCE
BOOST.
HE'D MAYBE NOT QUITE RECOVERED
824
00:26:50,009 --> 00:26:51,241
BOOST.
HE'D MAYBE NOT QUITE RECOVERED
FROM EVERYTHING HE'D BEEN
825
00:26:51,243 --> 00:26:52,176
HE'D MAYBE NOT QUITE RECOVERED
FROM EVERYTHING HE'D BEEN
THROUGH BUT WAS CERTAINLY A LOT
826
00:26:52,178 --> 00:26:53,310
FROM EVERYTHING HE'D BEEN
THROUGH BUT WAS CERTAINLY A LOT
STRONGER FOR IT.
827
00:26:53,312 --> 00:26:54,612
THROUGH BUT WAS CERTAINLY A LOT
STRONGER FOR IT.
>> Narrator: "THE IDIOT'S"
828
00:26:54,614 --> 00:26:55,913
STRONGER FOR IT.
>> Narrator: "THE IDIOT'S"
IMPACT WAS IMMEDIATE, PROVIDING
829
00:26:55,915 --> 00:26:57,247
>> Narrator: "THE IDIOT'S"
IMPACT WAS IMMEDIATE, PROVIDING
THE BLUEPRINT FOR THE LATE-'70s
830
00:26:57,249 --> 00:26:59,683
IMPACT WAS IMMEDIATE, PROVIDING
THE BLUEPRINT FOR THE LATE-'70s
MOVEMENT KNOWN AS POST-PUNK.
831
00:26:59,685 --> 00:27:01,552
THE BLUEPRINT FOR THE LATE-'70s
MOVEMENT KNOWN AS POST-PUNK.
THE REACTION TO DAVID'S "LOW"
832
00:27:01,554 --> 00:27:05,823
MOVEMENT KNOWN AS POST-PUNK.
THE REACTION TO DAVID'S "LOW"
WAS ANOTHER STORY.
833
00:27:05,825 --> 00:27:07,257
THE REACTION TO DAVID'S "LOW"
WAS ANOTHER STORY.
>> Seabrook: I THINK WHEN "LOW"
834
00:27:07,259 --> 00:27:08,726
WAS ANOTHER STORY.
>> Seabrook: I THINK WHEN "LOW"
CAME OUT, THE MAIN REACTION TO
835
00:27:08,728 --> 00:27:11,662
>> Seabrook: I THINK WHEN "LOW"
CAME OUT, THE MAIN REACTION TO
IT WAS ONE OF CONFUSION.
836
00:27:11,664 --> 00:27:12,863
CAME OUT, THE MAIN REACTION TO
IT WAS ONE OF CONFUSION.
MOST PEOPLE WERE JUST BAFFLED
837
00:27:12,865 --> 00:27:13,697
IT WAS ONE OF CONFUSION.
MOST PEOPLE WERE JUST BAFFLED
BY IT.
838
00:27:13,699 --> 00:27:15,733
MOST PEOPLE WERE JUST BAFFLED
BY IT.
THEY WEREN'T SURE WHY A
839
00:27:15,735 --> 00:27:17,501
BY IT.
THEY WEREN'T SURE WHY A
MUSICIAN WOULD--SUCH AS BOWIE
840
00:27:17,503 --> 00:27:18,836
THEY WEREN'T SURE WHY A
MUSICIAN WOULD--SUCH AS BOWIE
WOULD SUDDENLY START USING
841
00:27:18,838 --> 00:27:20,638
MUSICIAN WOULD--SUCH AS BOWIE
WOULD SUDDENLY START USING
SYNTHESIZERS AND MOVE IN TO
842
00:27:20,640 --> 00:27:21,905
WOULD SUDDENLY START USING
SYNTHESIZERS AND MOVE IN TO
THIS ELECTRONIC WORLD.
843
00:27:21,907 --> 00:27:23,641
SYNTHESIZERS AND MOVE IN TO
THIS ELECTRONIC WORLD.
I THINK SOME PEOPLE WERE ALMOST
844
00:27:23,643 --> 00:27:24,541
THIS ELECTRONIC WORLD.
I THINK SOME PEOPLE WERE ALMOST
OUTRAGED BY IT.
845
00:27:24,543 --> 00:27:29,146
>> O'Brien: WHAT I LOVED ABOUT
"LOW" WAS THAT IT JUST--IT
SEEMED TO COME OUT OF NOWHERE.
846
00:27:29,148 --> 00:27:30,681
"LOW" WAS THAT IT JUST--IT
SEEMED TO COME OUT OF NOWHERE.
IT DIDN'T--IT DIDN'T SEEM TO
847
00:27:30,683 --> 00:27:32,983
SEEMED TO COME OUT OF NOWHERE.
IT DIDN'T--IT DIDN'T SEEM TO
HAVE ANY IMMEDIATE, LIKE,
848
00:27:32,985 --> 00:27:35,319
IT DIDN'T--IT DIDN'T SEEM TO
HAVE ANY IMMEDIATE, LIKE,
ANTECEDENT, OR--YOU KNOW, IT
849
00:27:35,321 --> 00:27:36,820
HAVE ANY IMMEDIATE, LIKE,
ANTECEDENT, OR--YOU KNOW, IT
WAS, LIKE, JUST KIND OF, "OKAY,
850
00:27:36,822 --> 00:27:39,023
ANTECEDENT, OR--YOU KNOW, IT
WAS, LIKE, JUST KIND OF, "OKAY,
LET'S REINVENT WHAT YOU CAN DO
851
00:27:39,025 --> 00:27:41,091
WAS, LIKE, JUST KIND OF, "OKAY,
LET'S REINVENT WHAT YOU CAN DO
WITH GUITAR, DRUMS, AND BASS."
852
00:27:41,093 --> 00:27:42,693
LET'S REINVENT WHAT YOU CAN DO
WITH GUITAR, DRUMS, AND BASS."
IT SORT OF WAS RETHINKING POP
853
00:27:42,695 --> 00:27:44,895
IT SORT OF WAS RETHINKING POP
MUSIC.
>> Narrator: THE SOUND OF "LOW"
854
00:27:44,897 --> 00:27:46,130
MUSIC.
>> Narrator: THE SOUND OF "LOW"
APPEARED TO COME OUT OF THE
855
00:27:46,132 --> 00:27:47,531
>> Narrator: THE SOUND OF "LOW"
APPEARED TO COME OUT OF THE
BLUE, BUT THE ALBUM MIRRORED
856
00:27:47,533 --> 00:27:49,299
APPEARED TO COME OUT OF THE
BLUE, BUT THE ALBUM MIRRORED
EVERY PERVIOUS BOWIE EFFORT IN
857
00:27:49,301 --> 00:27:51,702
BLUE, BUT THE ALBUM MIRRORED
EVERY PERVIOUS BOWIE EFFORT IN
TWO KEY WAYS--IT WAS THE PRODUCT
858
00:27:51,704 --> 00:27:53,671
EVERY PERVIOUS BOWIE EFFORT IN
TWO KEY WAYS--IT WAS THE PRODUCT
OF BOWIE'S ENVIRONMENT AND A
859
00:27:53,673 --> 00:27:54,738
TWO KEY WAYS--IT WAS THE PRODUCT
OF BOWIE'S ENVIRONMENT AND A
RESULT OF INSPIRED
860
00:27:54,740 --> 00:27:58,542
OF BOWIE'S ENVIRONMENT AND A
RESULT OF INSPIRED
COLLABORATION.
861
00:27:58,544 --> 00:28:00,844
RESULT OF INSPIRED
COLLABORATION.
>> Seabrook: '76 AND '77, BOWIE
862
00:28:00,846 --> 00:28:03,213
COLLABORATION.
>> Seabrook: '76 AND '77, BOWIE
LIVED IN A QUITE POOR PART OF
863
00:28:03,215 --> 00:28:05,382
>> Seabrook: '76 AND '77, BOWIE
LIVED IN A QUITE POOR PART OF
BERLIN ABOVE AN AUTO-REPAIR
864
00:28:05,384 --> 00:28:06,350
LIVED IN A QUITE POOR PART OF
BERLIN ABOVE AN AUTO-REPAIR
SHOP.
865
00:28:06,352 --> 00:28:08,252
BERLIN ABOVE AN AUTO-REPAIR
SHOP.
IGGY ONCE SAID THAT, AVERAGE
866
00:28:08,254 --> 00:28:10,888
SHOP.
IGGY ONCE SAID THAT, AVERAGE
WEEK IN BERLIN, HE AND BOWIE
867
00:28:10,890 --> 00:28:11,922
IGGY ONCE SAID THAT, AVERAGE
WEEK IN BERLIN, HE AND BOWIE
WOULD GO TO GALLERIES.
868
00:28:11,924 --> 00:28:13,123
WEEK IN BERLIN, HE AND BOWIE
WOULD GO TO GALLERIES.
THEY WOULD EXPLORE THE CITY ON
869
00:28:13,125 --> 00:28:14,491
WOULD GO TO GALLERIES.
THEY WOULD EXPLORE THE CITY ON
THEIR BIKES.
870
00:28:14,493 --> 00:28:16,026
THEY WOULD EXPLORE THE CITY ON
THEIR BIKES.
DAVID WOULD PAINT.
871
00:28:16,028 --> 00:28:18,462
THEIR BIKES.
DAVID WOULD PAINT.
SO THEY WERE BOTH KIND OF
872
00:28:18,464 --> 00:28:20,130
DAVID WOULD PAINT.
SO THEY WERE BOTH KIND OF
IMMERSING THEMSELVES IN THE CITY
873
00:28:20,132 --> 00:28:21,832
SO THEY WERE BOTH KIND OF
IMMERSING THEMSELVES IN THE CITY
AND THE CULTURE AS MUCH AS
874
00:28:21,834 --> 00:28:23,033
IMMERSING THEMSELVES IN THE CITY
AND THE CULTURE AS MUCH AS
TRYING TO RECOVER.
875
00:28:23,035 --> 00:28:24,268
AND THE CULTURE AS MUCH AS
TRYING TO RECOVER.
>> Narrator: A FAR CRY FROM
876
00:28:24,270 --> 00:28:25,469
TRYING TO RECOVER.
>> Narrator: A FAR CRY FROM
CHAUFFEURED LIMOS AND THE
877
00:28:25,471 --> 00:28:27,071
>> Narrator: A FAR CRY FROM
CHAUFFEURED LIMOS AND THE
CELEBRITY PARTY CIRCUIT, BERLIN
878
00:28:27,073 --> 00:28:28,639
CHAUFFEURED LIMOS AND THE
CELEBRITY PARTY CIRCUIT, BERLIN
GROUNDED BOWIE AND PUT HIM ON
879
00:28:28,641 --> 00:28:30,407
CELEBRITY PARTY CIRCUIT, BERLIN
GROUNDED BOWIE AND PUT HIM ON
THE ROAD TO SOBRIETY.
880
00:28:30,409 --> 00:28:31,775
GROUNDED BOWIE AND PUT HIM ON
THE ROAD TO SOBRIETY.
>> Seabrook: HE WAS ABLE TO JUST
881
00:28:31,777 --> 00:28:34,111
THE ROAD TO SOBRIETY.
>> Seabrook: HE WAS ABLE TO JUST
GET ON AND DO WHAT HE WANTED
882
00:28:34,113 --> 00:28:36,380
>> Seabrook: HE WAS ABLE TO JUST
GET ON AND DO WHAT HE WANTED
AND DEVELOP HIS MUSIC WITHOUT
883
00:28:36,382 --> 00:28:38,449
GET ON AND DO WHAT HE WANTED
AND DEVELOP HIS MUSIC WITHOUT
HAVING TO BE DAVID BOWIE THE
884
00:28:38,451 --> 00:28:39,650
AND DEVELOP HIS MUSIC WITHOUT
HAVING TO BE DAVID BOWIE THE
POP STAR.
885
00:28:39,652 --> 00:28:40,818
HAVING TO BE DAVID BOWIE THE
POP STAR.
>> Narrator: DAVID WENT ON TO
886
00:28:40,820 --> 00:28:42,052
POP STAR.
>> Narrator: DAVID WENT ON TO
RECORD TWO MORE RECORDS WHILE
887
00:28:42,054 --> 00:28:43,620
>> Narrator: DAVID WENT ON TO
RECORD TWO MORE RECORDS WHILE
LIVING IN BERLIN, "HEROES" AND
888
00:28:43,622 --> 00:28:45,689
RECORD TWO MORE RECORDS WHILE
LIVING IN BERLIN, "HEROES" AND
"LODGER," COMPLETING WHAT LATER
889
00:28:45,691 --> 00:28:47,191
LIVING IN BERLIN, "HEROES" AND
"LODGER," COMPLETING WHAT LATER
BECAME KNOWN AS THE
890
00:28:47,193 --> 00:28:48,459
"LODGER," COMPLETING WHAT LATER
BECAME KNOWN AS THE
GROUNDBREAKING AND WIDELY
891
00:28:48,461 --> 00:28:50,928
BECAME KNOWN AS THE
GROUNDBREAKING AND WIDELY
INFLUENTIAL BERLIN TRILOGY.
892
00:28:50,930 --> 00:28:52,029
GROUNDBREAKING AND WIDELY
INFLUENTIAL BERLIN TRILOGY.
>> Seabrook: I THINK THE
893
00:28:52,031 --> 00:28:53,630
INFLUENTIAL BERLIN TRILOGY.
>> Seabrook: I THINK THE
MOTIVATION FOR MAKING "LOW" AND
894
00:28:53,632 --> 00:28:54,965
>> Seabrook: I THINK THE
MOTIVATION FOR MAKING "LOW" AND
"HEROES" IN PARTICULAR WAS JUST
895
00:28:54,967 --> 00:28:57,601
MOTIVATION FOR MAKING "LOW" AND
"HEROES" IN PARTICULAR WAS JUST
THAT BOWIE WANTED TO CREATE ART
896
00:28:57,603 --> 00:29:01,271
"HEROES" IN PARTICULAR WAS JUST
THAT BOWIE WANTED TO CREATE ART
THAT HE HIMSELF WOULD LIKE AND
897
00:29:01,273 --> 00:29:02,306
THAT BOWIE WANTED TO CREATE ART
THAT HE HIMSELF WOULD LIKE AND
ENJOY.
