PHYSICAL APPEARANCE/CLOTHING: hair-styles, 1, 25, 58, 70, 113, 115, 130, 154, 165–166, 211, 250, 255; teeth, 1, 230, 313, 371; Ziggy Stardust costumes, 1, 153–154, 157, 158, 164, 165, 178, 191, 380; as a child/teenager, 16, 21, 22; damaged eye, 24, 26; as a teenager, 25, 26, 27, 30; Mod scene and, 53, 54; waif-like, 53, 55; penis size, 77, 108; Angie shops for costumes (February 1970), 113–114; style (to 1970), 113–114; for ‘The Hype’ shows, 114; Mr Fish dress, 130, 131, 132, 139, 144; at Friars (September 1971), 150; during cocaine use period, 209, 215, 220, 222, 228–229, 230; on 1974 US tour, 211; gouster outfit, 213; ‘Thin White Duke’ persona, 250, 255; Scary Monsters sessions, 293; in Merry Christmas Mr. Lawrence, 313; alternative-rock goatee, 371; body art, 371; at Condé Nast Fashion Rocks show, 387
SINGING VOICE: in early career, 33, 38, 42, 46, 48, 50, 58, 62, 79, 80; imitation of vocal styles, 42, 45, 48, 73, 79; resemblance to Tony Newley, 68–69, 80, 274, 370; unique timbre of, 121; on Hunky Dory, 142; on Pin Ups, 195; on Young Americans, 215–216, 225; on Low, 263; on ‘Heroes’, 276; on Baal recording, 307–308; on Serious Moonlight tour, 321; in later career, 370, 384, 389
SONGWRITING/LYRICS: borrowing and assimilation of other styles(after 1970), 1–2, 138, 141, 142, 158–159, 171–172, 203, 215–216, 244; techniques/methods, 1–2, 52, 57, 61–62, 70, 126–127, 153, 244, 274, 276, 331, 363, 370; in early career, 29–30, 37–38, 41–42, 46, 48–49, 52, 56–57; borrowing and assimilation of other styles (to 1970), 41–42, 49, 50, 52, 57, 73, 99, 102, 120, 121; homo-eroticism in, 53; DB’s life and, 57, 260, 360, 375–376, 381; development/improvement of, 57, 69, 85, 127; reading of music, 70; harmonic structure of ‘Space Oddity’, 88, 89; from the unconscious, 88, 134–135; literary references, 121; writes set of lyrics for ‘My Way’, 141; autumn 1971 period, 151; ‘partying amid the ruins’ imagery, 163; in USA (1972 tour), 170–171, 172, 173, 178; cut-up technique, 199, 200, 202, 203, 363; imagery of Diamond Dogs, 205; ‘Young Americans’, 215; interpretations of ‘Station to Station’, 243–244; in The Idiot period, 255; ‘Heroes’, 276; ‘Absolute Beginners’, 331
TECHNOLOGY: use of computers, 363, 369, 370, 381; BowieNet, 374, 375, 389, 393; the internet, 374–375, 377; davidbowie.com/ bowieart.com, 375, 393; Omikron computer game, 375
THOUGHT/POLITICS/CULTURE: on advertising industry, 31; on China’s treatment of Tibet, 84, 86; on Enoch Powell, 104; post-sexual society youth manifesto (1971), 142, 154–157, 201, 213, 366–367; ‘pretty things’ theme, 154–155; praise for Adolf Hitler, 229, 246; obsession with the Third Reich, 238, 243, 246, 251, 258–259; kabbalistic system, 243, 260; pro-fascist comments, 246, 252–253, 258–259; absence of racism, 252, 253, 259, 318; I Ching, 326; editorial board of Modern Art magazine, 361; ‘The Diary of Nathan Adler’ (short story), 366; ‘non-linear’ society concept, 367; as ‘leading futurologist’, 374–375
