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Bowie General > Images Vol. 25

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homebrewPosted at 2025-05-24 15:04:23(1 wk ago) (Bowie General / Images Vol. 25)


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These articles appear just as they were posted in the Usenet group alt.fan.david-bowie by group member Jamie Soule aka AladINSAnE. I have made no attempt to alter the formatting, spelling, grammar or edit in any way.

Images: Part 25


It took awhile, however I did eventually figure it out. It was the
attitude. Performers have it, and lots, they run on attitude, ego,
attention and being noticed.  What I never considered at the time, but I
see it now, is that the ultimate in attitude sheik is the appearance of
not needing to be "seen." You just KNOW that they will notice you, no
need to make a spectacle, they will go looking for you if they have to.
The truly "cool" are beyond hype because they do not need it to survive.
I saw this for the first time in 78. Bowie portrayed it perfectly, well,
the role fit him anyway. It was as though he invented this new style of
celebrity sheik, class, not pretentious. What am I saying, he probably
did.

You have seen it, the bands that are spectacle with no substance. You
could barely see him walk out, and following Alomar no less. He didn't
go far, only to the side of the stage really and seated himself behind a
chamberlain. To the vast majority of the audience he was a member of the
band, Bowie was not on stage. How could he be missed? Easy. He was
dressed in a way that did not separate him from the others, and his
actions were that of the "hired help." A concert goes in a sequence that
is always the same, it never varies. First the long wait as an hour goes
past the time on the ticket,  and as you sit exposed to the obscure
music drifting out of the soon to be overheated speakers you can't help
but wonder where the fuck they find this stuff. You always ask the same
question, "Who gets to pick what they play over the sound system before
the band starts?"  Step two, out go the lights. Three, there are two
options. Either the front man comes out with the band and "leaps" to the
front of the stage, or in the usual case of a single "star" some form of
a grand  entrance has been carefully devised. Nobody misses the front
man or the star.  Bowie was no different either, he was the worst in
fact. I used to think that he must practice his grandiose entrances
relentlessly. He still does it at somewhat, and I swear he would have
halted the rotation of the Earth as an added effect to get more
attention at times. Eighty three and eighty seven come to mind, oh, and
ninety as well.

The calls of biased opinion are expected but it is true, audiences in
Montreal were extremely civilized, when I lived there anyway. Really.
Warszawa was playing away and a good portion of the place sat there
politely quiet waiting for the arrival of Bowie.  Now, before you write
them off as idiots  remember that from a distance, and with no clothes
or behaviour to distinguish him from the others when he walked out,
Bowie was easily missed. If you were not up close you would not have
noticed him either. Planned? Yes, and well planned at that. He sat there
and played while the audience waited for the Grand Moment, the ENTRANCE
OF DAVID BOWIE. When will THE MOMENT arrive? Missed? It was a moment,
but one gone by. No fanfare. David Bowie minus extravagance. This was
the epitome of self assurance. Confidence. He dared to hand them
Warszawa. It was almost a challenge and the message was clear, it was a
statement that supported art for its merits, not Billboard Magazine's
hit chart.  Bowie wrote what he wanted and  he played it, whether it was
accepted or not by his listeners, the critics or his label. He was
beyond the point of needing "approval" from anyone. It was quite evident
that by his entrance he  no longer needed to be noticed, and he did not
care. The fanfare was gone. This character was one of detail to his work
and indifference to his audience. I know many found this combination
quite acceptable, so much so that a return to this would be not only
welcomed, but wanted. Some of you may understand that observation a
little too well. I learned it many years ago.

It is rare, and as a matter of fact I have yet to see this "classic
move" duplicated. I do not believe that it has a proper title that would
serve as an adequate description, so I will coin one. Call it "Delayed
Grandiose Entrance," after being on stage already. I know, "How can he
manage to perform a grand stage entrance after he has already made his
appearance on stage?" Easy. He stood up from behind the chamberlain he
was playing on Warszawa, bowed to the audience and walked to the center
stage as the band played the opening bars of Heroes. Everyone saw him
now and the reaction was just as you imagine it would be. It was simple
yet on a grand scale. This character had class.

