Why Bowie Matters

Copyright

William Collins

An imprint of HarperCollinsPublishers

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WilliamCollinsBooks.com

This eBook first published in Great Britain by William Collins in 2019

Copyright © Will Brooker 2019

Cover photograph © Sukita

Will Brooker asserts the moral right to be identified as the author of this work

A catalogue record for this book is available from the British Library

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Source ISBN: 9780008313722

Ebook Edition © October 2019 ISBN: 9780008313739

Version: 2019-07-22

Epigraph

Things really matter to me.

David Bowie, Afraid

CONTENTS

Cover

Title Page

Copyright

Epigraph

Introduction: David Bowie – A Life Story

1 Becoming

2 Connecting

3 Changing

4 Passing

Conclusion: David Bowie – A Legacy

Discography

Bibliography

Index

Acknowledgements

About the Author

About the Publisher

INTRODUCTION: DAVID BOWIE – A LIFE STORY

‘Dad lived ten lives in the years he had!’ Duncan Jones’s cheerful tweet on the second anniversary of his father’s death, in January 2018, sums up the popular idea of David Bowie: a man who lived at an accelerated rate and transformed himself with the release of each new LP. In the 1970s alone, he raced from his folk-rock beginnings through Ziggy Stardust, Aladdin Sane, the Thin White Duke, and the blue-eyed soul man of Young Americans, before moving into the introspective Berlin period and finally concluding the decade on the cusp of the mainstream, MTV success that would dominate his 1980s.

It’s a familiar story, retold in every biography. This introduction is not that story. This is the story of how my life intersected with David Bowie; how he informed and inspired me from my first encounter with my mum’s Let’s Dance cassette when I was thirteen. It is not about Bowie’s changes, but about how he changed me – from that chance discovery in 1983 to 2015, when I undertook an academic project to live like him for a year, and attempted to compress his entire extraordinary career into twelve months.

Every Bowie fan has a story of the role he played in their life. Mine is unique, just like everyone else’s. The purpose of this introduction is not to qualify me as an extraordinary super-fan – although my experience was certainly unusual – but as a fan like millions of others; as a fan, no doubt, like you. We all have our own sense of Bowie, and that is the point.

David Robert Jones was born on 8 January 1947 and died on 10 January 2016. David Bowie was born, as a stage name, on 16 September 1965. He never really died. ‘David Bowie’ was a persona created by Jones, but he thrived and survived for four decades not just because David Jones stuck with this name – he’d previously adopted ‘Luther Jay’, ‘Alexis Jay’ and ‘Tom Jones’ – but because his audiences embraced him: because of his fans.

Bowie became a star, a concept, a cultural icon, because of people like you and me, who took him wholeheartedly into their lives. We invested aspects of ourselves in him, and so a part of him continues in us. This book is a celebration of Bowie’s importance, and an exploration of his legacy as a cultural icon. But on another level, it’s also about celebrating our inner Bowie, and letting it change and inspire us. We are ‘all the millions here’ Bowie gazed at in ‘The Man Who Sold the World’ in 1970: we are the galaxy of blackstars that he left behind in 2016. We all have our own stories of how he entered our lives and what he meant to us. This is mine.

I was born the year before Duncan Jones, and so while I knew of David Bowie in the 1970s, he stood for something shocking, scandalous and grown-up. He was like the taste of wine or beer: something I assumed I’d understand and appreciate later. When the video for ‘Ashes to Ashes’ played on Top of the Pops in 1980, I found it unpleasant and a bit scary, with its distorted colours, surreal images and flat, repetitive vocals. The droning chorus reminded me of the graffiti I saw on my walk home from school on the wall of a south London housing estate: ‘Sex is good, sex is funky. Sex is best without a dunky.’ Every week, I wanted the video to end so I could see more of ABBA, Blondie or Adam and the Ants.

But I changed, and Bowie changed. In 1983 I was on holiday with my family, somewhere in the English countryside: seven days of steam train museums, hill walks and horses. I picked up a cassette my mum had brought along: Bowie’s Let’s Dance, his mainstream breakthrough. My mum was thirty-eight at the time, only two years older than Bowie. I was thirteen. I slotted the tape into the red plastic Walkman I’d got for Christmas, and didn’t take it out all week. My mum never got that cassette back. I still have it now. I asked her recently why she’d bought Let’s Dance, as I didn’t remember her being a Bowie fan in the seventies. She was ‘entranced’, she told me: he looked stunningly handsome and desirable, rather than just weird. She even tuned in to Top of the Pops every week, she confessed, to watch the videos. I felt exactly the same way, though we never told each other at the time.