898
00:29:02,308 --> 00:29:03,474
THAT HE HIMSELF WOULD LIKE AND
ENJOY.
>> Bowie: I DIDN'T STRIVE FOR
899
00:29:03,476 --> 00:29:04,274
ENJOY.
>> Bowie: I DIDN'T STRIVE FOR
SUCCESS.
900
00:29:04,276 --> 00:29:05,442
>> Bowie: I DIDN'T STRIVE FOR
SUCCESS.
I STRIVED TO DO SOMETHING
901
00:29:05,444 --> 00:29:06,944
SUCCESS.
I STRIVED TO DO SOMETHING
ARTISTICALLY IMPORTANT.
902
00:29:06,946 --> 00:29:08,445
I STRIVED TO DO SOMETHING
ARTISTICALLY IMPORTANT.
AND SUCCESS OVER HERE, I
903
00:29:08,447 --> 00:29:09,780
ARTISTICALLY IMPORTANT.
AND SUCCESS OVER HERE, I
BELIEVE, IS VERY MUCH IN THE
904
00:29:09,782 --> 00:29:11,081
AND SUCCESS OVER HERE, I
BELIEVE, IS VERY MUCH IN THE
KIND OF MATERIAL WORLD.
905
00:29:11,083 --> 00:29:12,549
BELIEVE, IS VERY MUCH IN THE
KIND OF MATERIAL WORLD.
SO CAN I JUST SAY THAT BEFORE
906
00:29:12,551 --> 00:29:13,350
KIND OF MATERIAL WORLD.
SO CAN I JUST SAY THAT BEFORE
WE START?
907
00:29:13,352 --> 00:29:14,284
SO CAN I JUST SAY THAT BEFORE
WE START?
I WANTED TO DO SOMETHING
908
00:29:14,286 --> 00:29:16,120
WE START?
I WANTED TO DO SOMETHING
ARTISTICALLY VALID.
909
00:29:16,122 --> 00:29:17,488
I WANTED TO DO SOMETHING
ARTISTICALLY VALID.
>> Narrator: THOUGH REVIEWS WERE
910
00:29:17,490 --> 00:29:19,189
ARTISTICALLY VALID.
>> Narrator: THOUGH REVIEWS WERE
MIXED AT THE TIME, TODAY THE
911
00:29:19,191 --> 00:29:21,024
>> Narrator: THOUGH REVIEWS WERE
MIXED AT THE TIME, TODAY THE
BERLIN TRILOGY IS ACKNOWLEDGED
912
00:29:21,026 --> 00:29:22,893
MIXED AT THE TIME, TODAY THE
BERLIN TRILOGY IS ACKNOWLEDGED
AS THE GODFATHER OF '80s SYNTH
913
00:29:22,895 --> 00:29:25,129
BERLIN TRILOGY IS ACKNOWLEDGED
AS THE GODFATHER OF '80s SYNTH
POP, INFLUENCING EVERYONE FROM
914
00:29:25,131 --> 00:29:27,998
AS THE GODFATHER OF '80s SYNTH
POP, INFLUENCING EVERYONE FROM
JOHNNY ROTTEN TO MADONNA TO U2.
915
00:29:28,000 --> 00:29:29,733
POP, INFLUENCING EVERYONE FROM
JOHNNY ROTTEN TO MADONNA TO U2.
DAVID BOWIE NOT ONLY WORKED HIS
916
00:29:29,735 --> 00:29:31,702
JOHNNY ROTTEN TO MADONNA TO U2.
DAVID BOWIE NOT ONLY WORKED HIS
WAY OUT OF ADDICTION, HE ONCE
917
00:29:31,704 --> 00:29:33,237
DAVID BOWIE NOT ONLY WORKED HIS
WAY OUT OF ADDICTION, HE ONCE
AGAIN PROVED TO BE AHEAD OF THE
918
00:29:33,239 --> 00:29:34,271
WAY OUT OF ADDICTION, HE ONCE
AGAIN PROVED TO BE AHEAD OF THE
CURVE.
919
00:29:34,273 --> 00:29:36,540
AGAIN PROVED TO BE AHEAD OF THE
CURVE.
BUT EVEN THAT COULDN'T LAST.
920
00:29:36,542 --> 00:29:37,708
CURVE.
BUT EVEN THAT COULDN'T LAST.
>> Collis: THERE'S GONNA COME A
921
00:29:37,710 --> 00:29:38,942
BUT EVEN THAT COULDN'T LAST.
>> Collis: THERE'S GONNA COME A
POINT IN EVERYONE'S LIFE WHEN,
922
00:29:38,944 --> 00:29:40,711
>> Collis: THERE'S GONNA COME A
POINT IN EVERYONE'S LIFE WHEN,
YOU KNOW, THEY'RE NOT ON THE
923
00:29:40,713 --> 00:29:42,279
POINT IN EVERYONE'S LIFE WHEN,
YOU KNOW, THEY'RE NOT ON THE
CUTTING EDGE.
924
00:30:12,911 --> 00:30:17,614
>> Narrator: IN 1980, THE COUPLE
DIVORCED, AND DAVID RECEIVED
CUSTODY OF HIS SON, WHO NOW
925
00:30:17,616 --> 00:30:19,149
DIVORCED, AND DAVID RECEIVED
CUSTODY OF HIS SON, WHO NOW
CALLED HIMSELF JOEY.
926
00:30:19,151 --> 00:30:21,084
CUSTODY OF HIS SON, WHO NOW
CALLED HIMSELF JOEY.
DAVID AGAIN DEALT WITH PERSONAL
927
00:30:21,086 --> 00:30:22,753
CALLED HIMSELF JOEY.
DAVID AGAIN DEALT WITH PERSONAL
UPHEAVAL BY THROWING HIMSELF
928
00:30:22,755 --> 00:30:25,255
DAVID AGAIN DEALT WITH PERSONAL
UPHEAVAL BY THROWING HIMSELF
INTO HIS WORK, RECORDING 1980'S
929
00:30:25,257 --> 00:30:27,191
UPHEAVAL BY THROWING HIMSELF
INTO HIS WORK, RECORDING 1980'S
"SCARY MONSTERS" AND PRODUCING
930
00:30:27,193 --> 00:30:29,560
INTO HIS WORK, RECORDING 1980'S
"SCARY MONSTERS" AND PRODUCING
THE VIDEO FOR "ASHES TO ASHES,"
931
00:30:29,562 --> 00:30:31,628
"SCARY MONSTERS" AND PRODUCING
THE VIDEO FOR "ASHES TO ASHES,"
AN EARLY MTV HIT THAT SET THE
932
00:30:31,630 --> 00:30:33,564
THE VIDEO FOR "ASHES TO ASHES,"
AN EARLY MTV HIT THAT SET THE
STANDARD FOR MUSIC VIDEOS.
933
00:30:33,566 --> 00:30:37,267
>> Loder: THEY WERE PROMO
VIDEOS.
ALL THE ENGLISH ACTS HAD VIDEOS.
934
00:30:37,269 --> 00:30:38,502
VIDEOS.
ALL THE ENGLISH ACTS HAD VIDEOS.
THEY WERE LITTLE FILMS.
935
00:30:38,504 --> 00:30:39,903
ALL THE ENGLISH ACTS HAD VIDEOS.
THEY WERE LITTLE FILMS.
THEY WEREN'T CALLED VIDEOS, BUT
936
00:30:39,905 --> 00:30:41,371
THEY WERE LITTLE FILMS.
THEY WEREN'T CALLED VIDEOS, BUT
THEY DID THIS FOR PROMOTION,
937
00:30:41,373 --> 00:30:42,606
THEY WEREN'T CALLED VIDEOS, BUT
THEY DID THIS FOR PROMOTION,
AND THERE WERE LOTS OF THEM.
938
00:30:42,608 --> 00:30:44,107
THEY DID THIS FOR PROMOTION,
AND THERE WERE LOTS OF THEM.
SO WHEN MTV STARTED, THERE WAS
939
00:30:44,109 --> 00:30:46,109
AND THERE WERE LOTS OF THEM.
SO WHEN MTV STARTED, THERE WAS
NOTHING TO PLAY EXCEPT THIS
940
00:30:46,111 --> 00:30:48,645
SO WHEN MTV STARTED, THERE WAS
NOTHING TO PLAY EXCEPT THIS
BRITISH STUFF, AND DAVID WAS IN
941
00:30:48,647 --> 00:30:50,013
NOTHING TO PLAY EXCEPT THIS
BRITISH STUFF, AND DAVID WAS IN
THERE WITH THAT.
942
00:30:50,015 --> 00:30:51,615
BRITISH STUFF, AND DAVID WAS IN
THERE WITH THAT.
HE WAS READY TO GO.
943
00:30:51,617 --> 00:30:53,050
THERE WITH THAT.
HE WAS READY TO GO.
>> Collis: BOWIE WAS VERY MUCH
944
00:30:53,052 --> 00:30:54,852
HE WAS READY TO GO.
>> Collis: BOWIE WAS VERY MUCH
IN A POSITION WHERE HE COULD
945
00:30:54,854 --> 00:30:57,221
>> Collis: BOWIE WAS VERY MUCH
IN A POSITION WHERE HE COULD
TAKE ADVANTAGE OF MTV AND THE
946
00:30:57,223 --> 00:31:00,557
IN A POSITION WHERE HE COULD
TAKE ADVANTAGE OF MTV AND THE
VIDEO BOOM.
947
00:31:00,559 --> 00:31:01,992
TAKE ADVANTAGE OF MTV AND THE
VIDEO BOOM.
>> Levy: NOBODY FROM THE '60s
948
00:31:01,994 --> 00:31:06,129
>> Levy: NOBODY FROM THE '60s
AND '70s IS QUITE AS VISUALLY
ORIENTED AS BOWIE, SO BOWIE IS
949
00:31:06,131 --> 00:31:09,233
AND '70s IS QUITE AS VISUALLY
ORIENTED AS BOWIE, SO BOWIE IS
UNIQUELY QUALIFIED TO TAKE
950
00:31:09,235 --> 00:31:12,502
ORIENTED AS BOWIE, SO BOWIE IS
UNIQUELY QUALIFIED TO TAKE
ADVANTAGE OF MTV WHEN IT COMES
951
00:31:12,504 --> 00:31:15,105
UNIQUELY QUALIFIED TO TAKE
ADVANTAGE OF MTV WHEN IT COMES
ALONG, AND OF COURSE, THE OTHER
952
00:31:15,107 --> 00:31:17,774
ADVANTAGE OF MTV WHEN IT COMES
ALONG, AND OF COURSE, THE OTHER
BRITISH ACTS, BANDS LIKE, I
953
00:31:17,776 --> 00:31:19,776
ALONG, AND OF COURSE, THE OTHER
BRITISH ACTS, BANDS LIKE, I
DON'T KNOW, CULTURE CLUB, DURAN
954
00:31:19,778 --> 00:31:22,446
BRITISH ACTS, BANDS LIKE, I
DON'T KNOW, CULTURE CLUB, DURAN
DURAN, ABC, NONE OF THESE ACTS
955
00:31:22,448 --> 00:31:24,681
DON'T KNOW, CULTURE CLUB, DURAN
DURAN, ABC, NONE OF THESE ACTS
WOULD EXIST OR KNOW WHAT TO DO
956
00:31:24,683 --> 00:31:26,283
DURAN, ABC, NONE OF THESE ACTS
WOULD EXIST OR KNOW WHAT TO DO
IN THEIR VIDEOS WITHOUT BOWIE.
957
00:31:26,285 --> 00:31:27,885
WOULD EXIST OR KNOW WHAT TO DO
IN THEIR VIDEOS WITHOUT BOWIE.
>> Kandell: BOWIE BEAT THEM TO
958
00:31:27,887 --> 00:31:28,886
IN THEIR VIDEOS WITHOUT BOWIE.
>> Kandell: BOWIE BEAT THEM TO
IT BY 10 YEARS.
959
00:31:28,888 --> 00:31:32,122
>> Collis: I THINK WHAT'S
INTERESTING IS IF YOU LOOK AT
THE VIDEO FOR "ASHES TO ASHES,"
960
00:31:32,124 --> 00:31:34,057
INTERESTING IS IF YOU LOOK AT
THE VIDEO FOR "ASHES TO ASHES,"
THAT IS, AGAIN, ONE VERY UNUSUAL
961
00:31:34,059 --> 00:31:34,892
THE VIDEO FOR "ASHES TO ASHES,"
THAT IS, AGAIN, ONE VERY UNUSUAL
VIDEO.
962
00:31:34,894 --> 00:31:37,694
VIDEO.
I MEAN, THE SONG WAS A HUGE HIT,
AND THE VIDEO WAS A HUGE HIT,
963
00:31:37,696 --> 00:31:39,363
I MEAN, THE SONG WAS A HUGE HIT,
AND THE VIDEO WAS A HUGE HIT,
BUT THAT IS--I MEAN, THAT'S ONE
964
00:31:39,365 --> 00:31:41,865
AND THE VIDEO WAS A HUGE HIT,
BUT THAT IS--I MEAN, THAT'S ONE
WEIRD VIDEO.
965
00:31:41,867 --> 00:31:43,200
BUT THAT IS--I MEAN, THAT'S ONE
WEIRD VIDEO.
>> Narrator: "ASHES TO ASHES"
966
00:31:43,202 --> 00:31:45,235
WEIRD VIDEO.
>> Narrator: "ASHES TO ASHES"
WAS IN HEAVY ROTATION ON MTV,
967
00:31:45,237 --> 00:31:47,137
>> Narrator: "ASHES TO ASHES"
WAS IN HEAVY ROTATION ON MTV,
AND "SCARY MONSTERS" WON DAVID
968
00:31:47,139 --> 00:31:49,239
WAS IN HEAVY ROTATION ON MTV,
AND "SCARY MONSTERS" WON DAVID
HIS BEST REVIEWS IN YEARS, BUT
969
00:31:49,241 --> 00:31:50,874
AND "SCARY MONSTERS" WON DAVID
HIS BEST REVIEWS IN YEARS, BUT
THAT DIDN'T TRANSLATE TO ALBUM
970
00:31:50,876 --> 00:31:52,142
HIS BEST REVIEWS IN YEARS, BUT
THAT DIDN'T TRANSLATE TO ALBUM
SALES.
