David Bowie: The Young American (Stay Tuned for My Halloween Special which will include My Famous 'David Bowie Scary Teeth' Video

cracked actor
During August and September of 1974 the BBC filmed David for a documentary as part of the Omnibus series. The documentary was first broadcast on 26 January 1975 and titled Cracked Actor. This gave UK fans the first real glimpse of what the Diamond Dogs Tour was like via the use of live footage from the performance at the Los Angeles Universal Ampitheater on 5 September.
The documentary starts with a Channel 7 Eyewitness News report featuring footage of David performing at one of the LA Universal Amphitheatre shows followed by an interview with Wayne Satz.   WS: I just wonder if you get tired of being outrageous? DB: I don’t think I’m outrageous at all. WS: At all? DB: No. WS: Do you describe yourself as ordinary? What adjective would you use? DB: Um…b… blah… ah… um… David Bowie. WS: Ah-ha. Well, I’m reluctant to make the judgement about what category you fit into and I’m hoping to prove it. DB: Good. WS: Oh no, I wouldn’t be that pretentious but maybe you have a feeling yourself? DB: No. I’m really very old fashioned. I like moving from one area of writing or performing to another… to keep me excited, to keep me interested, to keep the people who come to see me or buy records interested and excited as well.   Wayne Satz concludes the report in the TV studio where he says, “If you didn’t understand that don’t feel badly because I certainly didn’t. David, I know you’re watching tonight with the BBC film crew and it’s wonderful to have your old fashioned entertainment around, until the Beatles get back together, but it sure would be nice to talk to somebody who’s not being evasive and discussing riddles.”   The documentary continues with narration and interviews conducted by Alan Yentob on the road, in hotel rooms and backstage at the Los Angeles Universal Ampitheatre. This is interspersed with live footage from Hammersmith Odeon 3 July 1973 and the Los Angeles show. Some of this commentary is repeated below.
	AY: Since you’ve been in America you seem to have picked up on a lot of the idioms and themes of American music and American culture. How’s that happened? DB: There’s a fly floating around in my milk and he’s… he’s a foreign body in it, you see, and he’s getting a lot of milk. That’s kind of how I felt - a foreign body and I couldn’t help but soak it up, you know. I hated it when I first came here, I couldn’t see any of it.
	AY: What made all of this important to you? I mean, with your background why were you intrigued by all of this? DB: Um… it was… I mean, it filled a vast expanse of my imagination. I was always pretty imaginative and the imagination can dry up in wherever you’re living in England, often, if there’s nothing to keep it going. It just supplied a need in me… America, became a myth-land for me. I think every kid goes through it eventually but I just got onto it earlier.
Cracked Actor
	DB: There’s an underlying unease here, definitely. You can feel it in every avenue and it’s very calm. And it’s a kind of superficial calmness that they’ve developed to underplay the fact that it’s… there’s a lot of high pressure here as it’s a very big entertainment industry area. And you get this feeling of unease with everybody. The first time that it really came home to me what a kind of strange fascination it has is the… we… I came in on the train… on the earthquake, and the earthquake was actually taking place when the train came in. And the hotel that we were in was… just tremored every few minutes. I mean, it was just a revolting feeling. And ever since then I‘ve always been very aware of how dubious a position it is to stay here for any length of time.
Sweet Thing
	DB: This is the way I do cut ups. I don’t know if it’s like the way Brion Gysin does his or Burroughs does his, I don’t know. But this is the way I do ’em. I’ve used this method only on a couple of actual songs. What I’ve used it for, more than anything else, is igniting anything that might be in my imagination and it… you can often come up with very interesting attitudes to look into. I tried doing it with diaries and things and I was finding out amazing things about me and what I’d done and where I was going. And a lot of the things that I’d done, it seemed that it would predict things about the future or tell me a lot about the past. It’s really quite an astonishing thing. I suppose it’s a very western tarot, I don’t know.
Moonage Daydream
	DB: I never wanted to be a rock ‘n’ roll star. I never, honest guv, I wasn’t even there. But I was, you see, I was there. That’s what happened. No… no it excited me just because it was there, that was enough. I mean, personally I was playing saxophone and I was trying to make up my mind whether I wanted to play rock ’n’ roll or jazz and as I wasn’t very good at jazz and I could fake it pretty well on rock ‘n’ roll, so I played rock ‘n’ roll. And, I found I enjoyed writing. The only thing I was ever really good at at school was composition. Not grammatically, I was always terrible on grammar, but I could always write better stories than anybody else.
Aladdin Sane
	DB: It was my initial fascination with mime and expressing things with facial movements and body talk rather than articulating things. I mean, I’d one as much articulating as I’d felt was necessary with the actual songs and if I was going to present them in more than a single dimension, I mean, if I was going to present them visually then I wanted my body or my muscles to play an active part in the performance. It’s funny that the same, very similar masks to the Kabuki stick masks were then… were used with the English Mummers Theatre. It’s very strange that they should come up with very similar designs for faces. I don’t know what the link would have been but there must have been some link.