For me in 1983, Bowie’s music was a soundtrack to imaginary films, the music playing during the love scenes and end credits of movies that were never made. It was a glimpse into a sophisticated, adult world – not deliberately shocking, like his singles of the 1970s, but gleaming and stylish, with lyrical cross-references and casually dropped ideas that hinted at the intelligence behind them. March of flowers! he declared on the discordant ‘Ricochet’. March of dimes! These are the prisons! These are the crimes! I listened repeatedly, carefully writing down the words; I felt like I was engaging with something challenging and avant-garde. I analysed them as if they were a poem from English class.

It wasn’t easy to fit in at my school – you needed just the right Farah trousers and Pringle sweaters, the right sports bag, the right haircut and the right couldn’t-care-less attitude. I studied too hard and couldn’t afford all the proper gear, so I was a boffin, a tramp and probably a poof too. Lads at school said David Bowie was gay. I loved looking at his videos. I recorded them from the Max Headroom TV show, rewinding and freeze-framing them. I liked his sharp suits, his sharp teeth and his pained expression, as if he were struggling with something. In the ‘Let’s Dance’ video, backed against the wall of an Australian bar and surrounded by the glares of hard-drinking men, he didn’t look like he fitted in either. Maybe I was gay for feeling that way about David Bowie, but he made me feel it didn’t matter.

It turned out I wasn’t gay, and it turned out Bowie wasn’t either. It didn’t matter. We both got married, to women. Nobody told me the groom wasn’t meant to have his own theme song playing when he walks down the aisle, so I entered to an instrumental version of ‘Modern Love’, wearing a suit I thought Bowie would appreciate. I landed a job as a university lecturer. One winter, towards the end of the last century, I flew to Australia for a conference, via Japan. I took a new Walkman, with only one cassette: a personal Bowie collection I’d compiled for the trip. It was my first time alone on the other side of the world. I listened to nothing but Bowie for a week, discovering new songs as I walked by the Brisbane River under the surprising December sun. On the way back I was stuck at Narita Airport, and was taken by coach to a remote hotel overnight. I knew nobody, and didn’t speak a word of the language. I’d never felt further from home. I listened to one song, on repeat. Now ‘Ashes to Ashes’ made sense to me, in all its alien strangeness and isolation.

I changed, and Bowie changed with me. I feel he was travelling alongside me, on that journey and on many others – or rather, that my own version of Bowie was my companion, because this ‘Bowie’ was a person I had helped to create, through our experiences together since 1983. You had your own version of him, no doubt – similar but different – who played a part in your life, and was shaped by the moments you shared.

Bowie and I both grew older. I was promoted to professor. Bowie seemed to enter semi-retirement, then returned ten years later with a comeback album in 2013. And that October, Lou Reed died. He was Bowie’s old friend, of course, since the sixties – Bowie was one of the first British fans of the Velvet Underground – and I’d loved Lou’s music since the eighties. But more importantly, I knew Lou Reed was only five years older than Bowie, and the refrain from the old song now sounded like a warning. Five years, that’s all we’ve got. My rock idols were dying, already. I’d always assumed Bowie would go on for ever, and suddenly I came to terms with his mortality. He was in his mid-sixties now. I wanted to do something to thank him, to celebrate him, to pay tribute to him, while he was still alive.

Like every kid, I used to draw, and sing and dance. At nursery and infant school, we’re encouraged to dress up, to perform and paint. We all do it, without shame and without a sense of being good or bad. And like most of us, I started to give those things up from adolescence onwards. It was hard enough as a teenager, trying to fit in, without having artistic hobbies too; and school also encouraged my generation to progressively narrow down, to focus only on what we were best at. Eight O-levels – my year was the first to introduce GCSEs – and three A-levels, then one subject at university, with a possible minor. (I rebelled in a small way by choosing a degree that was half English, half film: I even included an analysis of a Bowie video in a third-year essay.) By the time I was eighteen, I’d accepted that my drawing and singing were average at best, and that I was good at research and writing. So that’s what I did as a career. I became an academic. And in 2013 I decided to study Bowie as an academic project. I began my research in May 2015.