971
00:31:52,144 --> 00:31:54,011
THAT DIDN'T TRANSLATE TO ALBUM
SALES.
THE TRUTH WAS DAVID WAS A HUGE
972
00:31:54,013 --> 00:31:55,979
SALES.
THE TRUTH WAS DAVID WAS A HUGE
ROCK STAR, BUT HE DIDN'T QUITE
973
00:31:55,981 --> 00:31:57,781
THE TRUTH WAS DAVID WAS A HUGE
ROCK STAR, BUT HE DIDN'T QUITE
HAVE ROCK-STAR MONEY.
974
00:31:57,783 --> 00:32:01,251
>> Levy: BOWIE AT THIS POINT IN
HIS CAREER, THE TAIL END OF THE
'70s, THE BEGINNING OF THE
975
00:32:01,253 --> 00:32:03,253
HIS CAREER, THE TAIL END OF THE
'70s, THE BEGINNING OF THE
'80s--AN ART ROCKER.
976
00:32:03,255 --> 00:32:05,355
'70s, THE BEGINNING OF THE
'80s--AN ART ROCKER.
WAS HE MAKING GOOD RECORDS? YES.
977
00:32:05,357 --> 00:32:06,957
'80s--AN ART ROCKER.
WAS HE MAKING GOOD RECORDS? YES.
DID THOSE RECORDS HAVE A
978
00:32:06,959 --> 00:32:08,458
WAS HE MAKING GOOD RECORDS? YES.
DID THOSE RECORDS HAVE A
COMMERCIAL IMPACT? NO.
979
00:32:08,460 --> 00:32:09,826
DID THOSE RECORDS HAVE A
COMMERCIAL IMPACT? NO.
HE MIGHT AS WELL HAVE BEEN A
980
00:32:09,828 --> 00:32:13,263
HE MIGHT AS WELL HAVE BEEN A
MINOR GALLERY ARTIST SHOWING HIS
WORK TO THOSE WHO WERE
981
00:32:13,265 --> 00:32:14,898
MINOR GALLERY ARTIST SHOWING HIS
WORK TO THOSE WHO WERE
INTERESTED, GETTING REVIEWED IN
982
00:32:14,900 --> 00:32:17,134
WORK TO THOSE WHO WERE
INTERESTED, GETTING REVIEWED IN
ESTEEMED JOURNALS, DRAWING GOOD
983
00:32:17,136 --> 00:32:19,102
INTERESTED, GETTING REVIEWED IN
ESTEEMED JOURNALS, DRAWING GOOD
NOTICES, NOT SELLING.
984
00:32:19,104 --> 00:32:20,003
ESTEEMED JOURNALS, DRAWING GOOD
NOTICES, NOT SELLING.
>> Farber: WHEN YOU'RE A POP
985
00:32:20,005 --> 00:32:20,971
NOTICES, NOT SELLING.
>> Farber: WHEN YOU'RE A POP
STAR, AT LEAST IN THE OLD
986
00:32:20,973 --> 00:32:22,105
>> Farber: WHEN YOU'RE A POP
STAR, AT LEAST IN THE OLD
SYSTEM, YOU WERE IN DEBT TO THE
987
00:32:22,107 --> 00:32:22,806
STAR, AT LEAST IN THE OLD
SYSTEM, YOU WERE IN DEBT TO THE
RECORD COMPANY.
988
00:32:22,808 --> 00:32:23,774
SYSTEM, YOU WERE IN DEBT TO THE
RECORD COMPANY.
YOU'VE GOT TO PAY ALL THAT MONEY
989
00:32:23,776 --> 00:32:24,775
RECORD COMPANY.
YOU'VE GOT TO PAY ALL THAT MONEY
BACK OUT OF YOUR SMALL
990
00:32:24,777 --> 00:32:25,943
YOU'VE GOT TO PAY ALL THAT MONEY
BACK OUT OF YOUR SMALL
ROYALTIES, AND I DON'T THINK HE
991
00:32:25,945 --> 00:32:27,077
BACK OUT OF YOUR SMALL
ROYALTIES, AND I DON'T THINK HE
DID VERY WELL FINANCIALLY IN THE
992
00:32:27,079 --> 00:32:27,811
ROYALTIES, AND I DON'T THINK HE
DID VERY WELL FINANCIALLY IN THE
'70s.
993
00:32:27,813 --> 00:32:29,179
DID VERY WELL FINANCIALLY IN THE
'70s.
>> Narrator: IN 1983, BOWIE SET
994
00:32:29,181 --> 00:32:30,614
'70s.
>> Narrator: IN 1983, BOWIE SET
OUT TO MAKE A STRAIGHTFORWARD
995
00:32:30,616 --> 00:32:32,482
>> Narrator: IN 1983, BOWIE SET
OUT TO MAKE A STRAIGHTFORWARD
GOOD-TIME RECORD, STRIVING FOR A
996
00:32:32,484 --> 00:32:34,051
OUT TO MAKE A STRAIGHTFORWARD
GOOD-TIME RECORD, STRIVING FOR A
MORE POLISHED, DANCE-FRIENDLY
997
00:32:34,053 --> 00:32:35,018
GOOD-TIME RECORD, STRIVING FOR A
MORE POLISHED, DANCE-FRIENDLY
SOUND.
998
00:32:35,020 --> 00:32:37,254
MORE POLISHED, DANCE-FRIENDLY
SOUND.
THE RESULT WAS "LET'S DANCE," A
999
00:32:37,256 --> 00:32:38,622
SOUND.
THE RESULT WAS "LET'S DANCE," A
SMASH HIT ON BOTH SIDES OF THE
1000
00:32:38,624 --> 00:32:40,557
THE RESULT WAS "LET'S DANCE," A
SMASH HIT ON BOTH SIDES OF THE
ATLANTIC THAT INTRODUCED A NEW
1001
00:32:40,559 --> 00:32:41,959
SMASH HIT ON BOTH SIDES OF THE
ATLANTIC THAT INTRODUCED A NEW
GENERATION OF MUSIC FANS TO
1002
00:32:41,961 --> 00:32:44,928
ATLANTIC THAT INTRODUCED A NEW
GENERATION OF MUSIC FANS TO
BOWIE.
1003
00:32:44,930 --> 00:32:46,897
GENERATION OF MUSIC FANS TO
BOWIE.
IT WAS THE BEST-SELLING RECORD
1004
00:32:46,899 --> 00:32:48,865
BOWIE.
IT WAS THE BEST-SELLING RECORD
OF DAVID'S CAREER, BUT IT CAME
1005
00:32:48,867 --> 00:32:51,168
IT WAS THE BEST-SELLING RECORD
OF DAVID'S CAREER, BUT IT CAME
AT A PRICE AS MANY OF DAVID'S
1006
00:32:51,170 --> 00:32:53,036
OF DAVID'S CAREER, BUT IT CAME
AT A PRICE AS MANY OF DAVID'S
LONG-TIME FANS FELT ABANDONED
1007
00:32:53,038 --> 00:32:54,371
AT A PRICE AS MANY OF DAVID'S
LONG-TIME FANS FELT ABANDONED
AND ACCUSED DAVID OF SELLING
1008
00:32:54,373 --> 00:32:55,172
LONG-TIME FANS FELT ABANDONED
AND ACCUSED DAVID OF SELLING
OUT.
1009
00:32:55,174 --> 00:32:56,173
AND ACCUSED DAVID OF SELLING
OUT.
>> Bowie: I'VE ONLY REALLY
1010
00:32:56,175 --> 00:32:57,574
OUT.
>> Bowie: I'VE ONLY REALLY
EXPERIENCED COMMERCIAL SUCCESS
1011
00:32:57,576 --> 00:32:59,242
>> Bowie: I'VE ONLY REALLY
EXPERIENCED COMMERCIAL SUCCESS
WITH "LET'S DANCE," AND THAT
1012
00:32:59,244 --> 00:33:00,944
EXPERIENCED COMMERCIAL SUCCESS
WITH "LET'S DANCE," AND THAT
CAME RIGHT OUT OF THE BLUE.
1013
00:33:00,946 --> 00:33:02,713
WITH "LET'S DANCE," AND THAT
CAME RIGHT OUT OF THE BLUE.
I DON'T BEGRUDGE ANY ARTIST FOR
1014
00:33:02,715 --> 00:33:04,114
CAME RIGHT OUT OF THE BLUE.
I DON'T BEGRUDGE ANY ARTIST FOR
GETTING AN AUDIENCE.
1015
00:33:04,116 --> 00:33:05,916
I DON'T BEGRUDGE ANY ARTIST FOR
GETTING AN AUDIENCE.
I'M SORRY, I NEVER FOUND THAT
1016
00:33:05,918 --> 00:33:09,286
GETTING AN AUDIENCE.
I'M SORRY, I NEVER FOUND THAT
POVERTY MEANT PURITY.
1017
00:33:09,288 --> 00:33:10,654
I'M SORRY, I NEVER FOUND THAT
POVERTY MEANT PURITY.
THAT'S RUBBISH.
1018
00:33:10,656 --> 00:33:14,491
>> Kandell: I'M SURE THERE WERE
PURISTS WHO WERE, LIKE, "OKAY,
WELL, HE'S SELLING OUT NOW."
1019
00:33:14,493 --> 00:33:15,892
PURISTS WHO WERE, LIKE, "OKAY,
WELL, HE'S SELLING OUT NOW."
BUT I THINK WHEN EVERY OTHER
1020
00:33:15,894 --> 00:33:18,996
WELL, HE'S SELLING OUT NOW."
BUT I THINK WHEN EVERY OTHER
PERSON ON MTV IS WEARING A TON
1021
00:33:18,998 --> 00:33:21,231
BUT I THINK WHEN EVERY OTHER
PERSON ON MTV IS WEARING A TON
OF ROUGE AND MASCARA AND DRESSES
1022
00:33:21,233 --> 00:33:23,433
PERSON ON MTV IS WEARING A TON
OF ROUGE AND MASCARA AND DRESSES
AND HE COMES OUT WEARING, LIKE,
1023
00:33:23,435 --> 00:33:24,968
OF ROUGE AND MASCARA AND DRESSES
AND HE COMES OUT WEARING, LIKE,
A YELLOW SUIT WITH, YOU KNOW,
1024
00:33:24,970 --> 00:33:29,139
A YELLOW SUIT WITH, YOU KNOW,
THE UNDONE POLKA-DOT BOWTIE, IN
ITS OWN SENSE, THAT'S KIND OF
1025
00:33:29,141 --> 00:33:30,507
THE UNDONE POLKA-DOT BOWTIE, IN
ITS OWN SENSE, THAT'S KIND OF
PUNK ROCK, TOO, BECAUSE HE'S
1026
00:33:30,509 --> 00:33:32,175
ITS OWN SENSE, THAT'S KIND OF
PUNK ROCK, TOO, BECAUSE HE'S
SORT OF, AGAIN--AGAIN IS ZIGGING
1027
00:33:32,177 --> 00:33:33,410
PUNK ROCK, TOO, BECAUSE HE'S
SORT OF, AGAIN--AGAIN IS ZIGGING
WHERE EVERYONE ZAGS.
1028
00:33:33,412 --> 00:33:34,444
SORT OF, AGAIN--AGAIN IS ZIGGING
WHERE EVERYONE ZAGS.
>> Narrator: TO CAPITALIZE ON
1029
00:33:34,446 --> 00:33:35,645
WHERE EVERYONE ZAGS.
>> Narrator: TO CAPITALIZE ON
THE MOMENT, BOWIE HIT THE ROAD
1030
00:33:35,647 --> 00:33:37,314
>> Narrator: TO CAPITALIZE ON
THE MOMENT, BOWIE HIT THE ROAD
WITH THE SERIOUS MOONLIGHT TOUR,
1031
00:33:37,316 --> 00:33:39,249
THE MOMENT, BOWIE HIT THE ROAD
WITH THE SERIOUS MOONLIGHT TOUR,
A TOP-GROSSING SHOW THAT SOLD
1032
00:33:39,251 --> 00:33:41,818
WITH THE SERIOUS MOONLIGHT TOUR,
A TOP-GROSSING SHOW THAT SOLD
OUT ARENAS COAST TO COAST.
1033
00:33:41,820 --> 00:33:43,587
A TOP-GROSSING SHOW THAT SOLD
OUT ARENAS COAST TO COAST.
SADLY, IT WAS THE HIGH POINT OF
1034
00:33:43,589 --> 00:33:45,355
OUT ARENAS COAST TO COAST.
SADLY, IT WAS THE HIGH POINT OF
THE DECADE, AS THE REST OF THE
1035
00:33:45,357 --> 00:33:46,823
SADLY, IT WAS THE HIGH POINT OF
THE DECADE, AS THE REST OF THE
'80s FOUND BOWIE LACKING AN
1036
00:33:46,825 --> 00:33:49,659
THE DECADE, AS THE REST OF THE
'80s FOUND BOWIE LACKING AN
ARTISTIC DIRECTION.
1037
00:33:49,661 --> 00:33:50,927
'80s FOUND BOWIE LACKING AN
ARTISTIC DIRECTION.
>> Farber: WELL, YOU KNOW, IT
1038
00:33:50,929 --> 00:33:52,462
ARTISTIC DIRECTION.
>> Farber: WELL, YOU KNOW, IT
WASN'T SUCH A GREAT PERIOD,
1039
00:33:52,464 --> 00:33:53,363
>> Farber: WELL, YOU KNOW, IT
WASN'T SUCH A GREAT PERIOD,
TO BE HONEST.
1040
00:33:53,365 --> 00:33:54,731
WASN'T SUCH A GREAT PERIOD,
TO BE HONEST.
IT WAS A VERY COMMERCIAL PERIOD,
1041
00:33:54,733 --> 00:33:56,233
TO BE HONEST.