	DB: That is kind of from the Aladdin Sane album. Aladdin Sane was a schizophrenic. That’s counted for lots of the… why there were so many costume changes, because he had so many personalities that each, as far as I was concerned, each costume change was a different facet of personality. This is, likewise, another Japanese costume. These are all Japanese… most of this stuff is Japanese, most of my clothes are Japanese. I have… I’ve always been fond of Kabuki style clothes. That’s another Aladdin Sane thing. Aladdin Sane, I saw him as… I found light… lightning… a lightning bolt really represented him.
	DB: More than anything else I saw that a lot of my songs were very illustrative and picturesque and I felt there were other ways of performing them onstage. I was never very confident of my voice, you see, as a singer. So, I thought rather than just sing them, which would probably bore the pants off everyone, I would … I'd like to kind of portray the songs rather than just sing them. That's really how it started… wanting to portray the material I was writing. I always found that my material… I felt that it was more three dimensional. I wanted to give it dimension. I wanted to give it some other dimension other than that of just being a song.
Time
	AY: You saw for a long period, or for certainly over the last couple of years, a lot of kids sort of aping you almost or looking very like you so that they were… they would dress up and put things on very similar to you. DB: Yeah. AY: How did you feel about that? DB: Well, a lot of it came about starting off like that, but over the last year or so it’s changing in as much that they’re finding out things maybe nothing to do with me but the idea of finding another character within themselves. I mean, if I’ve been at all responsible for people finding more characters in themselves than they originally thought they had then I’m pleased because that’s something I feel very strongly about. That one isn’t totally what one has been conditioned to think one is, that there are many facets of the personality which a lot of us have trouble finding and some of us do find too quickly.
	DB: Do you know that feeling you get in a car when somebody’s accelerating very fast and you’re not driving? And you get that “Uhhh” thing in your chest when you’re being forced backwards and you think “Uhhh” and you’re not sure whether you like it or not? It’s that kind of feeling. That’s what success was like. The first thrust of being totally unknown to being what seemed to be very quickly known. It was very frightening for me and coping with it was something that I tried to do. And that’s what happened. That was me coping. Some of those albums were me coping, taking it all very seriously I was.
Space Oddity
	AY: Wasn’t it a rather dangerous thing to do, to play the roles? DB: Well I didn’t know. When you’re that mixed up and I’ve been mixed up man. I mean, really it was… one doesn’t know. One half of me is putting a concept forward and the other half is trying to sort out my own emotions. And a lot of my space creations are, in fact, facets of me I have now since discovered. But I wouldn’t even admit that to myself at the time. That I would put everything… just make everything a little kind of upfront personification of how I felt about things. Ziggy will be something and it would relate to me now, I find. And Major Tom in Space Oddity was something, Aladdin Sane. They were all facets of me and I wasn’t really… I got lost at one point. I couldn’t decide whether I was writing the characters or whether the characters were writing me. Or, whether we were all one and the same.
	AY: Would you say that Ziggy was a monster? DB: Mmm. Oh, he certainly was. When I first wrote Ziggy… I mean, it was just an experiment. It was an exercise for me and he really grew sort of out of proportion, I must admit. Got much bigger than I thought Ziggy was going to be. I didn’t ever see Ziggy as big. Ziggy just over-shadowed everything.
	AY: How much of Ziggy’s death have to do with his own personality or with the circumstances in which he existed or with the…? DB: Yeah, it was… really it was his own personality being unable to cope with the circumstances he found himself in which is being an almighty prophet-like superstar rocker who found he didn’t know what to do with it once he got it. Which is… it’s an archetype really, it’s the definitive rock ‘n’ roll star. It often happens and I was just trying to document it as such.
	DB: Yes. I had a kind of… a kind of strange psychosomatic death-wish thing, I think. But that’s because I was so lost in Ziggy, I think again. It was all the schizophrenia.
Diamond Dogs
	AY: It did look as if it was the ghost of Ziggy Stardust you were tying up? DB: Yes, exactly. That’s what happened. It was trying to get rid of the damn character that was kind of following me around. And… and hopefully… you see I’m very… I’m very happy with Ziggy, I think he was a very successful character and I think I played him very well. But I… I’m glad I’m me now… I’m glad I’m me now. My God I can trot ‘em out!
	AY: So David Bowie becomes a soul singer.
John, I'm Only Dancing (Again)
There is an American tape of this documentary which contains slightly different footage to the UK broadcast. The main difference is that film of David performing "John, I'm Only Dancing (Again)" has been replaced with film of him backstage and in his dressing room:

cracked actor

Bowie and Bolan Get It On

Bowie and Bolan Get It On

By Chris Welch | Melody Maker | September 1977

[thanks to Ann-Sofie Andersson for transcribing this]

Chris Welch reports from Manchester on David Bowie's appearance on Marc Bolan's television show

"Oh that's really Polaroid! You've gotta keep the ending!"

David Bowie rocked with laughter and Marc Bolan wiped away the tears that had threatened to turn his finest hour into a nightmare. The great day when David and Marc were reunited for a TV show will pass into the history books as one of the funniest episodes never filmed.

Perhaps one should say never video-taped for the last show in the series Marc put together by Granada TV turned out to be a drama of such pathos and uproar that it made Coronation Street seem dull, if that's at all possible.

There were tears, outbursts of swearing, bitter rows and the breaking of light bulbs when everything seemed to go wrong when David joined his old chum for rehearsals and recording at Granada's Manchester studios last Wednesday.

The clash between old wave and new wave was further heightened by the power of trade unions and the congenital inability of rock people to get it together in anything lik a normal, orderly fashion. It was ten breaks and split-second timing versus artistic temperament and inexperience.

I thought it funny but I'm sure producer Muriel Young didn't, nor did the manager of Generation X who turned up three hours late without any equipment, nor Barrie Masters and his famous Rods who never got to appear on the show after waiting around for two days.

In the event, by the miracle of editing and technical wizardry, the show will go out complete with the Rods, and David making a rare British television appearance on all ITV regions on Wednesday, September 28 at 4:20 pm. But it would have been more exciting if they had videoed the dramas taking place in and around the studio.

Marc was in his element as a television star and part-time artistic director. As one studio boss was forced to ejaculate when Marc was bellowing instructions: "I don't know why I'm the floor manager" Said Marc: "When you've got your name up in lights, you've gotta take responsibilities".

The show was born out of Marc's dream to be a media man, dating back to when he once did some interviews for London television. Here he could invite his favourite guest artists, do a bit of chat and generally camp it up in time-honoured Bolan fashion.

As a cross between Judy Garland and Louis B. Mayer he was brilliant. But one of the lads in the heavy rock combos booked for the show stopped me dead in the gents by demanding: "Is he queer?" "Nah, course not. Straight as a die, our old Marc" I protested.

A few minutes later Marc sailed past us in the corridor calling out coyly: "What shall I wear? I know, the green dress with black suspenders." In fact he turned up wearing a leopard-skin creation that even a leopard might have baulked at.