I started by drawing up lists, from biographies and online sources, of all the books Bowie had read; then all the songs he’d listened to, and all the films he’d enjoyed. By immersing myself in his creative input – the art and culture that had influenced him – I hoped to gain a new understanding of his work. In Australia and Japan I’d listened to nothing but Bowie for a week. Now I was committing myself to his music for a year. I structured twelve months of my life around the various phases of his career, from the late 1960s to the present day, and devoted myself to one album at a time. As a sign of that commitment, I had my hair cut and coloured in the Man Who Fell to Earth style from the mid-1970s. I wanted to be reminded of my project every time I saw my own reflection. I wanted to connect with him, to merge with him in some way; to become an in-between Brooker-Bowie hybrid. As Bowie knew, ‘Die Brücke’ is both the name of an art movement, and the German for ‘bridge’. It’s also, of course, a near-rhyme for my own name. It seemed to fit. I was trying to build a bridge between us.

Immersing myself in his influences wasn’t enough. I grew up about six miles from David Jones, and I spent the summer of 2015 exploring his childhood and teenage territories, walking his old streets and discreetly checking out the houses where he’d lived with his family. I trained in filmmaking and photography in my twenties – again, something I gave up as a career – so I’d mixed with hair and make-up artists, but never had the experience of being on the other side of the camera, under the lights. I decided I needed to try it. I had photos taken of me, styled as Ziggy Stardust and Aladdin Sane. I posted them online. Times Higher Education magazine got in touch to find out what I was doing – a professor spending the summer break dressed as Bowie was enough for a news feature – and published a short article. Then other magazines got in touch, and newspapers, and radio, and then TV shows. I had progressed to the Thin White Duke phase – I’d commissioned a tailor for an authentically 1970s white shirt with a tall, wide collar – by the time This Morning asked me on for an interview with Eamonn Holmes. The next day, I got up early for a slot on Sky’s news show, then took a taxi to a studio at midnight for a live broadcast in Australia. ‘What are you doing next?’ the reporters asked me. ‘I’m going to Berlin,’ I told them. And so I had to go to Berlin.

I was contacted by media and literary agents. I was invited to the Bowie exhibition as it toured to Melbourne, in Australia, and then to Groningen, in the Netherlands. I was interviewed in languages I didn’t understand, and heard my words translated and voiced by an actor for news broadcasts around the world: I appeared in Swedish, Spanish, Russian and Portuguese newspapers. I’d become, in a small way, an international figure, borrowing something from Bowie’s celebrity. I was performing different versions of myself, my personality splitting into public and private. I understood something of what Bowie must have experienced when he first became famous.

And then, in January 2016, Bowie died. I was in New York City that winter, wearing a replica I’d had made of his Alexander McQueen ‘Earthling’ coat; I’d had my hair clipped and spiked, and had grown a goatee beard, as he did for his fiftieth birthday. I was reliving Bowie’s 1997 as I walked down another of his home streets – Lafayette, in Lower Manhattan – on a tour of his favourite bookstores and coffee shops. He was six storeys above me at the time, in his luxury apartment. He had a fortnight to live.

On 9 January I was back in Berlin, shooting footage for a video diary of my experiences. I’d been drawn into photography and film again; I’d also dug out my old cine camera and was using Super-8 for the first time since my teens. I flew home late that night. In the morning, the news felt like a bad dream. I did one interview, then refused the rest. I felt too shocked and sad, and had nothing much to say. That evening, I accepted an invitation from Radio 4, with director Julien Temple. We had a drink after the discussion, in a pub near the BBC with a dripping ceiling. He told me how Bowie had reacted to his half-brother’s death in 1985. (I never met the real Bowie – only my own internal Bowie – but that year, I met a lot of people who’d known him personally.)

I experienced what felt like genuine grief, as if a family member had died. Many fans felt the same: maybe you did, too. I stayed indoors, and retreated inside myself. I’d been working with a tribute band, the Thin White Duke, taking the place of their lead singer, but it was months before I performed with them again – not until May, towards the end of my research year, and by that point it felt like time for a celebration rather than mourning. The gig was packed with long-term fans in their fifties, mixed with younger people of undergraduate age. When we sang ‘Starman’ as an encore, everyone joined in. I still have the footage, panning over the crowd of faces as they chant the final chorus. It’s a picture of pure, shared joy. We were all thanking our own version of Bowie, and it felt like he was there with us.

