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Bowie General > Images Vol. 14

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homebrewPosted at 2025-02-15 14:37:09(5 wks ago) (Bowie General / Images Vol. 14)


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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.

--Personal Note: I was just told I will need to undergo open heart surgery soon. There may be a pause in these postings beginning in March--


Images: Part 14


The management company Bowie signed with was a new firm, just opened in
1976 to be exact. This company would try to keep as much of David's
earnings as possible. Defries took seventy five percent of Bowie's
earnings and this new company wanted even more, much more. Bowie would
have been happy if the company could take and hold on to ninety percent
of what he made. The name of the company was Isolar Management and they
are based out of New York.  Isolar, like MainMan, was entirely owned by
one individual. The name of the individual in this case was David Bowie.

With Lippman now gone it left Bowie in complete control of his own
career, and his own finances. The formation of Isolar was to manage all
of Bowie's personal appearances and tours. There were no more percentage
splits with anyone as Isolar paid it's employees on salary and legal
costs were fixed and paid on a per piece basis. Isolar Management still
operates today and is probably the best business move Bowie ever made.
He would never have "managers" to deal with again, however he still uses
advisors and the one closest to him, and a partner in some of his
business ventures such as UltraStar, is his financial advisor, Robert
Goodall. Isolar is not the only company Bowie owns to manage his
affairs. He owns three companies to manage his publishing which are
Jones Music SA, Bewlay Brothers SA and Tintoretto Music SA.  A company
he named after his father, Stenton SA, handles film projects and all of
his video distribution. More companies with Bowie as the owner, or a
prime investor in, would appear over the years. Many more.
Bowie had to leave Los Angeles. Through the MainMan settlement he
received a lump sum payment of $325,000.00 This was certainly enough
that he no longer had to borrow money to buy his four packs of Gitanes a
day. However due to residency laws if he did not leave soon he would be
left to pay a large sum in taxes. Angie went overseas to get the
necessary documents. Bowie would soon be a resident of Switzerland.

Bowie had assembled a band consisting of Carlos Alomar on guitar, Dennis
Davis on drums and George Murray on Bass. There were two newcomers added
to this line up. First of all was Stacy Heydon who  replaced the
Station To Station session guitarist Earl Slick. The reason for this was
Slick's management arrangement. His manager you see, was Michael
Lippman. Also added was Tony Kaye, of Yes fame, on keyboards. The
rehearsals for the tour were held in January and early February in
Vancouver, Canada, at The Pacific National Coliseum, which was home to
the Vancouver Cunucks hockey team of the NHL. If you are a fan
interested in this period of Bowie's career and are intent on archiving
it with video and audio recordings then you have my sympathies.  The
task that you have chosen to take upon yourself is incredibly difficult
and will require your best efforts and the result will be few, if any,
rewards at the end of the day.

On January 3rd, 1976 the final version of The Thin White Duke appears on
national television in American. This time it is on the hugely popular
afternoon talk show hosted by Dinah Shore. The time slot for the Dinah
Shore Show was mid afternoon, a time that the viewing audience would
have been housewives, and of course once again, the "older" crowd. What
a lovely treat it was for them as well, and I am sure the old folks who
survived the show still talk about it at social rest home gatherings and
over games of bridge. A bit of insanity is always nice to break the
afternoon boredom at times. And it was insanity.

It was an absolute dynamite kick ass version of Stay Bowie performed on
the show. Highlighted were some rather innovative and energetic dance
steps in a routine he performs during the song. After, and quite out of
breath he sits beside Dinah so she can enlighten the viewers about the
career of David Bowie. It is quickly revealed that Dinah is not really
acquainted with David's work or David for that matter. She wastes no
time in demonstrating her ignorance by referring to Bowie as David
Boowee. To help the old folks decide which album would be best suited to
buy when the social security cheque comes, Dinah does a brief summary of
Bowie's career. This is done with the aid of pictures flashed on the
screen showing Bowie in various stages of his career. Dinah refers to
Boowee's clothes as "costumes." When the picture of the recently
deceased Halloween Jack appears Dinah questions Bowie on the style of
the "costume" and how it originated. What Dinah thinks, and refers to as
a "costume," is the outfit that he is wearing on the front cover of
David Live. Maybe I am mistaken, but I do not refer to it as a costume,
I call it a suit. Bowie says that he got the clothes because he was,
"Hanging around with some Puerto Ricans at the time." Remarkably he said
this with a straight face. Bowie is in fine company. Also on the show as
guests are Henry Winkler who is best known for his role as Fonzie on the
hit TV show Happy Days. The show was very popular in the mid seventies.
Rhoda was a spin-off sitcom from the enormously popular Mary Tyler Moore
Show.  The character of Rhoda was Mary Tyler Moore's neighbour
originally, until the network built a new show around her. Nancy Walker
played the part of Rhoda's mother, and she also made an appearance on
the Dinah Shore Show, along with Bowie.