Read this. Warszawa, Heroes, What In The World, Be My Wife, The Jean
Genie, Blackout, Sense Of Doubt, Speed Of Life  Breaking Glass, Fame and
Beauty And The Beast. Just think about it, as you are unlikely to ever
see a set list like this again. Yes, I said a set list.  Now, as
creative and refreshing as the choice of songs were, this list  was not
good news to some Bowie fans in the audience for a reason you may not
readily notice. There is one thing that is absent on this list and its
absence angered a fair number of people in the audience.  Read the list
again, there are eleven songs. How many of those songs were hits on the
radio?  How many are popular, or well known songs to casual Bowie
listener? Well, there's Fame. Oh, and Fame? One of Bowie's hits is Fame.
Everyone knows Fame. See? Get my point? You know as well as I do that
there are plenty  of Bowie fans who prefer Bowie's work previous to Low.
Just picture yourself if you happen to be one of these people and you
attend this concert expecting to get a good dose of Bowie's popular
material? There is a strong possibility that most of these songs you are
barely even familiar with. How would you feel about now? I know it
sounds insane to even contemplate, but I saw Bowie fans who were angry
while watching a live Bowie concert! There were of course the other
contingent of fans who seemed to be in paradise, still in awe at their
good fortune. Personally I do not care for Fame that much. I really
adore Speed Of Life.

Bowie didn't care, he was having fun and he seemed to really enjoy the
freedom that he allowed himself to play this material. You could tell
that he liked this work and he wanted to showcase it, which he did well
if you go by the accounts of those who saw this tour. Sadly, and I am
not alone in my opinion, it would be one year shy of two decades before
a tour came that could rival any of the tours from the seventies.  At
this time however we were naive, so unaware of what lay ahead. This
character was not what it appeared to be, and unfortunately we would
learn its true nature far too late.

Intermission. Dave said ten minutes, meaning we had about an hour to
kill.

The complaints could easily be heard now since the band was off stage.
"Fucking shit. All he has played is FUCKING SHIT. I don't like his new
stuff much. He hasn't played ANYTHING from Ziggy. This is my last Bowie
concert, I'm bored. Let's leave. What a fucking asshole. Not even
Suffragette City or Jean Genie. What was that piano shit, the stuff
without lyrics? Was that ever bad. This is a rip off." These cases were
not what you would even begin to classify as isolated. It was probably a
good thing for Bowie that most were too stoned to organize some sort of
group, as well as the fact enough wood to construct a scaffold and ten
feet of good solid rope are difficult items to come by anywhere close to
the Montreal Forum. Canada has strict gun possession laws as well. The
general consensus overall was that the show could be better. It all came
down to a set list that focused too much on the "serious" side. I may
not agree with the people who were less than satisfied due to my
personal tastes, however I could certainly see their point. Is the point
valid? I would be interested in some opinions from other fans who read
this. I will say that if I was more of a hit oriented casual type of
listener I would most likely, I mean I would definitely, feel rather let
down. Considering their circumstances I tend to think that they were
pretty much justified in wanting a few more accessible songs played.
Bowie must have forgot to be exceptionally late because he reappeared in
under an hour if I am not mistaken.

Five Years, Soul Love and Star. They were not the full complete
versions of each song but performed as a medley. They may not have been
the complete versions, but there was enough of each song to silence most
of those who were complaining just a few short moments ago. The few that
still had anything to say about being let down were forever silenced by
Hang On To Yourself,  Ziggy Stardust and Suffragette City.  Art Decade
and Alabama Song followed. I confess by this time I was getting
concerned, well I was in fear actually, fear of being letdown and having
to go home with the feeling of disappointment. Nothing played yet from
Station To Station. NOTHING! Time I know i running out, and I am
nervously anxious about what will be the final outcome. Will he play
something from that album? Please? It wasn't long.
Saved. An excellent and lengthy version of Station To Station, not as
good as 76 mind you, but still wonderful. I am happy. I am satisfied as
Bowie says, "Thank you and good bye." The stage is quiet. I thought how
I could not have asked for more as Stay and TVC-15 were performed as
encores and the show closing with Rebel Rebel.  The reviews the next
morning were quite good and the music critics in Montreal tended to be
merciless.