IT WAS A VERY COMMERCIAL PERIOD,
VERY, VERY SLICK, COMMERCIAL
1042
00:33:56,235 --> 00:33:57,367
IT WAS A VERY COMMERCIAL PERIOD,
VERY, VERY SLICK, COMMERCIAL
MTV WORLD.
1043
00:33:57,369 --> 00:33:58,468
VERY, VERY SLICK, COMMERCIAL
MTV WORLD.
A LOT OF THESE ARTISTS,
1044
00:33:58,470 --> 00:33:59,703
MTV WORLD.
A LOT OF THESE ARTISTS,
PARTICULARLY THE ONES FROM THE--
1045
00:33:59,705 --> 00:34:00,937
A LOT OF THESE ARTISTS,
PARTICULARLY THE ONES FROM THE--
FROM THE '60s, I THINK THEY
1046
00:34:00,939 --> 00:34:02,406
PARTICULARLY THE ONES FROM THE--
FROM THE '60s, I THINK THEY
DIDN'T REALLY KNOW QUITE HOW TO
1047
00:34:02,408 --> 00:34:04,074
FROM THE '60s, I THINK THEY
DIDN'T REALLY KNOW QUITE HOW TO
FIND THEIR WAY IN THAT.
1048
00:34:04,076 --> 00:34:05,242
DIDN'T REALLY KNOW QUITE HOW TO
FIND THEIR WAY IN THAT.
>> Collis: IT WAS PRETTY GRIM.
1049
00:34:05,244 --> 00:34:06,610
FIND THEIR WAY IN THAT.
>> Collis: IT WAS PRETTY GRIM.
I MEAN, AROUND THE WHOLE TIME,
1050
00:34:06,612 --> 00:34:07,944
>> Collis: IT WAS PRETTY GRIM.
I MEAN, AROUND THE WHOLE TIME,
YOU REALLY HAVE THE SENSE OF
1051
00:34:07,946 --> 00:34:09,513
I MEAN, AROUND THE WHOLE TIME,
YOU REALLY HAVE THE SENSE OF
BOWIE KIND OF, YOU KNOW,
1052
00:34:09,515 --> 00:34:10,113
YOU REALLY HAVE THE SENSE OF
BOWIE KIND OF, YOU KNOW,
FLAILING AROUND.
1053
00:34:10,115 --> 00:34:11,481
BOWIE KIND OF, YOU KNOW,
FLAILING AROUND.
I MEAN, THE GUY HAD BEEN, YOU
1054
00:34:11,483 --> 00:34:12,482
FLAILING AROUND.
I MEAN, THE GUY HAD BEEN, YOU
KNOW, ON THE CUTTING EDGE FOR
1055
00:34:12,484 --> 00:34:13,550
I MEAN, THE GUY HAD BEEN, YOU
KNOW, ON THE CUTTING EDGE FOR
20 YEARS.
1056
00:34:13,552 --> 00:34:14,951
KNOW, ON THE CUTTING EDGE FOR
20 YEARS.
SO THERE'S GONNA COME A POINT IN
1057
00:34:14,953 --> 00:34:16,520
20 YEARS.
SO THERE'S GONNA COME A POINT IN
EVERYONE'S LIFE WHEN, YOU KNOW,
1058
00:34:16,522 --> 00:34:17,754
SO THERE'S GONNA COME A POINT IN
EVERYONE'S LIFE WHEN, YOU KNOW,
THEY'RE NOT ON THE CUTTING EDGE.
1059
00:34:17,756 --> 00:34:18,822
EVERYONE'S LIFE WHEN, YOU KNOW,
THEY'RE NOT ON THE CUTTING EDGE.
>> Narrator: IN AN EFFORT TO
1060
00:34:18,824 --> 00:34:20,590
THEY'RE NOT ON THE CUTTING EDGE.
>> Narrator: IN AN EFFORT TO
REDISCOVER HIS MUSE, DAVID
1061
00:34:20,592 --> 00:34:22,125
>> Narrator: IN AN EFFORT TO
REDISCOVER HIS MUSE, DAVID
WORKED ON SOME SOUNDTRACKS AND
1062
00:34:22,127 --> 00:34:24,027
REDISCOVER HIS MUSE, DAVID
WORKED ON SOME SOUNDTRACKS AND
APPEARED IN SEVERAL FILMS,
1063
00:34:24,029 --> 00:34:25,595
WORKED ON SOME SOUNDTRACKS AND
APPEARED IN SEVERAL FILMS,
INCLUDING MARTIN SCORSESE'S
1064
00:34:25,597 --> 00:34:27,264
APPEARED IN SEVERAL FILMS,
INCLUDING MARTIN SCORSESE'S
"THE LAST TEMPTATION OF CHRIST."
1065
00:34:27,266 --> 00:34:28,565
INCLUDING MARTIN SCORSESE'S
"THE LAST TEMPTATION OF CHRIST."
>> KILLING OR LOVING, IT'S ALL
1066
00:34:28,567 --> 00:34:29,633
"THE LAST TEMPTATION OF CHRIST."
>> KILLING OR LOVING, IT'S ALL
THE SAME.
1067
00:34:29,635 --> 00:34:31,068
>> KILLING OR LOVING, IT'S ALL
THE SAME.
IT SIMPLY DOESN'T MATTER HOW YOU
1068
00:34:31,070 --> 00:34:32,602
THE SAME.
IT SIMPLY DOESN'T MATTER HOW YOU
WANT TO CHANGE THINGS.
1069
00:34:32,604 --> 00:34:34,104
IT SIMPLY DOESN'T MATTER HOW YOU
WANT TO CHANGE THINGS.
WE DON'T WANT THEM CHANGED.
1070
00:34:34,106 --> 00:34:35,472
WANT TO CHANGE THINGS.
WE DON'T WANT THEM CHANGED.
>> Narrator: HE ALSO APPEARED IN
1071
00:34:35,474 --> 00:34:37,374
WE DON'T WANT THEM CHANGED.
>> Narrator: HE ALSO APPEARED IN
JIM HENSON'S "LABYRINTH."
1072
00:34:37,376 --> 00:34:38,909
>> Narrator: HE ALSO APPEARED IN
JIM HENSON'S "LABYRINTH."
>> AND SHE'LL SOON GIVE UP WHEN
1073
00:34:38,911 --> 00:34:40,577
JIM HENSON'S "LABYRINTH."
>> AND SHE'LL SOON GIVE UP WHEN
SHE REALIZES SHE HAS TO START
1074
00:34:40,579 --> 00:34:42,145
>> AND SHE'LL SOON GIVE UP WHEN
SHE REALIZES SHE HAS TO START
ALL OVER AGAIN.
1075
00:34:42,147 --> 00:34:43,313
SHE REALIZES SHE HAS TO START
ALL OVER AGAIN.
(laughs)
1076
00:34:43,315 --> 00:34:44,748
ALL OVER AGAIN.
(laughs)
WELL? LAUGH.
1077
00:34:44,750 --> 00:34:46,483
(laughs)
WELL? LAUGH.
(laughter)
1078
00:34:46,485 --> 00:34:47,651
WELL? LAUGH.
(laughter)
>> Narrator: IN A DESPERATE
1079
00:34:47,653 --> 00:34:48,785
(laughter)
>> Narrator: IN A DESPERATE
ATTEMPT TO SHAKE HIMSELF OUT OF
1080
00:34:48,787 --> 00:34:51,521
>> Narrator: IN A DESPERATE
ATTEMPT TO SHAKE HIMSELF OUT OF
HIS FUNK, IN 1989, DAVID PUT
1081
00:34:51,523 --> 00:34:52,956
ATTEMPT TO SHAKE HIMSELF OUT OF
HIS FUNK, IN 1989, DAVID PUT
TOGETHER A BAND CALLED TIN
1082
00:34:52,958 --> 00:34:54,925
HIS FUNK, IN 1989, DAVID PUT
TOGETHER A BAND CALLED TIN
MACHINE, A COLLABORATIVE EFFORT
1083
00:34:54,927 --> 00:34:56,259
TOGETHER A BAND CALLED TIN
MACHINE, A COLLABORATIVE EFFORT
DESIGNED TO TAKE THE PRESSURE
1084
00:34:56,261 --> 00:34:59,896
MACHINE, A COLLABORATIVE EFFORT
DESIGNED TO TAKE THE PRESSURE
OFF BOWIE THE ROCK STAR.
1085
00:34:59,898 --> 00:35:01,531
DESIGNED TO TAKE THE PRESSURE
OFF BOWIE THE ROCK STAR.
>> Kandell: HE DID EVERYTHING HE
1086
00:35:01,533 --> 00:35:04,101
OFF BOWIE THE ROCK STAR.
>> Kandell: HE DID EVERYTHING HE
COULD TO TAKE HIMSELF OUT OF THE
1087
00:35:04,103 --> 00:35:06,002
>> Kandell: HE DID EVERYTHING HE
COULD TO TAKE HIMSELF OUT OF THE
SPOTLIGHT AND JUST BE ONE OF
1088
00:35:06,004 --> 00:35:07,237
COULD TO TAKE HIMSELF OUT OF THE
SPOTLIGHT AND JUST BE ONE OF
THE BOYS.
1089
00:35:07,239 --> 00:35:08,438
SPOTLIGHT AND JUST BE ONE OF
THE BOYS.
PEOPLE HATED THOSE RECORDS.
1090
00:35:08,440 --> 00:35:09,840
THE BOYS.
PEOPLE HATED THOSE RECORDS.
PEOPLE I THINK THOUGHT THAT,
1091
00:35:09,842 --> 00:35:10,941
PEOPLE HATED THOSE RECORDS.
PEOPLE I THINK THOUGHT THAT,
LIKE, YOU'RE THE MOST
1092
00:35:10,943 --> 00:35:12,142
PEOPLE I THINK THOUGHT THAT,
LIKE, YOU'RE THE MOST
CHARISMATIC GUY IN THE WORLD.
1093
00:35:12,144 --> 00:35:13,510
LIKE, YOU'RE THE MOST
CHARISMATIC GUY IN THE WORLD.
LIKE, WHY DO YOU JUST WANT TO BE
1094
00:35:13,512 --> 00:35:14,111
CHARISMATIC GUY IN THE WORLD.
LIKE, WHY DO YOU JUST WANT TO BE
ONE OF THE DUDES?
1095
00:35:14,113 --> 00:35:14,945
LIKE, WHY DO YOU JUST WANT TO BE
ONE OF THE DUDES?
>> Levy: I SUPPOSE AT THE MOMENT
1096
00:35:14,947 --> 00:35:16,379
ONE OF THE DUDES?
>> Levy: I SUPPOSE AT THE MOMENT
IN THE '80s WHEN BOWIE RECORDS
1097
00:35:16,381 --> 00:35:18,348
>> Levy: I SUPPOSE AT THE MOMENT
IN THE '80s WHEN BOWIE RECORDS
THE TIN MACHINE RECORDS, THERE'S
1098
00:35:18,350 --> 00:35:20,817
IN THE '80s WHEN BOWIE RECORDS
THE TIN MACHINE RECORDS, THERE'S
A SLIGHT SIMILARITY TO THAT
1099
00:35:20,819 --> 00:35:23,019
THE TIN MACHINE RECORDS, THERE'S
A SLIGHT SIMILARITY TO THAT
MOMENT IN THE '70s WHEN BOWIE
1100
00:35:23,021 --> 00:35:24,521
A SLIGHT SIMILARITY TO THAT
MOMENT IN THE '70s WHEN BOWIE
KILLS OFF THE ZIGGY STARDUST
1101
00:35:24,523 --> 00:35:25,922
MOMENT IN THE '70s WHEN BOWIE
KILLS OFF THE ZIGGY STARDUST
CHARACTER, ONLY THE CHARACTER
1102
00:35:25,924 --> 00:35:27,190
KILLS OFF THE ZIGGY STARDUST
CHARACTER, ONLY THE CHARACTER
HE'S KILLING OFF THIS TIME IS
1103
00:35:27,192 --> 00:35:28,792
CHARACTER, ONLY THE CHARACTER
HE'S KILLING OFF THIS TIME IS
DAVID BOWIE, AND WEIRDLY ENOUGH,
1104
00:35:28,794 --> 00:35:30,627
HE'S KILLING OFF THIS TIME IS
DAVID BOWIE, AND WEIRDLY ENOUGH,
THAT'S THE CHARACTER THAT'S RUN
1105
00:35:30,629 --> 00:35:31,661
DAVID BOWIE, AND WEIRDLY ENOUGH,
THAT'S THE CHARACTER THAT'S RUN
ITS COURSE.
1106
00:35:31,663 --> 00:35:32,896
THAT'S THE CHARACTER THAT'S RUN
ITS COURSE.
YOU KNOW, LIKE EVERYBODY ELSE
1107
00:35:32,898 --> 00:35:34,397
ITS COURSE.
YOU KNOW, LIKE EVERYBODY ELSE
IN THE '80s, BOWIE GOT LOST.
1108
00:35:34,399 --> 00:35:35,599
YOU KNOW, LIKE EVERYBODY ELSE
IN THE '80s, BOWIE GOT LOST.
>> Narrator: AT THE DAWN OF THE
1109
00:35:35,601 --> 00:35:37,300
IN THE '80s, BOWIE GOT LOST.
>> Narrator: AT THE DAWN OF THE
1990s, DAVID ANNOUNCED THE SOUND
1110
00:35:37,302 --> 00:35:39,469
>> Narrator: AT THE DAWN OF THE
1990s, DAVID ANNOUNCED THE SOUND
AND VISION WORLD TOUR, A SHOW
1111
00:35:39,471 --> 00:35:41,138
1990s, DAVID ANNOUNCED THE SOUND
AND VISION WORLD TOUR, A SHOW
BILLED AS THE VERY LAST TIME
1112
00:35:41,140 --> 00:35:42,839
AND VISION WORLD TOUR, A SHOW
BILLED AS THE VERY LAST TIME
BOWIE WOULD PLAY HIS OLD SONGS
1113
00:35:42,841 --> 00:35:44,441
BILLED AS THE VERY LAST TIME
BOWIE WOULD PLAY HIS OLD SONGS
LIVE.
1114
00:35:44,443 --> 00:35:46,409
BOWIE WOULD PLAY HIS OLD SONGS
LIVE.