ALBUMS: David Bowie (1967), 69–72, 74, 75, 78–79, 94; David Bowie (later Space Oddity, 1969), 97–99, 102, 103–104, 108–109, 393; The Man Who Sold The World (1970), 114, 119–121, 122, 130, 135, 157; Hunky Dory (1971), 140–143, 147, 149, 151, 153, 154, 164, 191, 381; The Rise and Fall of Ziggy Stardust and the Spiders from Mars (1972), 152–153, 160, 164; Aladdin Sane (1973), 179–180, 187, 188, 362; Pin Ups (1973), 193–195, 325; Diamond Dogs (1974), 203–204, 205, 206, 207, 209, 215, 220, 363; David Live (1974), 212, 215; Young Americans (1975), 214–217, 223–225, 230, 241, 362, 363; Station to Station (1976), 241–245; Low (1977), 259–265, 268–269, 277, 282, 297, 382–383, 395; “Heroes” (1977), 272–280, 282–283, 290, 291, 297, 395; Stage (1978), 288; Lodger (1979), 288–291; Scary Monsters (1980), 293–295, 298; Baal (1982), 307–308, 309; Let’s Dance (1983), 315–317, 318, 325, 355; Tonight (1984), 325–327, 328, 332, 390; Never Let Me Down (1987), 335–336, 345, 390; Tin Machine (1989), 341–345, 352; Tin Machine II (1991), 352; Black Tie White Noise (1993), 355–357, 358, 360; Buddha of Suburbia soundtrack (1993), 359–360, 363; 1.Outside (1995), 361–366, 367; Earthling (1997), 369–370; Hours (1999), 375–377; Toy (unreleased), 379, 380–381; Heathen (2002), 381–383; Reality (2003), 383–384
SONGS: ‘Starman’, 1–2, 158–159, 162–163, 164, 395; ‘I Never Dreamed’ (with Neville Wills), 29–30; ‘Liza Jane’ (with George Underwood), 37–38; ‘Don’t Try to Stop Me’, 41–42; ‘Take My Tip’, 46, 48–49; ‘The Supermen’, 46, 120, 303; ‘You’ve Got a Habit of Leaving Me’, 50, 52, 57; ‘The London Boys’, 52–53, 57, 68, 69; ‘All the Young Dudes’, 53, 161–162, 178, 354; ‘Lady Stardust’, 53, 135, 140, 151; ‘Can’t Help Thinking About Me’, 57, 58, 59, 60, 62; ‘It’s Lovely to Talk to You’, 57; ‘Maid of Bond Street’, 57; ‘Do Anything You Say’, 62, 63; ‘I Dig Everything’, 66; ‘Uncle Arthur’, 67; ‘Please Mr. Gravedigger, 68, 71; ‘Rubber Band’, 68, 69, 71; ‘Lincoln House’, 69; ‘Over the Wall’, 69, 78; ‘Say Goodbye to Mr Mind’, 69; ‘The Laughing Gnome’, 70, 71–72, 349; ‘Love You till Tuesday’, 72, 74; ‘Little Toy Soldier’, 73; ‘Let Me Sleep Beside You’, 78, 79, 86, 90, 103, 379; ‘Silver Treetop School for Boys’, 78; ‘In the Heat of the Morning’, 80, 85; ‘London Bye Ta Ta’, 80, 82; ‘When I Live My Dream’, 80, 100; ‘Columbine’, 82; ‘Maids of Mayfair’, 82; ‘Threepenny Pierrot’, 82; ‘Silly