Once again it is plain to see that Bowie is stoned. With his orange and
blond hair he really looks out of place next to these average dressed
humans sitting around on a sofa about to have an afternoon "chat."
Henry Winkler demonstrates, in no uncertain terms, on the show that he
is a blathering idiot. He makes a rather lengthy speech that details his
"understanding" of Bowie. He tells the audience that Bowie is an amazing
artist. He explains that Bowie is completely aware of his surroundings
at all times and what is going on around him. So focused in fact, that
he is tuned into "every single note" his band plays while on stage. His
drivel extends for a period close two a minute and a half.  Bowie sits
and says the odd, "Uh, huh," while Winkler is enlightening the old
folks, bestowing on them his views to give them a deeper understanding
of Bowie's talents. Bowie gives Winkler a stare throughout his soliloquy
as though he too thinks Winkler is a babbling fool. To return the
nonsense Bowie tell everyone he is "A big fan of Fonzie." Cigarettes are
passed around and Bowie, looking like he just did a few more lines of
cocaine, kindly offers everyone a light. He tells Dinah he is really a
painter and an actor rather than a musician. He explains that he acts
his songs rather than sing them. Bowie reveals he is terribly shy and he
forces himself into social situations. Even though he is shy he does say
that he has discovered he is, "A natural ham."  Because he was a guest
in their home I am sure that the Lippman's would be able to confirm this
statement rather easily. They saw first hand exactly how funny he is.

On February 2nd, 1976, the day before the opening performance of the
tour Bowie arranged for the afternoon rehearsal session to be
videotaped. A local company was hired and they sent a  crew over to the
Coliseum armed with cameras loaded with 3/4 inch Beta film.  The crew
captured over ninety minutes of the afternoon session. Bowie had this
tape shot for his own personal use, or the use of RCA, and the
performance on it is spontaneous rather than scripted. This film footage
is highly valuable to those Bowie fans interested in this period, enough
so to call it The Holy Grail of 76 collectors, and this is for two
important reasons. First of all, this era is so poorly documented that
this film footage is THE ONLY VIDEO IN EXISTENCE of Bowie on a concert
stage in 76 which has sound. There is other 8mm audience shot footage
from venues in North America and Europe, including a few minutes shot at
the Nassau Coliseum performance where the Resurrection On 84th Street
bootleg was recorded, which has been dubbed. There is an hour long
continuous uninterrupted piece of video that is poor in quality but
still very watchable shot at Wembley. All of this film is extremely
difficult to locate and it took me over twenty three years to find all
of it. Second of all the rehearsal footage shows Bowie in a relaxed
environment and this includes an environment where plenty of mistakes
are made. This is rare, as those of you who have seen Bowie live are
well aware how professional he is and mistakes on stage rarely ever
occur. Bowie is usually flawless during a live performance. This is not
so on the rehearsal video. The first thing one notices is that Bowie is
visibly stoned. This comes to light the moment he appears singing on
Station To Station, the opening number. Over the next ninety plus
minutes coupled with several laughing fits, lyrics are forgotten,
microphones are dropped and there are plenty of out of sync body
movements. Most of the time though one gets a true look at the stage
presence that was seen by the audiences in 76. For all of these reasons
the tape is the most important historical document to archive this
period. It was never released, and never will be, so it remains sitting
around somewhere collecting dust.

The tour would commence on February 3rd, 1976. By this time it was quite
apparent to everyone that David Bowie, in the role of his new character
The Thin White Duke, was for all intents and purposes completely out of
control.

ALadInsaNE

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


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