The whole day was worthy of being turned into one of those probing documentaries where people bare their souls and the holes in their socks before cameras so discreet that nobody seems aware of their presence.

It was just like the World About Us. The cast of characters included Marc's PR Keith Altham, recently recovered from a nervous collapse that he threatened would be brought on again if Barbara De Witt said another word: Barbara De Witt, David's American PR lady who wanted to know what Keith Altham was doing bringing so many press in her artist's wake; Bob Hart of the Sun, anxious to see Keith Altham, buying him a drink ("You're the only publicist I can't afford to have lunch with"), Jeff Dexter, Sixties hippie deejay, and now partner with Tony Gourvish in Marc's management, the said Mr Gourvish resplendent in genuine 1968 teddy boy jacket, and Eric Hall the man from EMI.

The whole party descended by train upon Manchester and spent the day being hustled out of the studio by David's bodyguard, a charmingly polite gentleman who kept appearing in front of us saying: "You'll have to leave – now". I half-expected to meet him at the front gate when I got home that night, holding up both hands to bar any further progress.

The main targets of his life's work (sending people in the opposite direction from whence they came) were Marc Bolan's manager, his press officer, and various friends hoping to see David after his absence from the scene for many years.

"Ain't it strange what some people will do" was the rather apt song being dance to by Heart Throb, the show's troupe of girl dancers who had chosen to wear plastic see-through bowler-hats for their routine.

On came the Rods – Barrie Masters in jeans and shirt – miming to their backing track on "Do Anything That You Wanna Do." "It's a bit Mick Mouse, this show," he said as he came off the rostrum, indicating that he and the boys had been hanging around in the studio all day waiting to do their bit.

Generation X arrived red of hair and pink of cheeks, somewhat breathless from a disastrous day spent on the M1. A broken-down van, no equipment available – the bad news experienced by many a group.

But it didn't stop them adopting the aggressive attitude expected of a new wave combo. As offers were being made to lend them equipment they discussed jokingly, whether or not to smash up Marc's guitar, "What will it cost us – 400 quid?"

Eventually guitars were lent, including Rod Paul Gray's bass (he told me that if the X-men smashed up his bass guitar, he would smash them up).

Miraculously, amplifiers and instruments were procured and Generation X stormed into their big number "Your Generation" and Billy Idol their pretty lead singer looking aggressively angelic. In fact they played so well I found myself clapping their performance, lone applause that must have sounded almost insulting in the silence of the studio as the echoes died rapidly away.

But Generation X discomfort was not over. They had to play a number at least five more times, constantly being stopped by the technicians, something all musicians detest.

Marc had to keep repeating the same introduction "This is Generation X. They have a new singer Billy Idol who is supposed to be as pretty as me. I ain't so sure. Check it out." Eventually he stumbled over the words by the sixth attempt. "Me brain weren't connected to me leg" he explained with a grin.

Meanwhile more rows were breaking out between Generation X's manager and producer Muriel. As Stewart bellowed abuse across the studio floor, Muriel, a very ladylike professional, simply walked away.

"It's appalling" said Stewart "Now they are only going to show half the song or pull it out. We'll do Top of The Pops instead. Let's go!" He made a move for the exits, but the band stayed on and later Granada confirmed that X would be in the show.

While the September 28 show was still being recorded the day's edition was going out featuring Marc singing "Let's Dance" the old Chris Montez hit which sounded pretty good given the Bolan treatment as well as his new single "Celebrate Summer."

Now it was time for the studio to be cleared while Marc and David rehearsed their big number. Momentarily eluding the bodyguard I managed to hide behind a piece of scenery as Boland and Bowie joined forces with Herbie Flowers, Dino Dines and Tony Newman. It sounded like a bit of a shambles to the uninitiated.

In fact the song was only just put together in time and remained untitled, a bit of casual rock jamming. But it was fun to see them together and they sounded pretty funky with Marc blazing enthusiastically on lead guitar.