Boy Blue’, 84, 86, 380; ‘Karma Man’, 85; ‘The Ching-a-Ling Song’, 88, 90; ‘Space Oddity’, 88–90, 91, 93, 94, 96–97, 99–100, 102–103, 109, 119, 141, 370; ‘Sell Me a Coat’, 90; ‘Cygnet Committee’, 99, 102; ‘Letter to Hermione’, 99, 119, 370; ‘Wide Eyed Boy From Freecloud’, 99; ‘Memory of a Free Festival’, 102, 117; ‘The Prettiest Star’, 106–107, 179; ‘The Width of a Circle’, 112–113, 120, 274; ‘John I’m Only Dancing’, 116; ‘After All’, 120; ‘Black Country Rock’, 120; ‘Saviour Machine’, 120; ‘She Shook Me Cold’, 120, 121; ‘The Man Who Sold the World’, 120, 121, 366; ‘All the Madmen’, 120–121, 360; ‘Holy Holy’, 125, 231; ‘Hang on to Yourself’, 133–134, 152, 154, 158; ‘Moonage Daydream’, 133–134, 135, 140, 151, 358; ‘Oh! You Pretty Things’, 134, 135–136, 137, 139, 141, 158; ‘Right On Mother’, 135; ‘Kooks’, 138, 139, 379; ‘Hole in the Ground’, 139; ‘Star’, 140; ‘Changes’, 141, 153, 389; ‘Life on Mars?’, 141, 158, 191, 386–388; ‘Song for Bob Dylan’, 141; ‘Quicksand’, 142, 231; ‘The Bewlay Brothers’, 142; ‘Suffragette City’, 152, 153; ‘Five Years’, 153; ‘Rock ‘n’ Roll Suicide’, 153, 158, 189, 192–193, 196; ‘Queen Bitch’, 154, 370; ‘Ziggy Stardust’, 154, 158; ‘I Feel Free’, 158; ‘The Jean Genie’, 170, 171–172, 175, 212, 349; ‘Drive in Saturday’, 172, 178; ‘Cracked Actor’, 173; ‘Aladdin Sane’, 179; ‘Panic in Detroit’, 180; ‘Time’, 180; ‘1984/Dodo’, 196, 197; ‘Scream Like a Baby’, 198; ‘Somebody Up There Likes Me’, 198; ‘Sweet Thing/Candidate’, 199, 204, 205; ‘Rebel Rebel’, 203–204, 211; ‘Diamond Dogs’, 204; ‘Never Let Me Down’, 207, 336; ‘Young Americans’, 215, 216, 349; ‘Can You Hear Me?’, 216; ‘It’s Gonna Be Me’, 216, 222; ‘Win’, 216, 223; ‘Fascination’, 223; ‘Fame’, 224–225, 230, 241, 295; ‘Word on a Wing’, 242, 244; ‘Station to Station’, 243–244, 250; ‘Golden Years’, 244; ‘Subterraneans’, 245, 265, 360, 368; ‘Warszawa’, 251, 263, 275, 286; ‘Sister Midnight’ (with Carlos Alomar), 254–255; ‘China Girl’ (with Iggy Pop), 255, 256, 316, 323; ‘Nightclubbing’, 255; ‘Borderline’, 256; ‘Always Crashing in the Same Car’, 260, 382; ‘Breaking Glass’, 260; ‘Sound and Vision’, 263, 268; ‘What in the World’, 263; ‘Art Decade’, 265; ‘Weeping Wall’, 265; ‘Lust for Life’, 272, 351; ‘Some Weird Sin’, 272; ‘Success’, 272, 275; ‘Blackout’, 274; ‘Sons of the Silent Age’, 274; ‘V-2 Schneider’, 274; ‘Neuköln’, 275; ‘Heroes’, 275–277, 282–283, 333, 370, 377; ‘Sense of Doubt’, 288; ‘Boys Keep Swinging’, 289, 290; ‘DJ’, 289; ‘Fantastic Voyage’, 289; ‘Yassassin’, 289; ‘Play it Safe’, 293; ‘Ashes to Ashes’, 294; ‘Teenage Wildlife’, 294, 368; ‘Up the Hill Backwards’, 294; ‘Cat People’, 303; ‘Under Pressure’ (with Queen), 303–304, 354, 370; ‘Let’s Dance’, 315, 316, 319; ‘Tumble and Twirl’ (with Iggy Pop), 325, 326; ‘Tonight’