FOUR DECADES INTO HIS CAREER,
1115
00:35:46,411 --> 00:35:48,145
LIVE.
FOUR DECADES INTO HIS CAREER,
BOWIE FELT THE ONLY WAY TO MOVE
1116
00:35:48,147 --> 00:35:49,913
FOUR DECADES INTO HIS CAREER,
BOWIE FELT THE ONLY WAY TO MOVE
FORWARD WAS TO COMPLETELY BREAK
1117
00:35:49,915 --> 00:35:52,482
BOWIE FELT THE ONLY WAY TO MOVE
FORWARD WAS TO COMPLETELY BREAK
WITH HIS PAST.
1118
00:36:01,826 --> 00:36:05,962
>> Narrator: AFTER STARTING THE
DECADE OFF WITH "LET'S DANCE,"
THE BIGGEST SUCCESS OF HIS
1119
00:36:05,964 --> 00:36:07,597
DECADE OFF WITH "LET'S DANCE,"
THE BIGGEST SUCCESS OF HIS
CAREER, DAVID BOWIE SPENT THE
1120
00:36:07,599 --> 00:36:09,699
THE BIGGEST SUCCESS OF HIS
CAREER, DAVID BOWIE SPENT THE
REST OF THE 1980s IN A CREATIVE
1121
00:36:09,701 --> 00:36:10,934
CAREER, DAVID BOWIE SPENT THE
REST OF THE 1980s IN A CREATIVE
WILDERNESS.
1122
00:36:10,936 --> 00:36:12,469
REST OF THE 1980s IN A CREATIVE
WILDERNESS.
THE TIN MACHINE EXPERIMENT WAS
1123
00:36:12,471 --> 00:36:14,171
WILDERNESS.
THE TIN MACHINE EXPERIMENT WAS
MORE FIZZLE THAN POP, AND THE
1124
00:36:14,173 --> 00:36:16,907
THE TIN MACHINE EXPERIMENT WAS
MORE FIZZLE THAN POP, AND THE
BAND BROKE UP IN 1992.
1125
00:36:16,909 --> 00:36:18,642
MORE FIZZLE THAN POP, AND THE
BAND BROKE UP IN 1992.
AROUND THE SAME TIME, BOWIE
1126
00:36:18,644 --> 00:36:20,343
BAND BROKE UP IN 1992.
AROUND THE SAME TIME, BOWIE
RECEIVED AN UNEXPECTED SHOT IN
1127
00:36:20,345 --> 00:36:22,279
AROUND THE SAME TIME, BOWIE
RECEIVED AN UNEXPECTED SHOT IN
THE ARM WHEN A MUTUAL FRIEND
1128
00:36:22,281 --> 00:36:23,813
RECEIVED AN UNEXPECTED SHOT IN
THE ARM WHEN A MUTUAL FRIEND
INTRODUCED HIM TO SOMALIAN
1129
00:36:23,815 --> 00:36:25,549
THE ARM WHEN A MUTUAL FRIEND
INTRODUCED HIM TO SOMALIAN
SUPERMODEL IMAN.
1130
00:36:25,551 --> 00:36:27,250
INTRODUCED HIM TO SOMALIAN
SUPERMODEL IMAN.
THE TWO HIT IT OFF IMMEDIATELY
1131
00:36:27,252 --> 00:36:29,219
SUPERMODEL IMAN.
THE TWO HIT IT OFF IMMEDIATELY
AND WERE MARRIED ON APRIL 24,
1132
00:36:29,221 --> 00:36:31,188
THE TWO HIT IT OFF IMMEDIATELY
AND WERE MARRIED ON APRIL 24,
1992.
1133
00:36:31,190 --> 00:36:32,589
AND WERE MARRIED ON APRIL 24,
1992.
>> Bowie: THERE'S NOTHING ABOUT
1134
00:36:32,591 --> 00:36:34,157
1992.
>> Bowie: THERE'S NOTHING ABOUT
HER I DON'T LOVE.
1135
00:36:34,159 --> 00:36:35,325
>> Bowie: THERE'S NOTHING ABOUT
HER I DON'T LOVE.
SHE'S LOVING.
1136
00:36:35,327 --> 00:36:36,259
HER I DON'T LOVE.
SHE'S LOVING.
SHE'S SENSITIVE.
1137
00:36:36,261 --> 00:36:37,727
SHE'S LOVING.
SHE'S SENSITIVE.
SHE'S SEXY AS HELL.
1138
00:36:37,729 --> 00:36:39,362
SHE'S SENSITIVE.
SHE'S SEXY AS HELL.
I DON'T KNOW, YOU KNOW, I LOVE
1139
00:36:39,364 --> 00:36:40,730
SHE'S SEXY AS HELL.
I DON'T KNOW, YOU KNOW, I LOVE
HER.
1140
00:36:40,732 --> 00:36:41,998
I DON'T KNOW, YOU KNOW, I LOVE
HER.
>> Narrator: FANS MAY NOT HAVE
1141
00:36:42,000 --> 00:36:43,333
HER.
>> Narrator: FANS MAY NOT HAVE
RECOGNIZED IT, BUT MANY CLOSE
1142
00:36:43,335 --> 00:36:44,935
>> Narrator: FANS MAY NOT HAVE
RECOGNIZED IT, BUT MANY CLOSE
TO DAVID CREDITED IMAN AS THE
1143
00:36:44,937 --> 00:36:47,003
RECOGNIZED IT, BUT MANY CLOSE
TO DAVID CREDITED IMAN AS THE
STABILIZING FORCE HE NEEDED TO
1144
00:36:47,005 --> 00:36:49,072
TO DAVID CREDITED IMAN AS THE
STABILIZING FORCE HE NEEDED TO
GET BACK ON COURSE.
1145
00:36:49,074 --> 00:36:55,378
>> Drew: DAVID BOWIE HAS REALLY
RELAXED AFTER HE MARRIED IMAN.
IN THAT TIME FRAME, HE'S PUT OUT
1146
00:36:55,380 --> 00:36:55,979
RELAXED AFTER HE MARRIED IMAN.
IN THAT TIME FRAME, HE'S PUT OUT
SOME MUSIC.
1147
00:36:55,981 --> 00:36:57,113
IN THAT TIME FRAME, HE'S PUT OUT
SOME MUSIC.
HE'S DONE SOME THINGS, BUT HE'S
1148
00:36:57,115 --> 00:36:58,582
SOME MUSIC.
HE'S DONE SOME THINGS, BUT HE'S
NOT AS MUCH OF ON A TIME CRUNCH.
1149
00:36:58,584 --> 00:36:59,749
HE'S DONE SOME THINGS, BUT HE'S
NOT AS MUCH OF ON A TIME CRUNCH.
HE'S SORT OF BURNED THROUGH
1150
00:36:59,751 --> 00:37:00,550
NOT AS MUCH OF ON A TIME CRUNCH.
HE'S SORT OF BURNED THROUGH
EVERYTHING.
1151
00:37:00,552 --> 00:37:01,551
HE'S SORT OF BURNED THROUGH
EVERYTHING.
THERE'S REALLY NOWHERE ELSE HE
1152
00:37:01,553 --> 00:37:02,652
EVERYTHING.
THERE'S REALLY NOWHERE ELSE HE
CAN TURN, AND A LOT OF WHAT HE'S
1153
00:37:02,654 --> 00:37:03,720
THERE'S REALLY NOWHERE ELSE HE
CAN TURN, AND A LOT OF WHAT HE'S
DOING NOW ARE BUSINESS
1154
00:37:03,722 --> 00:37:04,487
CAN TURN, AND A LOT OF WHAT HE'S
DOING NOW ARE BUSINESS
DECISIONS.
1155
00:37:04,489 --> 00:37:05,555
DOING NOW ARE BUSINESS
DECISIONS.
>> Levy: WHAT HAPPENS TO BOWIE
1156
00:37:05,557 --> 00:37:06,856
DECISIONS.
>> Levy: WHAT HAPPENS TO BOWIE
IN THE '90s IS HE BECOMES AT
1157
00:37:06,858 --> 00:37:08,892
>> Levy: WHAT HAPPENS TO BOWIE
IN THE '90s IS HE BECOMES AT
LEAST AS INTERESTED, IF NOT
1158
00:37:08,894 --> 00:37:11,261
IN THE '90s IS HE BECOMES AT
LEAST AS INTERESTED, IF NOT
MORE, IN THE FINANCIAL ASPECTS
1159
00:37:11,263 --> 00:37:12,729
LEAST AS INTERESTED, IF NOT
MORE, IN THE FINANCIAL ASPECTS
OF WHAT HE'S DOING AS THE
1160
00:37:12,731 --> 00:37:15,899
MORE, IN THE FINANCIAL ASPECTS
OF WHAT HE'S DOING AS THE
ARTISTIC ASPECTS BUT, WEIRDLY,
1161
00:37:15,901 --> 00:37:18,635
OF WHAT HE'S DOING AS THE
ARTISTIC ASPECTS BUT, WEIRDLY,
MAKES AN ART OUT OF IT.
1162
00:37:18,637 --> 00:37:19,936
ARTISTIC ASPECTS BUT, WEIRDLY,
MAKES AN ART OUT OF IT.
>> Narrator: REALIZING THAT HIS
1163
00:37:19,938 --> 00:37:23,673
>> Narrator: REALIZING THAT HIS
30 YEARS' OF WORK WAS WORTH A
MINT, DAVID RETRACTED HIS VOW
1164
00:37:23,675 --> 00:37:25,508
30 YEARS' OF WORK WAS WORTH A
MINT, DAVID RETRACTED HIS VOW
TO RETIRE HIS OLD SONGS AND
1165
00:37:25,510 --> 00:37:27,310
MINT, DAVID RETRACTED HIS VOW
TO RETIRE HIS OLD SONGS AND
INSTEAD MADE A MOVE TO
1166
00:37:27,312 --> 00:37:28,812
TO RETIRE HIS OLD SONGS AND
INSTEAD MADE A MOVE TO
CAPITALIZE ON THEM IN AN
1167
00:37:28,814 --> 00:37:30,914
INSTEAD MADE A MOVE TO
CAPITALIZE ON THEM IN AN
UNREPRESENTED GAMBLE.
1168
00:37:30,916 --> 00:37:32,482
CAPITALIZE ON THEM IN AN
UNREPRESENTED GAMBLE.
IN ADDITION TO PERFORMING HIS
1169
00:37:32,484 --> 00:37:34,751
UNREPRESENTED GAMBLE.
IN ADDITION TO PERFORMING HIS
CLASSICS AGAIN, IN 1995, HE
1170
00:37:34,753 --> 00:37:37,220
IN ADDITION TO PERFORMING HIS
CLASSICS AGAIN, IN 1995, HE
INTRODUCED BOWIE BONDS, A WAY OF
1171
00:37:37,222 --> 00:37:38,521
CLASSICS AGAIN, IN 1995, HE
INTRODUCED BOWIE BONDS, A WAY OF
SELLING A STAKE IN FUTURE
1172
00:37:38,523 --> 00:37:40,523
INTRODUCED BOWIE BONDS, A WAY OF
SELLING A STAKE IN FUTURE
EARNINGS ON HIS BACK-CATALOG CD
1173
00:37:40,525 --> 00:37:42,259
SELLING A STAKE IN FUTURE
EARNINGS ON HIS BACK-CATALOG CD
SALES.
1174
00:37:42,261 --> 00:37:44,027
EARNINGS ON HIS BACK-CATALOG CD
SALES.
IN OTHER WORDS, WALL STREET
1175
00:37:44,029 --> 00:37:45,629
SALES.
IN OTHER WORDS, WALL STREET
INVESTORS COULD OWN A PIECE OF
1176
00:37:45,631 --> 00:37:47,530
IN OTHER WORDS, WALL STREET
INVESTORS COULD OWN A PIECE OF
ZIGGY STARDUST.
1177
00:37:47,532 --> 00:37:49,165
INVESTORS COULD OWN A PIECE OF
ZIGGY STARDUST.
>> Levy: APPARENTLY, THEY PAY
1178
00:37:49,167 --> 00:37:51,468
ZIGGY STARDUST.
>> Levy: APPARENTLY, THEY PAY
DIVIDENDS ON FUTURE EARNINGS OF
1179
00:37:51,470 --> 00:37:53,169
>> Levy: APPARENTLY, THEY PAY
DIVIDENDS ON FUTURE EARNINGS OF
PUBLISHING ROYALTIES OR
1180
00:37:53,171 --> 00:37:55,305
DIVIDENDS ON FUTURE EARNINGS OF
PUBLISHING ROYALTIES OR
SOMETHING, BUT HE RAISES AN
1181
00:37:55,307 --> 00:37:57,040
PUBLISHING ROYALTIES OR
SOMETHING, BUT HE RAISES AN
AWFUL LOT OF CAPITAL DOING IT
1182
00:37:57,042 --> 00:37:59,743
SOMETHING, BUT HE RAISES AN
AWFUL LOT OF CAPITAL DOING IT
AND BECOMES THE FIRST ARTIST TO
1183
00:37:59,745 --> 00:38:01,611
AWFUL LOT OF CAPITAL DOING IT
AND BECOMES THE FIRST ARTIST TO
ISSUE HIS OWN FINANCIAL
1184
00:38:01,613 --> 00:38:02,646
AND BECOMES THE FIRST ARTIST TO
ISSUE HIS OWN FINANCIAL
INSTRUMENT.
1185
00:38:02,648 --> 00:38:03,947
ISSUE HIS OWN FINANCIAL
INSTRUMENT.
THERE IS A LITTLE BIT OF
1186
00:38:03,949 --> 00:38:05,548
INSTRUMENT.
THERE IS A LITTLE BIT OF
PERFORMANCE ART TO THAT,
1187
00:38:05,550 --> 00:38:08,985
THERE IS A LITTLE BIT OF
PERFORMANCE ART TO THAT,
LITERALLY TURNING HIMSELF INTO
1188
00:38:08,987 --> 00:38:11,221
PERFORMANCE ART TO THAT,
LITERALLY TURNING HIMSELF INTO
MONEY.