The tour cemented Bowie as a truly formidable act, able to fill 18,000
seat arenas, where as before, some venues on the 76 tour seated 3,000.
Most of the venues on the North American leg of the tour seated 20,000
or more and many were filled to capacity. The exception was  in the
Southern States where a few of the stops undersold the Station To
Station tour. Overall though the North American part of the tour was an
overwhelming success for Bowie. There were thirty one stops on the tour
and almost every performance met with wonderful reviews, especially in
the major markets such as New York, Los Angeles and Detroit.  The gross
take for this leg of the tour was conservatively estimated to be in the
range of three million dollars. Bowie was paying the band members two
thousand dollars a week plus expenses, plus a bonus at the end of the
tour. Carlos Alomar was paid an additional sum for his responsibilities
as band leader. The North American portion of the tour closed on May 9th
in New York, after which Bowie flew to Germany, the start of the
European leg of the tour.  Bowie went to Cannes just before  the tour
was scheduled to hit Paris for the International Film Festival where a
"teaser" for Just A Gigolo was being shown. The film was still in the
editing stages so it could not be shown.  In retrospect, rather than
editing it  , they should have been dousing every inch of the film with
high octane gasoline and igniting it with the aid of a ten megaton
nuclear weapon.  His long awaited tour of Britain began in Newcastle on
June 14th with three performances. Much to the dismay of RCA however,
this was not the same Bowie that left the States. Something had changed.

This character, reminiscent of The Thin White Duke, had gone once again
into complete isolation. Bowie had insulated himself to the point that
no one could get anywhere near him, unless he allowed them to, and Coco
made sure that no one did. Now, you would rightly assume in most cases
that a record company would be able to find one of their major acts,
especially when on tour. This was not so with Bowie. RCA attempted to
locate him on numerous occasions but were unsuccessful. They wanted to
speak to him regarding this sudden change that had occurred because they
were concerned, and they had a good reason to be. While in America Bowie
was granting interviews to anyone who would listen, and this, as you can
well imagine, delighted RCA after his refusal to promote Low in any
fashion. On TV, radio and for the magazine reporters Bowie talked
incessantly about Heroes and the tour. He more or less talked about
anything. Not anymore however. Once Bowie arrived in Britain he refused
to grant anyone and interview, and the band members were forbidden to
speak to the media under the threat of being immediately replaced.
Friends and relatives already knew that if they ever gave an interview
or so much as commented about bowie to the media in any form then he
would never speak to them again, they would be removed from his life
forever. That may sound petty but to disobey was at one's peril, and
everyone, even to this day who has ever been admitted to the "inner
circle" is made well aware of this rule and they heed it.  Those who are
close are truly afraid of the consequences if they ever speak to the
media, and the fear Bowie has instilled in them has worked well. How
well? If you look back over all of the years since Bowie has been a
public figure,  from around 1968, there has only been two cases of
anyone breaking their silence and talking to the media. In each case
they were close relatives, one being his mother and the other being his
aunt Pat, who is his mother's sister.  His aunt went to the media saying
that Bowie did not financially help his mother, and more importantly
broke every promise he ever made about making sure that his brother
Terry was well looked after while in the hospital for psychiatric
problems which plagued him deeply for most of his life. His mother
confirmed all of this. She did say he bought her a mink coat but as a
pensioner she could not afford to go anyplace to wear it.

Now, surely you think RCA could have found Bowie through his tour
itinerary. I mean all you would have to do is get the name of the hotel
and show up in person, he was bound to appear sometime. Unfortunately
this was not possible. It is true that the hotels were well booked in
advance, and the itinerary was  known to RCA along with  the
accommodation arrangements. The problem lie in the fact that it was only
the musicians and the employees on the tour who were staying at the
hotels, Bowie was not. David, as well as Coco, only stayed at the homes
of trusted friends, and when this was not possible they stayed in rented
apartments. The only other living creatures in the solar system who knew
where Bowie was staying were his longtime friend, confident, driver and
bodyguard, Tony Mascia, and the other being Bianca Jagger who was
traveling with him at times. Any attempts to get near Bowie when he was
backstage before or after a performance were quickly thwarted by Coco.
Obviously there were times when it was necessary for Bowie to meet with
certain people, including those in the employment of RCA. The routine
was always the same. David and Coco would have you pick them up at a
predetermined spot away from where they were staying, and you would be
required to come alone. They would be waiting on the side of the road
and never near their car  The meetings would be held usually at a
restaurant, and when they were finished you would drop them off again
where you picked them up. Bowie would have Tony drive around for a bit
before going home in order to make sure that they were not being
followed. RCA finally at one point got a reason for Bowie refusing to
talk to the media anymore. He said, " The tour was enough." Oddly RCA
did not find that explanation very comforting. Gee, I wonder why?