(with Iggy Pop), 326–327; ‘Loving the Alien’, 328, 329, 335; ‘That’s Motivation’, 330–331; ‘Absolute Beginners’, 330–332; ‘Shades’, 334; ‘Glass Spider’, 336; ‘Look Back in Anger’, 340, 368; ‘Heaven’s in Here’, 342, 343, 345; ‘I Can’t Read’ (with Reeves Gabrels), 344; ‘Now’, 344; ‘Outside’ (‘Now’, with Kevin Armstrong), 344, 365; ‘Under the God’, 346; ‘Goodbye Mr. Ed’ (with Sales Brothers), 352; ‘Jump They Say’, 356, 357; ‘Miracle Goodnight’, 356; ‘You’ve Been Around’ (with Gabrels), 356; ‘South Horizon’, 360; ‘Strangers When We Meet’, 360, 365; ‘The Mysteries’, 360; ‘The Hearts Filthy Lesson’, 364, 365, 366; ‘Hallo Spaceboy’, 365, 368–369; ‘I Have Not Been to Oxford Town’, 365; ‘Thru These Architect’s Eyes’, 365; ‘Scary Monsters’, 368; ‘The Motel’, 368; ‘Dead Man Walking’ (with Gabrels), 370; ‘Little Wonder’ (with Gabrels/Plati), 370; ‘Safe’, 375; ‘Survive’ (with Gabrels), 375; ‘The Pretty Things Are Going to Hell’ (with Gabrels), 375; ‘Seven’ (with Gabrels), 376; ‘The Dreamers’ (with Gabrels), 376; ‘Thursday’s Child’ (with Gabrels), 376; ‘Shadow Man’, 379; ‘Heathen’, 381; ‘A Better Future’, 382; ‘Slow Burn’, 382; ‘The Angels Have Gone’, 382; ‘Bring Me the Disco King’, 384; ‘The Loneliest Guy’, 384; ‘(She Can) Do That’ (with Brian Transeau), 388; ‘The Fat Little Man’ (with Ricky Gervais), 389
Bowie, Zowie see Jones, Duncan (Zowie Bowie, also Joey, son of DB)
Boyes, Derek ‘Chow’, 62, 69, 73
Brecht, Bertholt, Baal (1918), 305–309
Brel, Jacques, 80, 87, 104, 112, 150, 364
British Lion company, 239
Britpop, 357, 370
Brixton, 7, 8, 9, 11–13, 353
Bromel Club (Royal Court Hotel, Bromley), 31–32, 53, 60–61, 76, 356
Bromley, 13–17, 19–22, 28, 30, 38, 46, 60–61; schools and colleges, 14, 15–16, 18, 19, 20–21, 22–23, 24, 25
Brown, James, 42, 209, 210, 214
Browne, Jackson, 312, 317
Buckmaster, Paul, 97, 245
The Buddha of Suburbia (Hanif Kureishi), 359–360
Buretti, Freddie, 128, 129, 133, 153, 154, 157, 191, 196, 199, 211, 380
Burns, Terry (half-brother of DB), 10–11, 15, 75–76, 310, 356, 360; schizophrenia of, 76, 109–110, 120–121, 310–311, 362–363; suicide of (16 January, 1985), 328–329
Burroughs, William, 199, 202, 203, 262, 306, 395
Byrne, David, 374
Byrne, Woolf, 41, 42, 43, 44, 46–47
Cabaret (film), 165
Cale, John, 173, 249
Cambridge, John, 98, 101, 105, 106, 108, 110–111, 113, 116, 118–119
Cane Hill asylum, 109, 120–121, 130, 328, 362–363
Cannes Film Festival, 319
Carey, Mariah, Glitter, 381
Cat People (Paul Schrager film), 303
Chaplin, Charlie, 11, 109, 290
Chaplin, Eugene, 290, 300
Chaplin, Oona, 298
Cherokee Studios (Los Angeles), 234, 242, 257–258
Chester, Charlie, 42, 43