1189
00:38:11,223 --> 00:38:12,389
LITERALLY TURNING HIMSELF INTO
MONEY.
>> Narrator: AT THE TURN OF THE
1190
00:38:12,391 --> 00:38:13,690
MONEY.
>> Narrator: AT THE TURN OF THE
CENTURY, DAVID WAS COMING TO
1191
00:38:13,692 --> 00:38:15,525
>> Narrator: AT THE TURN OF THE
CENTURY, DAVID WAS COMING TO
TERMS WITH HIS PAST AND LOOKING
1192
00:38:15,527 --> 00:38:16,793
CENTURY, DAVID WAS COMING TO
TERMS WITH HIS PAST AND LOOKING
TO THE FUTURE.
1193
00:38:16,795 --> 00:38:19,062
TERMS WITH HIS PAST AND LOOKING
TO THE FUTURE.
IN 2000, AFTER YEARS OF TRYING,
1194
00:38:19,064 --> 00:38:20,964
TO THE FUTURE.
IN 2000, AFTER YEARS OF TRYING,
DAVID AND IMAN BECAME PROUD
1195
00:38:20,966 --> 00:38:22,866
IN 2000, AFTER YEARS OF TRYING,
DAVID AND IMAN BECAME PROUD
PARENTS OF ALEXANDRA ZAHRA
1196
00:38:22,868 --> 00:38:23,933
DAVID AND IMAN BECAME PROUD
PARENTS OF ALEXANDRA ZAHRA
BOWIE.
1197
00:38:23,935 --> 00:38:25,902
PARENTS OF ALEXANDRA ZAHRA
BOWIE.
THE 53-YEAR-OLD FATHER VOWED TO
1198
00:38:25,904 --> 00:38:27,337
BOWIE.
THE 53-YEAR-OLD FATHER VOWED TO
BE INVOLVED IN HIS DAUGHTER'S
1199
00:38:27,339 --> 00:38:28,938
THE 53-YEAR-OLD FATHER VOWED TO
BE INVOLVED IN HIS DAUGHTER'S
LIFE IN A WAY HE COULDN'T BE FOR
1200
00:38:28,940 --> 00:38:30,607
BE INVOLVED IN HIS DAUGHTER'S
LIFE IN A WAY HE COULDN'T BE FOR
HIS SON, JOEY.
1201
00:38:30,609 --> 00:38:31,675
LIFE IN A WAY HE COULDN'T BE FOR
HIS SON, JOEY.
>> Drew: DAVID HAS REALLY
1202
00:38:31,677 --> 00:38:33,076
HIS SON, JOEY.
>> Drew: DAVID HAS REALLY
DECIDED TO CHERISH, AS HIS
1203
00:38:33,078 --> 00:38:34,978
>> Drew: DAVID HAS REALLY
DECIDED TO CHERISH, AS HIS
LATEST ACT, BEING A HOUSE
1204
00:38:34,980 --> 00:38:36,313
DECIDED TO CHERISH, AS HIS
LATEST ACT, BEING A HOUSE
HUSBAND AND BEING A FATHER,
1205
00:38:36,315 --> 00:38:37,681
LATEST ACT, BEING A HOUSE
HUSBAND AND BEING A FATHER,
WHICH HE DIDN'T GET TO DO IN THE
1206
00:38:37,683 --> 00:38:39,983
HUSBAND AND BEING A FATHER,
WHICH HE DIDN'T GET TO DO IN THE
'70s WHEN HE WAS AT HIS PRIME.
1207
00:38:39,985 --> 00:38:40,850
WHICH HE DIDN'T GET TO DO IN THE
'70s WHEN HE WAS AT HIS PRIME.
HE WAS AT--THE BIGGEST THING IN
1208
00:38:40,852 --> 00:38:41,985
'70s WHEN HE WAS AT HIS PRIME.
HE WAS AT--THE BIGGEST THING IN
THE WORLD.
1209
00:38:41,987 --> 00:38:43,720
HE WAS AT--THE BIGGEST THING IN
THE WORLD.
HE WAS TOURING EVERYWHERE.
1210
00:38:43,722 --> 00:38:45,689
THE WORLD.
HE WAS TOURING EVERYWHERE.
NOW HE ACTUALLY CAN REFLECT
1211
00:38:45,691 --> 00:38:47,123
HE WAS TOURING EVERYWHERE.
NOW HE ACTUALLY CAN REFLECT
HAVING DONE IT ALL, AND IT'S
1212
00:38:47,125 --> 00:38:48,725
NOW HE ACTUALLY CAN REFLECT
HAVING DONE IT ALL, AND IT'S
ALLOWED HIM TO PLAY THE ROLE OF
1213
00:38:48,727 --> 00:38:49,693
HAVING DONE IT ALL, AND IT'S
ALLOWED HIM TO PLAY THE ROLE OF
THE FATHER.
1214
00:38:49,695 --> 00:38:51,094
ALLOWED HIM TO PLAY THE ROLE OF
THE FATHER.
IT'S ALLOWED HIM TO PLAY THE
1215
00:38:51,096 --> 00:38:52,329
THE FATHER.
IT'S ALLOWED HIM TO PLAY THE
ROLE OF THE DOTING HUSBAND.
1216
00:38:52,331 --> 00:38:56,900
>> Collis: I THINK, ODDLY, THE
IMAGE OF DAVID BOWIE TODAY IS--
IS THAT OF AN ORDINARY GUY OR
1217
00:38:56,902 --> 00:38:57,967
IMAGE OF DAVID BOWIE TODAY IS--
IS THAT OF AN ORDINARY GUY OR
AS ORDINARY A GUY AS SOMEONE
1218
00:38:57,969 --> 00:38:59,235
IS THAT OF AN ORDINARY GUY OR
AS ORDINARY A GUY AS SOMEONE
LIKE DAVID BOWIE'S EVER GONNA
1219
00:38:59,237 --> 00:39:00,070
AS ORDINARY A GUY AS SOMEONE
LIKE DAVID BOWIE'S EVER GONNA
BE.
1220
00:39:00,072 --> 00:39:01,104
LIKE DAVID BOWIE'S EVER GONNA
BE.
HE'S MARRIED.
1221
00:39:01,106 --> 00:39:03,606
HE'S MARRIED.
HE HAS KIDS.
I MEAN, HE'S GOT MORE MONEY THAN
1222
00:39:03,608 --> 00:39:05,408
HE HAS KIDS.
I MEAN, HE'S GOT MORE MONEY THAN
GOD, BUT HE, YOU KNOW, LIVES--
1223
00:39:05,410 --> 00:39:07,410
I MEAN, HE'S GOT MORE MONEY THAN
GOD, BUT HE, YOU KNOW, LIVES--
SEEMS TO LIVE AS ORDINARY A LIFE
1224
00:39:07,412 --> 00:39:11,614
GOD, BUT HE, YOU KNOW, LIVES--
SEEMS TO LIVE AS ORDINARY A LIFE
AS, YOU KNOW, YOU COULD IMAGINE.
1225
00:39:11,616 --> 00:39:13,817
SEEMS TO LIVE AS ORDINARY A LIFE
AS, YOU KNOW, YOU COULD IMAGINE.
>> Narrator: BY 2001, THE GLAM
1226
00:39:13,819 --> 00:39:15,652
AS, YOU KNOW, YOU COULD IMAGINE.
>> Narrator: BY 2001, THE GLAM
GOD OF ROCK HAD FINALLY SETTLED
1227
00:39:15,654 --> 00:39:17,187
>> Narrator: BY 2001, THE GLAM
GOD OF ROCK HAD FINALLY SETTLED
DOWN WITH HIS FAMILY IN NEW YORK
1228
00:39:17,189 --> 00:39:18,355
GOD OF ROCK HAD FINALLY SETTLED
DOWN WITH HIS FAMILY IN NEW YORK
CITY.
1229
00:39:18,357 --> 00:39:20,056
DOWN WITH HIS FAMILY IN NEW YORK
CITY.
>> Drew: BOWIE ADOPTED LIVING IN
1230
00:39:20,058 --> 00:39:20,990
CITY.
>> Drew: BOWIE ADOPTED LIVING IN
NEW YORK CITY.
1231
00:39:20,992 --> 00:39:22,125
>> Drew: BOWIE ADOPTED LIVING IN
NEW YORK CITY.
NEW YORK CITY ADOPTED HIM.
1232
00:39:22,127 --> 00:39:23,393
NEW YORK CITY.
NEW YORK CITY ADOPTED HIM.
WHEREAS MOST PEOPLE HAVE THESE
1233
00:39:23,395 --> 00:39:24,961
NEW YORK CITY ADOPTED HIM.
WHEREAS MOST PEOPLE HAVE THESE
ELABORATE HOMES EVERYWHERE ELSE
1234
00:39:24,963 --> 00:39:27,397
WHEREAS MOST PEOPLE HAVE THESE
ELABORATE HOMES EVERYWHERE ELSE
AND ARE CONSTANTLY TRAVELING TO
1235
00:39:27,399 --> 00:39:28,898
ELABORATE HOMES EVERYWHERE ELSE
AND ARE CONSTANTLY TRAVELING TO
TRY TO GET AWAY, NEW YORK REALLY
1236
00:39:28,900 --> 00:39:34,437
AND ARE CONSTANTLY TRAVELING TO
TRY TO GET AWAY, NEW YORK REALLY
SEEMS TO BE A HOME BASE FOR HIM.
1237
00:39:34,439 --> 00:39:36,573
TRY TO GET AWAY, NEW YORK REALLY
SEEMS TO BE A HOME BASE FOR HIM.
(explosion)
1238
00:39:36,575 --> 00:39:38,541
SEEMS TO BE A HOME BASE FOR HIM.
(explosion)
(siren wailing)
1239
00:39:45,116 --> 00:39:50,920
>> Narrator: WHEN NEW YORK CITY
WAS ATTACKED ON SEPTEMBER 11,
2001, IT DEEPLY AFFECTED BOWIE.
1240
00:39:50,922 --> 00:39:52,889
WAS ATTACKED ON SEPTEMBER 11,
2001, IT DEEPLY AFFECTED BOWIE.
ALMOST IMMEDIATELY, HE SIGNED ON
1241
00:39:52,891 --> 00:39:55,458
2001, IT DEEPLY AFFECTED BOWIE.
ALMOST IMMEDIATELY, HE SIGNED ON
TO A 9/11 BENEFIT CONCERT.
1242
00:39:55,460 --> 00:39:57,193
ALMOST IMMEDIATELY, HE SIGNED ON
TO A 9/11 BENEFIT CONCERT.
AFTER A CAREER OF OVER-THE-TOP
1243
00:39:57,195 --> 00:39:59,062
TO A 9/11 BENEFIT CONCERT.
AFTER A CAREER OF OVER-THE-TOP
THEATRICS AND BOUNDARY-PUSHING
1244
00:39:59,064 --> 00:40:01,231
AFTER A CAREER OF OVER-THE-TOP
THEATRICS AND BOUNDARY-PUSHING
PERSONAS, FANS FELT THEY KNEW
1245
00:40:01,233 --> 00:40:02,665
THEATRICS AND BOUNDARY-PUSHING
PERSONAS, FANS FELT THEY KNEW
WHAT TO EXPECT FROM A BOWIE
1246
00:40:02,667 --> 00:40:03,833
PERSONAS, FANS FELT THEY KNEW
WHAT TO EXPECT FROM A BOWIE
PERFORMANCE.
1247
00:40:03,835 --> 00:40:05,635
WHAT TO EXPECT FROM A BOWIE
PERFORMANCE.
HOWEVER, AS THE BENEFIT KICKED
1248
00:40:05,637 --> 00:40:07,504
PERFORMANCE.
HOWEVER, AS THE BENEFIT KICKED
OFF, AUDIENCES WERE SHOCKED TO
1249
00:40:07,506 --> 00:40:09,572
HOWEVER, AS THE BENEFIT KICKED
OFF, AUDIENCES WERE SHOCKED TO
SEE BOWIE ALONE ON STAGE
1250
00:40:09,574 --> 00:40:11,808
OFF, AUDIENCES WERE SHOCKED TO
SEE BOWIE ALONE ON STAGE
UNMASKED AND VULNERABLE.
1251
00:40:11,810 --> 00:40:17,247
>> Drew: WHEN HE DID THE CONCERT
FOR 9/11, WE SUDDENLY SAW A RAW,
STRIPPED-DOWN BOWIE AT A TIME
1252
00:40:17,249 --> 00:40:18,515
FOR 9/11, WE SUDDENLY SAW A RAW,
STRIPPED-DOWN BOWIE AT A TIME
WHEN THE COUNTRY WAS THE MOST
1253
00:40:18,517 --> 00:40:19,716
STRIPPED-DOWN BOWIE AT A TIME
WHEN THE COUNTRY WAS THE MOST
VULNERABLE.
1254
00:40:19,718 --> 00:40:21,217
WHEN THE COUNTRY WAS THE MOST
VULNERABLE.
WE SAW VULNERABLE BOWIE, AND HE
1255
00:40:21,219 --> 00:40:24,754
WE SAW VULNERABLE BOWIE, AND HE
REALLY MIRRORED ALL OF US.
>> Levy: THE CONCERT FOR NEW
1256
00:40:24,756 --> 00:40:27,457
REALLY MIRRORED ALL OF US.
>> Levy: THE CONCERT FOR NEW
YORK, BOWIE HAS A GROUNDED, "I
1257
00:40:27,459 --> 00:40:29,692
>> Levy: THE CONCERT FOR NEW
YORK, BOWIE HAS A GROUNDED, "I
AM A MAN, I AM HERE" QUALITY
1258
00:40:29,694 --> 00:40:31,461
YORK, BOWIE HAS A GROUNDED, "I
AM A MAN, I AM HERE" QUALITY
WITHOUT SPECTACLE, WHICH HE'D
1259
00:40:31,463 --> 00:40:34,197
AM A MAN, I AM HERE" QUALITY
WITHOUT SPECTACLE, WHICH HE'D
MADE SO MUCH A PART OF HIS LIFE.
1260
00:40:34,199 --> 00:40:38,034
>> Kandell: I THINK WHAT THAT
READS TO ME--IT'S CITIZEN BOWIE.