And to complete the atmosphere of revivalism, Marc launched himself into "Deborah" a new version, which had to be cut when the backing track seemed to go out of sequence. "I don't mind lip-synching but when it's the WRONG verse…" complained Marc tartly. Suddenly there came a bellowed announcement "Will anybody not on the show please leave the studio!" Once more we were herded outside. "Oh why did we come?" said the Rods, also hustled away.

But a kindly floor manager keeping remarkably cool, swiftly let the entourage back in again to witness the final historic chapter. David readied himself for his solo number "Heroes" from the album. With his jeans carefully rolled up to reveal lace-up boots he stood cooly before the microphone, careless of the chatter of the studio.

Ignoring some impudent feedback he began singing, slowly and lowly at first with a deep voice that always comes as a surprise from one of such slim build. There were pregnant pauses between bars and then suddenly he bellowed forth "I will be king and you will be queen…we can be heroes just for one day, we can be heroes!" it was a remarkable performance even in a cold TV studio.

Now it was Marc's big moment when he was to join David for the taping of their hastily sketched-out number. While David had his face made up, Marc called anxiously to the floor manager: " Do you want me front or back?" "Just tough your toes, Marc, " called out one of the Rods waiting to do their number on the opposite rostrum.

The mighty duo began their number and, said Billy Idol approvingly from the sidelines: "It's got that disco beat all right" "What an old pooftah" grumbled a roadie uncharitably.

Suddenly there was competition on stage as the number ground to a halt. "We're getting electric shocks up here" shrieked Marc pointing towards the microphones. Nobody moved. Time was ticking dangerously away. At 7 pm the union would pull the plugs out and head for home and beauty sleep.

Attempts were being made by the production team to stop the band. "We're rehearsing actually" said Marc somewhat put out.

David stood quietly to one side smiling and unperturbed but suddenly he frowned. "That wasn't the actual take, was it?" he asked as the truth began to dawn "What do you mean, not really? Either it was or it wasn't:" "1-2-3-4!" and Tony Newman uncertainly set the drums rolling once more. At this point Marc fell off the stage with excitement. "A wooden box for Marc please" said David "Look we've got to do that again, it wasn't finished". But the studio man was calling "Let's have the Rods please. The Rods obediently scrambled onto their rostrum to start recording and David and Marc instantly started jamming. At 7 pm precisely all the lights went out and the technicians disappeared. "You've got a black-out mate!" called a voice from the floor.

A furious row broke out between the Rods and the producer when it was realised there was no time for the group to do their number. "This is really unfair" said Barrie Masters. "We've been waiting here all day to go on, and we came up from London yesterday to do the show. That's two days wasted."

The Rods stormed off to their dressing room where a certain amount of swearing went on. Bolan was allegedly locked in his dressing room in tears and Bowie languidly viewed the results of the day's work on the video tape machine. All was smiles when it was realised they had something of a classic in the can, even it if was a shambles.

If there was any acrimony it evaporated later. On the train going back to London, David sat next to Barrie and the rest of the Rods shared beer, wine and chicken legs. "I want to do a tour of Britain in the New Year" he said "Starting in Glasgow and working my way down. I really want to play again. Today was great fun."

David also said that he had recorded a Christmas show with Bing Crosby of all people, and had also been recording album tracks with Marc.

But it was good to see him back again, and perhaps next time we see him he'll be hero not just for a day but a whole tour.

Bowie Golden Years

BBC - Radio Scotland - Bryan Burnett's Blog - Monday's show...

Marc Bolan's music sounds as fresh and exciting now as I guess it must have sounded back in the early '70s. He had a unique and highly influentional sound which you can still hear in bands like The Scissor Sisters and The Fratellis.

Yesterday was the 30th anniversary of his tragic early death in a car accident, so tonight I'd like to feature the best of T-Rex. Arthur's been on the e-mail already with his memories of seeing Marc Bolan live:

" I was lucky enough to see Tyrannosaurus Rex as they were at the time at a Glasgow Students Charity Week dance in the Centre later named the Electric Gardens and today the Garage in Sauchiehall Street."

If you were lucky enough to be at that gig or any other then please share your memories with the rest of us...

BBC - Radio Scotland - Bryan Burnett's Blog - Monday's show...