Childers, Leee, 144, 148–149, 157, 169, 173, 209, 218
Chime Rinpoche, Lama, 84, 199, 380
Christmas, Keith, 93, 98, 101, 205, 210, 223
Chrysalis, 124–125, 128, 136
Cindy M, 163–164
Clapton, Eric, 11, 26, 31, 69, 216, 253
Clark, Ossie, 128, 129, 210
Clarke, Alan, 304–305, 306, 308
Clarke, Candy, 240–241
Clarke, Hugh Stanley, 317, 330
Clarke, Michael, 162
Clerk, Carol, 311–312
A Clockwork Orange (Kubrick film), 153, 157
cocaine, 129, 204–205, 249, 271, 277, 278; DB’s use of, 204–206, 209, 210, 216, 220–226, 229, 231–240, 242–244, 256, 287, 306, 322–323, 330–331; Iggy Pop and, 205, 249, 272, 275, 309; cocaine psychosis, 234, 236–239; DB ends heavy use of, 246, 249
Cochran, Eddie, 21, 152, 171
Compass Point studio (The Bahamas), 343–345
Conn, Les, 34–38, 40, 41, 43, 45–47, 49, 50, 51–52, 79, 107, 335
Cook, Raymond, 56, 57, 58, 59, 60, 72
Cooper, Mark, 378–379
Cordell, Denny, 77, 78, 79
coronation (1953), 11
County, Wayne (later Jayne County), 144, 196
Cox, Terry, 97
Cracked Actor (Alan Yentob documentary, 1975), 219–220, 223, 229, 230
Cream, 73, 76, 109, 341, 356
Crosby, Bing, 283
Crowe, Cameron, 95, 234, 236, 237, 246, 254
Crowley, Aleister, 231–232, 243
Dali, Salvador, 181, 208
Davies, Dai, 155, 156, 161, 162, 164, 165, 171, 176, 177, 216, 231
Davies, Linda, Something Wild, 372
Davies, Ray, 51, 52, 271
Davis, Dennis, 242, 245, 260, 261, 273, 286, 287, 295
Davis, Evan, 392
Day, Doris, 34, 35
Decca (record company), 30, 36–37, 43, 51, 68–72, 73, 77, 79, 80; Deram imprint, 68, 72, 73, 74, 75, 77, 79, 80
Deep Purple, 233, 264
Defries, Tony, 117–118, 121–122, 123–126, 136–138, 140, 143–145, 158, 229; Stevie Wonder and, 126, 137; aim to break America, 144, 145, 146–150, 195–196, 197–198; lack of generosity to DB’s musicians, 145, 209, 210; RCA and, 145, 146–147, 150, 191–192, 197, 227; building up of management empire, 147–148, 150, 159, 160, 200, 201, 209; Iggy Pop and, 149–150, 159, 188, 196, 219; Ziggy era and, 154, 156, 158, 159, 161; Lou Reed and, 164; US tours (1972–3), 167, 168, 169–170, 171, 173, 175, 176–177, 178, 182, 186–187; Angie Bowie and, 176, 177, 178, 207; tour of Japan (1973), 178, 189; the Spiders and, 186–187, 189, 191, 192; financial management and, 191–192, 197, 207, 209; decides to ‘retire’ DB, 192; DB’s reliance on, 194, 200, 204, 208, 218; moves MainMan to USA, 197, 204; estrangement from DB, 209, 217–219, 225–227, 228, 284; as integral part of DB’s rise, 227; retains DB rights up to 1982, 227, 228, 230, 237, 304, 373; scorns Low, 265, 268; DB buys back rights from, 373; financial losses (2007), 391
Devo, 283
Dewitt, Barbara, 247, 275, 299
Dexter, Jeff, 36, 53, 78, 83, 84, 85, 86, 114, 229, 278, 279, 280