While in Cannes to help with the pre release promotion of Just A
Gigolo,  Bowie was also pursuing a few other some other projects which
interested him. David had approached a German film director by the name
of Rainer Werner Fassbinder about the possibilities of making a film
version of The Three Penny Opera which was written by two of Bowie's
favourite composers, Bertolt Brecht and Kurt Weill.  He wanted to one
day direct  a film on his own but first wanted to gain some experience
by co-directing a film with Fassbinder.  This was a very admirable
request as there many famous people who often try new things without
bothering to gain any experience first. Many are of the opinion that
they can just get by doing anything because of their "celebrity" status,
often with miserable results. Some of the examples which come to mind
are the endless string of models who start singing or acting, sports
figures as well along with a host of others. This is another beautiful
example that Bowie does not allow his ego to override his abilities and
he is humble enough to ask for help to gain the skills necessary to
complete the projects he wants. He has done this with every facet of his
career, from his own personal albums, to the films he has acted in as
well as the new areas he ventures into. He should be recognized and
highly commended for this degree of professionalism in my opinion, he
certainly demonstrates lot of class.  Bowie's love of art, especially
painting is no secret. in recent years he has written columns in some of
the worlds most respected art journals,  and has become a recognized
authority by many in the artistic community. One of Bowie's favourite
painters was an Austrian by the name of Egon Schiele who was born in
1890. Schiele had a tragic life and was the epitome of the classic
"starving" artist story. He was an expressionist who focussed on the
basic subject of the male and female form. He incorporated very harsh
lines when depicting his subjects which made his figures quite dramatic.
This was coupled with the use of contrasting colours which seemed to be
applied to the canvass at times with a fair amount of force. His
paintings were viewed as extremely erotic for the time period, and he
was sentenced to a prison term in 1912 for making 'pornographic' works.
Schiele lived his entire life in a state of extreme poverty. His work
was not recognized until long after his death from influenza. He died at
the age of 28 from influenza, and his work only became recognized long
after his death. In some respects his life mirrored that of another
famous artist who died young by the name of Michel Basquiet. Bowie, as
many of you are aware of played the role of Andy Warhol in a film about
the life of Basquiet. While at the Cannes International Film Festival in
1978 Bowie was trying to arouse some interest in making a film about the
life of Egon Schiele. Bowie wanted to play the lead role in the film.
After Cannes there was a full year of discussions, apparently some
preliminary work was started on the film but there was nothing more that
became of the idea unfortunately.

After thirteen performances in four cities the British portion of the
tour came to an end with  three performances at Earls Court between June
29 and July 1st. There were five 35 mm film cameras set up, and all
three of the shows at Earls court were recorded in their entirety under
the direction of David Hemmings. Sound and Vision was performed for the
only occasion on the tour as an encore for the final show on July 1st.
Now, for what it is worth I would like to offer a little advice for
those of you out there who are planning to hold your breath until this
documentary film of the Heroes tour is released. You may heed this
advice or ignore it at your convenience but I just wanted to mention
that you will be long dead before you ever see one frame of that film.
To put things into the proper perspective it is highly unlikely that
you, your children, your grandchildren or the next six thousand
generations of your family will ever see any of this documentary unless
you are able to discover where it is stored and steal the fucking thing.
If you do I want to remind you that I will go to great lengths in order
to obtain the necessary funds in order to purchase a copy from you. I am
nor   d robberies, a bit of extortion or some embezzlement.  Please be
reasonable though and keep the price below two million, it isn't proper
etiquette to take advantage of other collectors.