YOU KNOW, IT IS HIM SORT OF
1261
00:40:38,036 --> 00:40:39,169
READS TO ME--IT'S CITIZEN BOWIE.
YOU KNOW, IT IS HIM SORT OF
WITHOUT THE TRAPPINGS AND IT
1262
00:40:39,171 --> 00:40:40,603
YOU KNOW, IT IS HIM SORT OF
WITHOUT THE TRAPPINGS AND IT
BEING ABOUT THE CITY HE LIVED
1263
00:40:40,605 --> 00:40:41,070
WITHOUT THE TRAPPINGS AND IT
BEING ABOUT THE CITY HE LIVED
IN.
1264
00:40:41,072 --> 00:40:42,605
BEING ABOUT THE CITY HE LIVED
IN.
MAYBE THAT'S WHY IT RESONATED.
1265
00:40:42,607 --> 00:40:45,141
MAYBE THAT'S WHY IT RESONATED.
IT WAS SORT OF THE MOST
INTERESTING SKIN HE COULD PUT ON
1266
00:40:45,143 --> 00:40:48,511
IT WAS SORT OF THE MOST
INTERESTING SKIN HE COULD PUT ON
NEXT WAS JUST BEING ONE OF US.
1267
00:40:48,513 --> 00:40:49,779
INTERESTING SKIN HE COULD PUT ON
NEXT WAS JUST BEING ONE OF US.
>> Narrator: AFTER A CAREER OF
1268
00:40:49,781 --> 00:40:51,514
NEXT WAS JUST BEING ONE OF US.
>> Narrator: AFTER A CAREER OF
HIDING IN THE OPEN, THE ALIEN
1269
00:40:51,516 --> 00:40:55,185
>> Narrator: AFTER A CAREER OF
HIDING IN THE OPEN, THE ALIEN
ROCK STAR FELL TO EARTH.
1270
00:40:55,187 --> 00:40:57,220
HIDING IN THE OPEN, THE ALIEN
ROCK STAR FELL TO EARTH.
WITH HIS MASK FINALLY REMOVED,
1271
00:40:57,222 --> 00:40:59,055
ROCK STAR FELL TO EARTH.
WITH HIS MASK FINALLY REMOVED,
DAVID SHOWED HE WAS HUMAN AFTER
1272
00:40:59,057 --> 00:41:01,191
WITH HIS MASK FINALLY REMOVED,
DAVID SHOWED HE WAS HUMAN AFTER
ALL.
1273
00:41:01,193 --> 00:41:06,863
>> O'Brien: BOWIE HAS, AT TIMES,
YOU KNOW, KIND OF LET PEOPLE
BEHIND THE--BEHIND THE MASK TO
1274
00:41:06,865 --> 00:41:08,898
YOU KNOW, KIND OF LET PEOPLE
BEHIND THE--BEHIND THE MASK TO
SEE THE REAL--YOU KNOW, THE REAL
1275
00:41:08,900 --> 00:41:12,368
BEHIND THE--BEHIND THE MASK TO
SEE THE REAL--YOU KNOW, THE REAL
GUY, BUT AGAIN, THAT'S ONE OF
1276
00:41:12,370 --> 00:41:15,872
SEE THE REAL--YOU KNOW, THE REAL
GUY, BUT AGAIN, THAT'S ONE OF
MANY CHARACTERS, I THINK.
1277
00:41:15,874 --> 00:41:17,440
GUY, BUT AGAIN, THAT'S ONE OF
MANY CHARACTERS, I THINK.
>> Narrator: RE-ENERGIZED, BOWIE
1278
00:41:17,442 --> 00:41:21,277
>> Narrator: RE-ENERGIZED, BOWIE
BEGAN TOURING AND RELEASED TWO
RECORDS, BOTH HAILED AS HIS BEST
1279
00:41:21,279 --> 00:41:23,346
BEGAN TOURING AND RELEASED TWO
RECORDS, BOTH HAILED AS HIS BEST
SINCE THE EARLY 1980s.
1280
00:41:23,348 --> 00:41:25,381
RECORDS, BOTH HAILED AS HIS BEST
SINCE THE EARLY 1980s.
HOWEVER, BOWIE'S CAREER
1281
00:41:25,383 --> 00:41:26,716
SINCE THE EARLY 1980s.
HOWEVER, BOWIE'S CAREER
RESURGENCE WAS SUDDENLY
1282
00:41:26,718 --> 00:41:29,385
HOWEVER, BOWIE'S CAREER
RESURGENCE WAS SUDDENLY
INTERRUPTED IN JUNE OF 2004 WHEN
1283
00:41:29,387 --> 00:41:31,254
RESURGENCE WAS SUDDENLY
INTERRUPTED IN JUNE OF 2004 WHEN
THE 57-YEAR-OLD SUFFERED A HEART
1284
00:41:31,256 --> 00:41:32,889
INTERRUPTED IN JUNE OF 2004 WHEN
THE 57-YEAR-OLD SUFFERED A HEART
ATTACK BACKSTAGE AT A SHOW IN
1285
00:41:32,891 --> 00:41:34,691
THE 57-YEAR-OLD SUFFERED A HEART
ATTACK BACKSTAGE AT A SHOW IN
GERMANY.
1286
00:41:34,693 --> 00:41:36,426
ATTACK BACKSTAGE AT A SHOW IN
GERMANY.
HE WAS RUSHED TO A HOSPITAL,
1287
00:41:36,428 --> 00:41:37,861
GERMANY.
HE WAS RUSHED TO A HOSPITAL,
WHERE HE UNDERWENT LIFE-SAVING
1288
00:41:37,863 --> 00:41:38,795
HE WAS RUSHED TO A HOSPITAL,
WHERE HE UNDERWENT LIFE-SAVING
SURGERY.
1289
00:41:38,797 --> 00:41:39,796
WHERE HE UNDERWENT LIFE-SAVING
SURGERY.
(siren wails)
1290
00:41:39,798 --> 00:41:41,364
SURGERY.
(siren wails)
>> Levy: TALK ABOUT GIVING IT UP
1291
00:41:41,366 --> 00:41:43,399
(siren wails)
>> Levy: TALK ABOUT GIVING IT UP
FOR THE ART, BOWIE HAD HAD A
1292
00:41:43,401 --> 00:41:45,768
>> Levy: TALK ABOUT GIVING IT UP
FOR THE ART, BOWIE HAD HAD A
MAJOR HEALTH EPISODE WHILE ON
1293
00:41:45,770 --> 00:41:48,905
FOR THE ART, BOWIE HAD HAD A
MAJOR HEALTH EPISODE WHILE ON
TOUR, FAR MORE MAJOR THAN HE LET
1294
00:41:48,907 --> 00:41:50,373
MAJOR HEALTH EPISODE WHILE ON
TOUR, FAR MORE MAJOR THAN HE LET
ON AT THE TIME.
1295
00:41:50,375 --> 00:41:52,208
TOUR, FAR MORE MAJOR THAN HE LET
ON AT THE TIME.
YOU SUFFER A MAJOR HEALTH
1296
00:41:52,210 --> 00:41:54,577
ON AT THE TIME.
YOU SUFFER A MAJOR HEALTH
EPISODE OUT ON THE ROAD, YOUR
1297
00:41:54,579 --> 00:41:56,312
YOU SUFFER A MAJOR HEALTH
EPISODE OUT ON THE ROAD, YOUR
FAMILY STARTS TO MEAN A LOT MORE
1298
00:41:56,314 --> 00:41:57,046
EPISODE OUT ON THE ROAD, YOUR
FAMILY STARTS TO MEAN A LOT MORE
RIGHT QUICK.
1299
00:41:57,048 --> 00:41:58,147
FAMILY STARTS TO MEAN A LOT MORE
RIGHT QUICK.
>> Narrator: DAVID HAD LONG AGO
1300
00:41:58,149 --> 00:42:00,250
RIGHT QUICK.
>> Narrator: DAVID HAD LONG AGO
QUIT DRUGS AND SIX MONTHS PRIOR
1301
00:42:00,252 --> 00:42:02,185
>> Narrator: DAVID HAD LONG AGO
QUIT DRUGS AND SIX MONTHS PRIOR
HAD DROPPED HIS 60-CIGARETTE-A-
1302
00:42:02,187 --> 00:42:03,319
QUIT DRUGS AND SIX MONTHS PRIOR
HAD DROPPED HIS 60-CIGARETTE-A-
DAY HABIT.
1303
00:42:03,321 --> 00:42:04,954
HAD DROPPED HIS 60-CIGARETTE-A-
DAY HABIT.
AFTER HIS HEART ATTACK, IMAN
1304
00:42:04,956 --> 00:42:06,923
DAY HABIT.
AFTER HIS HEART ATTACK, IMAN
FORCED HIM TO REFINE HIS DIET,
1305
00:42:06,925 --> 00:42:08,424
AFTER HIS HEART ATTACK, IMAN
FORCED HIM TO REFINE HIS DIET,
WHICH CONTRIBUTED TO HIS FULL
1306
00:42:08,426 --> 00:42:10,493
FORCED HIM TO REFINE HIS DIET,
WHICH CONTRIBUTED TO HIS FULL
RECOVERY.
1307
00:42:10,495 --> 00:42:12,662
WHICH CONTRIBUTED TO HIS FULL
RECOVERY.
WITH A NEW LEASE ON LIFE, BOWIE
1308
00:42:12,664 --> 00:42:14,731
RECOVERY.
WITH A NEW LEASE ON LIFE, BOWIE
BEGAN TO TAKE IT EASY AND HAVE
1309
00:42:14,733 --> 00:42:17,500
WITH A NEW LEASE ON LIFE, BOWIE
BEGAN TO TAKE IT EASY AND HAVE
A LAUGH, EVEN MAKING A CAMEO ON
1310
00:42:17,502 --> 00:42:21,838
BEGAN TO TAKE IT EASY AND HAVE
A LAUGH, EVEN MAKING A CAMEO ON
THE HBO HIT COMEDY "EXTRAS."
1311
00:42:21,840 --> 00:42:22,805
A LAUGH, EVEN MAKING A CAMEO ON
THE HBO HIT COMEDY "EXTRAS."
>> Collis: SO ON "EXTRAS," RICKY
1312
00:42:22,807 --> 00:42:25,241
THE HBO HIT COMEDY "EXTRAS."
>> Collis: SO ON "EXTRAS," RICKY
GERVAIS PLAYS THIS BRITISH GUY
1313
00:42:25,243 --> 00:42:27,443
>> Collis: SO ON "EXTRAS," RICKY
GERVAIS PLAYS THIS BRITISH GUY
WHO'S GOT A SUCCESSFUL SITCOM
1314
00:42:27,445 --> 00:42:29,212
GERVAIS PLAYS THIS BRITISH GUY
WHO'S GOT A SUCCESSFUL SITCOM
AND ENDS UP IN SOME, LIKE,
1315
00:42:29,214 --> 00:42:31,047
WHO'S GOT A SUCCESSFUL SITCOM
AND ENDS UP IN SOME, LIKE,
CELEBRITY-TYPE BAR, AND THERE'S
1316
00:42:31,049 --> 00:42:32,782
AND ENDS UP IN SOME, LIKE,
CELEBRITY-TYPE BAR, AND THERE'S
DAVID BOWIE WHO'S ONE OF, YOU
1317
00:42:32,784 --> 00:42:34,417
CELEBRITY-TYPE BAR, AND THERE'S
DAVID BOWIE WHO'S ONE OF, YOU
KNOW, RICKY GERVAIS' CHARACTER'S
1318
00:42:34,419 --> 00:42:35,285
DAVID BOWIE WHO'S ONE OF, YOU
KNOW, RICKY GERVAIS' CHARACTER'S
HEROES.
1319
00:42:35,287 --> 00:42:36,686
KNOW, RICKY GERVAIS' CHARACTER'S
HEROES.
>> WE WERE JUST SAYING THAT I'M
1320
00:42:36,688 --> 00:42:37,620
HEROES.
>> WE WERE JUST SAYING THAT I'M
AN ENTERTAINER, TOO.
1321
00:42:37,622 --> 00:42:38,321
>> WE WERE JUST SAYING THAT I'M
AN ENTERTAINER, TOO.
>> OH, YEAH?
1322
00:42:38,323 --> 00:42:39,255
AN ENTERTAINER, TOO.
>> OH, YEAH?
UM, WHAT DO YOU DO?
1323
00:42:39,257 --> 00:42:40,156
>> OH, YEAH?
UM, WHAT DO YOU DO?
>> I'M IN A SITCOM.
1324
00:42:40,158 --> 00:42:40,990
UM, WHAT DO YOU DO?
>> I'M IN A SITCOM.
>> IT'S CALLED "WHEN THE WHISTLE
1325
00:42:40,992 --> 00:42:41,658
>> I'M IN A SITCOM.
>> IT'S CALLED "WHEN THE WHISTLE
BLOWS."
1326
00:42:41,660 --> 00:42:42,492
>> IT'S CALLED "WHEN THE WHISTLE
BLOWS."
HAVE YOU SEEN IT?
1327
00:42:42,494 --> 00:42:43,426
BLOWS."
HAVE YOU SEEN IT?
>> I HAVEN'T, NO.
1328
00:42:43,428 --> 00:42:44,327
HAVE YOU SEEN IT?
>> I HAVEN'T, NO.
IS IT ANY GOOD?
1329
00:42:44,329 --> 00:42:45,361
>> I HAVEN'T, NO.
IS IT ANY GOOD?
>> NO, IT'S...!
1330
00:42:45,363 --> 00:42:47,297
IS IT ANY GOOD?
>> NO, IT'S...!
>> OH...
1331
00:42:47,299 --> 00:42:48,264
>> NO, IT'S...!
>> OH...
>> Collis: IN "EXTRAS" HE'S
1332
00:42:48,266 --> 00:42:49,465
>> OH...
>> Collis: IN "EXTRAS" HE'S
VERY, VERY FUNNY WHILE PLAYING
1333
00:42:49,467 --> 00:42:50,300
>> Collis: IN "EXTRAS" HE'S
VERY, VERY FUNNY WHILE PLAYING
DAVID BOWIE.