D’Hérouville, Château, 193–195, 198, 204, 253, 254–257, 259–264
Diana, Princess, 333
Diddley, Bo, 42, 62, 172, 180, 279
Dietrich, Marlene, 275, 285–286
Dobell’s Record Shop (Charing Cross Road), 31
Dolby, Thomas, 332, 333, 374
Donegan, Lonnie, 18, 68, 77
Donovan, 84
Donovan, Terence, 117
Dorritie, Kathy (Cherry Vanilla), 144, 169, 209, 230–231, 236
Dorsey, Gail Ann, 367, 369, 378, 386
Double Trouble, 312, 320
Doyle, Tom, 366
Dozier, Lamont, 373–374
Drouot, Club (Paris), 52, 60
drugs, 83–84, 88, 89–90, 103, 165, 173, 174, 205, 220, 223, 271; dope smoking, 83–84, 88–89, 92, 249; heroin, 89, 132, 149, 226, 249–250, 255, 264, 267, 326; marijuana bust in Rochester (1976), 249; see also cocaine
Drugscope organisation, 237
du Noyer, Paul, 345
Dudgeon, Gus, 70, 73, 77, 96–97
Dunbar, Aynsley, 195, 198, 203
Duncan, Lesley, 83, 87, 229, 364
Dylan, Bob, 31, 33, 42, 65, 99, 137, 143, 151, 232
Eager, John, 62, 69
Eckstein, Billy, 64, 107
economy, British, 9–10, 11, 15, 163, 190
Edmonds, Ben, 246
Eggar, Robin, 268, 269
Electric Ci
rcus (New York), 130–131
Electric Lady studio (New York), 224, 226
The Elephant Man (play), 295–299, 327
Elmlark, Wally, 236
Emerson, Keith, 154
EMI, 51, 79, 304, 317, 319, 335, 341, 346, 347, 352, 392; Virgin America, 365, 379–80, 381
Eno, Brian, 283, 286, 291, 355, 358, 362–363, 381, 383, 396; Low sessions, 259, 260, 261–265, 268; Oblique Strategy techniques, 262, 288–289, 363–4; “Heroes” sessions, 273, 274, 276, 277; producer for U2, 338, 362; 1.Outside and, 362–363, 364, 365
Epstein, Brian, 30, 34, 64, 66
Essex Music, 77, 78, 79, 88, 96, 97, 124, 125
The Exploited, 311–312
Fairport Convention, 93
Faith, Adam, 18, 35
Faithfull, Marianne, 45, 196
Fame (Tony Ingrassia play), 225, 226
Fame, Georgie, 46, 335
Farren, Mick, 81, 91, 121, 174, 221–222; on DB and drugs, 221, 222–223
Farthingale, Hermione, 84–85, 86, 87–88, 89–90, 92, 94
FD&H (record shop, Charing Cross Road), 49
Fearnley, Derek ‘Dek’, 61–62, 63, 65, 67, 69, 70, 72, 73, 76, 314
Ferry, Bryan, 54, 163, 181, 193, 195, 208, 211, 225, 262
Finnigan, Mary, 92, 101–102, 104
Fisher, Matthew, 166, 167, 179
Fisher, Norman, 208–209, 230
Flag, Bob, 73–74
Flowers, Herbie, 97, 125, 138–139, 165, 203, 212, 278
Flux, Johnny, 41, 44, 45, 47
The Fool (design collective), 94
Fordham, Ken, 180, 186, 191
Fowley, Kim, 131, 133
Fox, Rick, 348, 349
Foxe, Cyrinda, 169, 170–171, 173, 176–177
Frampton, Owen, 20, 24, 31
Frampton, Peter, 20, 24, 29, 337
Franklin, Aretha, 181, 212, 232
Friars, Aylesbury, 150, 157–158, 164, 270
Friedmann, Esther, 272, 284, 292, 298, 309, 311, 314
Fripp, Robert, 274, 276, 290, 294
Fussey, Suzi (Suzi Ronson), 166, 169, 178, 186, 191, 192, 207, 357, 358