If any of you are wondering why you will never see this footage of the
78 tour the reason is simple. It is a reason that I have loudly
complained about for a long time and I a getting rather sick of it to
tell you the truth. The reason is of course MONEY once again. Oh, and
let's not forget GREED and EGO. I feel a mild tirade in the works so I
have given you advance notice to either read or run at your leisure of
course. The problem as far as Bowie is concerned is the MainMan
contract, which you must remember was still in effect at this time and
would be until 1982. Now, since the film was made in 1978 it means that
Tony Defries is entitled to fifty percent of the gross profits from the
film no matter when it is released. In fairness to Bowie I will say that
he did try, he consulted with several lawyers who specialize solely in
contract law in order to get some advice on what, if anything, could be
done to get the film exempt from the agreement he signed with MainMan.
Defries himself was a full time contract lawyer before he started to
manage Bowie on a full time basis, and  his partner in Chrysalis,
Lawrence Myer, was a lawyer who specialized in contract law purely for
the entertainment industry. Between the two of them you could well
imagine the contract they drew up. Bowie was given the exact same
verdict by every person he consulted, the contract was unbreakable under
any circumstances. There was nothing anyone could do, and if he violated
it he would lose in court, guaranteed. Okay, fine, and I fully accept
the fact without any reservations at all that Bowie would have to give
fifty percent of the profits from this documentary to Defries. My major
question concerning this is, "SO FUCKING WHAT IF HE HAS TO GIVE UP FIFTY
PERCENT OF THE PROFITS?" That's right, SO WHAT? Now, I have a question
for those who are reading this. I was wondering out of curiosity if any
of you would like to see this film, or am I just a member of a small
minority who want to see it. I admit that 78 is not nearly as bad as 76
for the availability of concert footage. Although it is all bootleg,
oops sorry, I mean "unofficial", I DO NOT HAVE ANY BOOTLEG RECORDINGS
BECAUSE THEY ARE ILLEGAL,  there is a fair bit of decent material from
the 78 tour. There is some footage from Dallas as well as a fairly
lengthy portion of the concert shot in Tokyo called Young Music Show
which aired on NHK.  One of my personal favourites is a video shot on
August 4th, 1978 in Bremen for German ZDF TV's Musikladen. Since it was
in a TV studio there is a only a small number of people in the audience
and it gives the performance a very unique feel.  The quality of the
tape is very good and the set list is great. Bowie performs Sense of
Doubt, Heroes, Beauty and the Beast, Stay, Jean Genie, TVC 15, Alabama
Song and Rebel Rebel. Compared to the one unreleased piece of video
which has sound that exists of the 76 tour, the 78 tour is rather well
documented.

Anyway, documented or not isn't the point. All of these videos were
never officially "released" and made available for fans to purchase. The
copies which exist now have been copied from the original television
broadcasts, or rebroadcasts in some cases. It is because of this that a
great majority of Bowie fans do not have easy access to this material
and for obvious reasons there are a great number of fans that do not
even know that this material even exists. It is your prerogative to
choose to disagree with me but I consider this period to be among the
best of David Bowie's career and one of the most creative. I also
consider this tour to be one of his best as well. I am willing to
venture a guess that I may not be the only Bowie listener who feels this
way either. The point I am making is WHAT ABOUT THE FANS? What about US?
What about what WE want? Do the fans count for anything anymore? In my
opinion it pretty much looks like we don't count for much and
unfortunately it has been that way for quite a long time now. This has
been my major complaint about Bowie and I feel that I am quite justified
in my opinion. The fans just don't seem to matter at all. I am well
aware of those who would criticize this opinion of mine and counter it
with the statement that Bowie is free to do whatever he wants and he
doesn't owe us anything at all. If we don't like what he does then we
can stop listening to him, after all, nobody is forcing us to stay. I
have given up responding to the stupidity of statements like that a long
time ago, and all I can offer is my best regards to those who make them
for a safe and pleasant trip back to Bowiezoidnet. People such as these
await the release of Bowie/Puffy remixed picture disks and mourn the
shelving of Toy considering it to be a loss the entire world will suffer
for.  Thankfully encounters with these "fans" has become a rarity, as
most have at least enough sense to steer well clear of this group having
been forewarned of our "reputation." Those who choose to test their
courage, fortitude and stamina by posting here, or those too stupid
enough to heed good advice, do not last that long on most occasions.
They usually flee within days to safer ground and become another voice
warning others to avoid this place at all cost.