1334
00:42:50,302 --> 00:42:51,301
VERY, VERY FUNNY WHILE PLAYING
DAVID BOWIE.
WHAT'S GREAT THESE DAYS, I
1335
00:42:51,303 --> 00:42:52,168
DAVID BOWIE.
WHAT'S GREAT THESE DAYS, I
THINK, IS THAT DAVID BOWIE DOES
1336
00:42:52,170 --> 00:42:53,236
WHAT'S GREAT THESE DAYS, I
THINK, IS THAT DAVID BOWIE DOES
MAKE FUN OF HIMSELF.
1337
00:42:53,238 --> 00:42:56,839
>> Farber: ONLY HIS SHRINK KNOWS
FOR SURE, BUT IT DOES SEEM LIKE
HE'S MORE COMFORTABLE WITH
1338
00:42:56,841 --> 00:42:57,707
FOR SURE, BUT IT DOES SEEM LIKE
HE'S MORE COMFORTABLE WITH
HIMSELF.
1339
00:42:57,709 --> 00:42:59,776
HE'S MORE COMFORTABLE WITH
HIMSELF.
HE'S ABLE TO USE THE ROLES AS
1340
00:42:59,778 --> 00:43:01,511
HIMSELF.
HE'S ABLE TO USE THE ROLES AS
OPPOSED TO HIDING BEHIND THEM.
1341
00:43:01,513 --> 00:43:02,645
HE'S ABLE TO USE THE ROLES AS
OPPOSED TO HIDING BEHIND THEM.
HE CAN PLAY WITH THEM.
1342
00:43:02,647 --> 00:43:04,781
HE CAN PLAY WITH THEM.
HE CAN TAKE OWNERSHIP OF THEM,
PROBABLY, IN A WAY THAT HE NEVER
1343
00:43:04,783 --> 00:43:06,182
HE CAN TAKE OWNERSHIP OF THEM,
PROBABLY, IN A WAY THAT HE NEVER
COULD HAVE WHEN HE WAS YOUNGER.
1344
00:43:06,184 --> 00:43:07,684
PROBABLY, IN A WAY THAT HE NEVER
COULD HAVE WHEN HE WAS YOUNGER.
>> Narrator: IN HIS 60s, BOWIE
1345
00:43:07,686 --> 00:43:09,419
COULD HAVE WHEN HE WAS YOUNGER.
>> Narrator: IN HIS 60s, BOWIE
COMFORTABLY FILLED THE ROLE OF
1346
00:43:09,421 --> 00:43:11,621
>> Narrator: IN HIS 60s, BOWIE
COMFORTABLY FILLED THE ROLE OF
ELDER STATESMAN OF ROCK, A TRUE
1347
00:43:11,623 --> 00:43:13,957
COMFORTABLY FILLED THE ROLE OF
ELDER STATESMAN OF ROCK, A TRUE
ICON RESPECTED AND EMULATED BY
1348
00:43:13,959 --> 00:43:15,491
ELDER STATESMAN OF ROCK, A TRUE
ICON RESPECTED AND EMULATED BY
COUNTLESS PERFORMERS WHO HAVE
1349
00:43:15,493 --> 00:43:16,259
ICON RESPECTED AND EMULATED BY
COUNTLESS PERFORMERS WHO HAVE
FOLLOWED.
1350
00:43:16,261 --> 00:43:20,630
>> Loder: IT'S INTERESTING THAT
WE LIVE IN A TIME WHEN ALL MUSIC
IS AVAILABLE TO YOU ALL AT ONCE,
1351
00:43:20,632 --> 00:43:22,231
WE LIVE IN A TIME WHEN ALL MUSIC
IS AVAILABLE TO YOU ALL AT ONCE,
AND SO THIS IS A GREAT TIME TO
1352
00:43:22,233 --> 00:43:23,132
IS AVAILABLE TO YOU ALL AT ONCE,
AND SO THIS IS A GREAT TIME TO
BE 15 YEARS OLD.
1353
00:43:23,134 --> 00:43:24,434
AND SO THIS IS A GREAT TIME TO
BE 15 YEARS OLD.
EVERYTHING IS THERE.
1354
00:43:24,436 --> 00:43:26,669
EVERYTHING IS THERE.
SO THERE ARE KIDS WHO ARE JUST
NOW DISCOVERING THE ZIGGY
1355
00:43:26,671 --> 00:43:28,371
SO THERE ARE KIDS WHO ARE JUST
NOW DISCOVERING THE ZIGGY
STARDUST ALBUM, SAYING, "WHOA,
1356
00:43:28,373 --> 00:43:29,505
NOW DISCOVERING THE ZIGGY
STARDUST ALBUM, SAYING, "WHOA,
WHAT'S THIS?" YOU KNOW, 'CAUSE
1357
00:43:29,507 --> 00:43:30,540
STARDUST ALBUM, SAYING, "WHOA,
WHAT'S THIS?" YOU KNOW, 'CAUSE
IT STILL SOUNDS GREAT.
1358
00:43:30,542 --> 00:43:31,708
WHAT'S THIS?" YOU KNOW, 'CAUSE
IT STILL SOUNDS GREAT.
ZIGGY WILL ALWAYS BE FRESH AND
1359
00:43:31,710 --> 00:43:32,408
IT STILL SOUNDS GREAT.
ZIGGY WILL ALWAYS BE FRESH AND
ALIVE.
1360
00:43:32,410 --> 00:43:33,943
ZIGGY WILL ALWAYS BE FRESH AND
ALIVE.
HE'LL ALWAYS BE THERE.
1361
00:43:33,945 --> 00:43:35,678
ALIVE.
HE'LL ALWAYS BE THERE.
>> Narrator: IN LATE 2009, THE
1362
00:43:35,680 --> 00:43:37,447
HE'LL ALWAYS BE THERE.
>> Narrator: IN LATE 2009, THE
40th-ANNIVERSARY EDITION OF THE
1363
00:43:37,449 --> 00:43:38,815
>> Narrator: IN LATE 2009, THE
40th-ANNIVERSARY EDITION OF THE
"SPACE ODDITY" ALBUM WAS
1364
00:43:38,817 --> 00:43:40,817
40th-ANNIVERSARY EDITION OF THE
"SPACE ODDITY" ALBUM WAS
RELEASED, COMMEMORATING THE HITS
1365
00:43:40,819 --> 00:43:42,051
"SPACE ODDITY" ALBUM WAS
RELEASED, COMMEMORATING THE HITS
THAT FIRST EARNED DAVID
1366
00:43:42,053 --> 00:43:43,686
RELEASED, COMMEMORATING THE HITS
THAT FIRST EARNED DAVID
RECOGNITION AS A STAR.
1367
00:43:43,688 --> 00:43:44,687
THAT FIRST EARNED DAVID
RECOGNITION AS A STAR.
>> Loder: HIS MUSIC WILL LIVE ON
1368
00:43:44,689 --> 00:43:45,588
RECOGNITION AS A STAR.
>> Loder: HIS MUSIC WILL LIVE ON
FOR A LONG, LONG TIME.
1369
00:43:45,590 --> 00:43:47,123
>> Loder: HIS MUSIC WILL LIVE ON
FOR A LONG, LONG TIME.
AS LONG AS THERE ARE RECORDS OR
1370
00:43:47,125 --> 00:43:48,858
FOR A LONG, LONG TIME.
AS LONG AS THERE ARE RECORDS OR
DOWNLOADS, HE'LL BE AROUND.
1371
00:43:48,860 --> 00:43:49,559
AS LONG AS THERE ARE RECORDS OR
DOWNLOADS, HE'LL BE AROUND.
>> Narrator: THE CONSTANT
1372
00:43:49,561 --> 00:43:51,160
DOWNLOADS, HE'LL BE AROUND.
>> Narrator: THE CONSTANT
EVOLUTION OF DAVID'S PUBLIC
1373
00:43:51,162 --> 00:43:52,996
>> Narrator: THE CONSTANT
EVOLUTION OF DAVID'S PUBLIC
PERSONA HAS LEAD TO A PERCEPTION
1374
00:43:52,998 --> 00:43:55,264
EVOLUTION OF DAVID'S PUBLIC
PERSONA HAS LEAD TO A PERCEPTION
THAT HE'S A CHAMELEON, BUT WHEN
1375
00:43:55,266 --> 00:43:56,733
PERSONA HAS LEAD TO A PERCEPTION
THAT HE'S A CHAMELEON, BUT WHEN
CONSIDERING THE IMPORTANCE OF
1376
00:43:56,735 --> 00:43:58,001
THAT HE'S A CHAMELEON, BUT WHEN
CONSIDERING THE IMPORTANCE OF
BOWIE'S CONTRIBUTION TO
1377
00:43:58,003 --> 00:44:00,103
CONSIDERING THE IMPORTANCE OF
BOWIE'S CONTRIBUTION TO
20th-CENTURY POP CULTURE, THE
1378
00:44:00,105 --> 00:44:02,405
BOWIE'S CONTRIBUTION TO
20th-CENTURY POP CULTURE, THE
CLICHé FAILS SHORT AND RINGS
1379
00:44:02,407 --> 00:44:04,340
20th-CENTURY POP CULTURE, THE
CLICHé FAILS SHORT AND RINGS
HOLLOW.
1380
00:44:04,342 --> 00:44:05,575
CLICHé FAILS SHORT AND RINGS
HOLLOW.
>> Kandell: CHAMELEONS TEND TO
1381
00:44:05,577 --> 00:44:07,677
HOLLOW.
>> Kandell: CHAMELEONS TEND TO
CHANGE COLORS TO BLEND INTO THE
1382
00:44:07,679 --> 00:44:08,945
>> Kandell: CHAMELEONS TEND TO
CHANGE COLORS TO BLEND INTO THE
BACKGROUND, LIKE, OUT OF
1383
00:44:08,947 --> 00:44:10,246
CHANGE COLORS TO BLEND INTO THE
BACKGROUND, LIKE, OUT OF
SELF-DEFENSE, AND IT ALWAYS
1384
00:44:10,248 --> 00:44:11,481
BACKGROUND, LIKE, OUT OF
SELF-DEFENSE, AND IT ALWAYS
SEEMS LIKE WHAT HE DOES IS THE
1385
00:44:11,483 --> 00:44:13,016
SELF-DEFENSE, AND IT ALWAYS
SEEMS LIKE WHAT HE DOES IS THE
EXACT OPPOSITE OF THAT.
1386
00:44:13,018 --> 00:44:15,051
SEEMS LIKE WHAT HE DOES IS THE
EXACT OPPOSITE OF THAT.
HE FINDS THINGS THAT--THAT SORT
1387
00:44:15,053 --> 00:44:17,253
EXACT OPPOSITE OF THAT.
HE FINDS THINGS THAT--THAT SORT
OF--AND HE PULLS THEM OUT TO
1388
00:44:17,255 --> 00:44:19,155
HE FINDS THINGS THAT--THAT SORT
OF--AND HE PULLS THEM OUT TO
MAKE HIMSELF STAND OUT MORE.
1389
00:44:19,157 --> 00:44:20,023
OF--AND HE PULLS THEM OUT TO
MAKE HIMSELF STAND OUT MORE.
>> Levy: TECHNICALLY, A
1390
00:44:20,025 --> 00:44:21,224
MAKE HIMSELF STAND OUT MORE.
>> Levy: TECHNICALLY, A
CHAMELEON IS THE GUY WHO COMES
1391
00:44:21,226 --> 00:44:22,558
>> Levy: TECHNICALLY, A
CHAMELEON IS THE GUY WHO COMES
ALONG AND LOOKS EXACTLY LIKE
1392
00:44:22,560 --> 00:44:24,293
CHAMELEON IS THE GUY WHO COMES
ALONG AND LOOKS EXACTLY LIKE
DAVID BOWIE AFTER DAVID BOWIE
1393
00:44:24,295 --> 00:44:26,496
ALONG AND LOOKS EXACTLY LIKE
DAVID BOWIE AFTER DAVID BOWIE
GOT THERE AND SET THE SCENE.
1394
00:44:26,498 --> 00:44:28,464
DAVID BOWIE AFTER DAVID BOWIE
GOT THERE AND SET THE SCENE.
YES, HE CHANGED HIS LOOK, BUT
1395
00:44:28,466 --> 00:44:29,966
GOT THERE AND SET THE SCENE.
YES, HE CHANGED HIS LOOK, BUT
THE WAY IN WHICH HE CHANGED HIS
1396
00:44:29,968 --> 00:44:31,634
YES, HE CHANGED HIS LOOK, BUT
THE WAY IN WHICH HE CHANGED HIS
LOOK IS CLOSE TO THE CORE OF
1397
00:44:31,636 --> 00:44:32,669
THE WAY IN WHICH HE CHANGED HIS
LOOK IS CLOSE TO THE CORE OF
HIS IDENTITY.
1398
00:44:32,671 --> 00:44:38,741
WHAT HE DOES IS CHANGE THE
SURROUNDINGS AROUND HIM RATHER
THAN CHANGE WITH HIS
1399
00:44:38,743 --> 00:44:41,144
SURROUNDINGS AROUND HIM RATHER
THAN CHANGE WITH HIS
SURROUNDINGS.
1400
00:44:41,146 --> 00:44:42,979
THAN CHANGE WITH HIS
SURROUNDINGS.
>> O'Brien: HE'S AN ARTIST.
1401
00:44:42,981 --> 00:44:46,249
SURROUNDINGS.
>> O'Brien: HE'S AN ARTIST.
I THINK ANYBODY LIKE BOWIE,
1402
00:44:46,251 --> 00:44:47,784
>> O'Brien: HE'S AN ARTIST.
I THINK ANYBODY LIKE BOWIE,
THEY--THEY LET YOU SEE WHAT THEY
1403
00:44:47,786 --> 00:44:49,719
I THINK ANYBODY LIKE BOWIE,
THEY--THEY LET YOU SEE WHAT THEY
WANT YOU TO SEE, AND IT'S
1404
00:44:49,721 --> 00:44:52,355
THEY--THEY LET YOU SEE WHAT THEY
WANT YOU TO SEE, AND IT'S
PROBABLY FOR THE BEST.
163060
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