What is troubling to me is that the requests or wishes from  Bowie fans
go ignored from what I have seen. This is particularly disturbing to see
this done to fans who have supported Bowie financially and remained
loyal to his work for DECADES. They have stuck with him through
everything. I am not in any way undervaluing the loyalty of new fans
when I say this because you go unheard for the most part as well. Many
of you may not know this but it is true. Bowie and Eno recorded FIVE
ALBUMS worth of material during the Outside sessions. You heard me, I
said FIVE albums. I wonder if anyone other than myself would be
interested in hearing these recordings? My opinion, an an educated one
at that, is yes. If you read the various newsgroups, or simply talk to
other fans, you will find a large number who are waiting, well praying
now, that one day before they die of old age. Contamination, the follow
up album to Outside, will get released. There is a tremendous demand by
fans to hear this material and to add insult to injury Bowie had
PROMISED YEARS AGO to release it. Anyone see it yet? I haven't, and if I
haven't I can guarantee you nobody else has either. Fans have begged for
this album for years and received vague promises in return. These
promises give fans hope, only to be snubbed and disappointed again. I
seriously question the fact if Bowie cares at all about what this does
to his listeners.  Rather than a promised Bowie/Eno collaboration that
was desperately wanted, and one fans waited patiently for, we got Hours,
Bowie At The Beeb, Toy which was shelved and a guaranteed
disappointment, All Saints, and news of the pending release of Heathen.
The Beeb and All Saints contained nothing to get exited about as it was
all old material that is either well known or worn out as far as Bowie
fans are concerned,  and Hours failed miserably to live up to the hype
of it being a rival to Hunky Dory.  To compare Hours to Hunky Dory is an
abomination in every sense of the word.  Oh, we got the Bowie and Puff
Diddy collaboration too. Sorry, I wonder how I possibly managed to
forgot about that? Silly me.

It is the same situation with the 78 documentary. There are many, well
the majority I would guess, of fans who would appreciate the opportunity
to see one of the best concert tours ever, and I don't mean just Bowie
tours either. This would be a tremendous opportunity which most fans
would relish, as it would offer to them  the opportunity to be able to
see Bowie perform material that he is unlikely to ever repeat, and at a
time that many would argue is the best period of his career. I have
experienced first hand the appreciation of those who I have shared some
78 video with, who were of the opinion before that as much as they
wished to see film from this era, they had given up hoping in the firm
belief that they never would. The reality I am sorry to tell you is that
in all probability you will never see this documentary.  What is truly
quite unfathomable is the reason why you will never see it, and that is
because  Bowie refuses to forgo half of the profits. I can't speak for
you but I do not particularly enjoy the feeling of being denied access
to this valuable documentary solely for the reason that Bowie WON'T MAKE
ENOUGH MONEY from it. There seems to be far more consideration for the
money than for the wishes of the fans. Personally I find Bowie's actions
to be a wonderful display of arrogance, and a perfect example in the art
of how to be ungrateful. Is there any reason why Bowie could not
release this for the benefit of his fans and show some gratitude, rather
than think about money for a change. He is acting in a fashion that
indicates he would suffer a financial setback of immeasurable
proportions should he allow this documentary to be released.  It doesn't
take the brain power of Einstein, as a matter of fact any idiot can
easily figure out that the documentary does not generate any revenue
from where it sits at the present time, it would however if it was
packaged and sold. Guess what? I have a rather novel idea. Yes, I know,
I am well aware how far fetched it is, and I know that the odds of it
ever happening are around zero. I was thinking that maybe Bowie could
release the documentary for us even if he broke even on it and there was
no profit. I mean, he is worth over eight hundred million dollars, and I
do not believe that the financial risks involved with this documentary
are enough that they could cause him any serious harm.  Yep, that is my
idea, just GIVE it to us without caring about money all the time. It
would be nice if we did not have to be snubbed and deprived because of a
hissy fit over something that has sweet fuck all to do with us. Forget
Defries, you still are getting half of the cash anyway, you are
profiting and think about us for a change.

AlADiNsaNE

To be continued.......................

*BACK TO THE INDEX <index.htm>*


""I don't begrudge any artist for finding an audience"
- David Bowie abt. 1987
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