As I approached May 2016, and the end of my project, I saw a counsellor for six sessions. I felt I needed a bridge of my own: a way to transition out of this intense research and back into everyday life. We started by talking about Bowie, and progressed to my own family, my personal history and what I’d inherited from previous generations, like my granddad in the Navy, who never talked about what he’d seen in conflict. Bowie, born just after the war, and growing up around Brixton bombsites, was about expression, creativity and release, an antidote to English repression. He was about the bravery not to care if you fitted in with the norm, about the boldness to push past your own limits. He wasn’t the best singer – Freddie Mercury soars above him on ‘Under Pressure’ – and he certainly wasn’t the best dancer. He tended to play himself, as an actor, and he was only ever an amateur painter. But he did it anyway. And, because I had to, because I’d committed to my research project, I did things I wasn’t the best at, too.

As well as taking up film and photography again, using various formats from digital to 1960s vintage kit, I experimented with painting, because Bowie did it during his Berlin period. I was surprised by how much I enjoyed it. I wasn’t very good at first, but I got better. I started going to portrait classes every week, and continued to improve. I began singing lessons, too, and while I’ll never be the best, after four years of vocal training I’m not so bad. I have folders on my computer now titled ‘painting’ and ‘singing’, where I save my own work and track its progress. I have Bowie to thank for that. I didn’t become Bowie – nobody can – but by aspiring to be more like him, I became a better, brighter, bolder version of myself.

I am a Bowie fan, but I am also a professor, and those two sides of me are bridged rather than separate. I’ve published scholarly articles and an academic book about Bowie, which were informed by both critical theory and my decades of fandom; and I became more deeply invested in Bowie through my writing and research, as I learned more about him and studied his work more closely. I even taught a class on Bowie and stardom, enjoying the way twenty-one-year-old students, who were born around Bowie’s fiftieth birthday and the Earthling album, both appreciated and criticised his star persona.

Those twin approaches – fan and academic – come together in this book. For me, critical theory and philosophy are only useful if they serve us as tools; if they offer us a new understanding and a valuable perspective. So the use of theorists like Fredric Jameson, Mikhail Bakhtin, Jacques Derrida, Gilles Deleuze and Félix Guattari in this book is not to try to elevate Bowie’s popular work to some loftier academic plane – to show that he is worthy of serious analysis and that his name can be mentioned with theirs. That, to me, goes without saying. Their theories are here as tools to give us a different angle and context for Bowie’s creative expressions, identity transitions and cultural references. They can offer us a new way of seeing, which is surely what Bowie was all about.

If you love David Bowie, you already know why he matters. You have your own reasons, bound up with moments from your own life when his songs intersected with your experiences and provided the perfect soundtrack. But this book will suggest different reasons, approaching from new directions and new angles: new ways of connecting the dots and mapping a path through the mosaic of his life.

1

BECOMING

On 25 March 2018, a statue of Bowie – or rather, of several Bowies, because it morphed multiple incarnations into a bronze chimera – was unveiled in the market square of Aylesbury. Its title is Earthly Messenger. The aesthetic was criticised, but the name passed without comment, because it perfectly fits the new persona that has evolved posthumously around David Bowie: the idea of an otherworldly being who descended to our planet in January 1947 and departed it in January 2016.

‘Ziggy is Stardust now’, was the caption on one memorial cartoon, showing Aladdin Sane’s face as a new constellation: and indeed, the ‘Stardust for Bowie’ campaign named a lightning-bolt pattern of stars in the vicinity of Mars after him. Others evoked Major Tom: an astronaut stepping through the Pearly Gates, or a weeping Ground Control sending unanswered messages to the lost spaceman. One artist drew Bowie in delicate watercolours, in the style of the Little Prince: Ziggy standing on his own tiny planet in space, titled The Man Who Fell to Earth.

Time, in turn, published a commemorative edition called ‘His Time on Earth’. Blogs, articles and tweets repeated the phrase ‘Goodbye, Starman’, elaborating on the theme with each anniversary: ‘A year ago, the Starman David Bowie said goodbye to our planet to start his “Space Oddity”,’ an online fan noted in January 2017, while Vice marked ‘a year since David Bowie ascended’. ‘It’s been two years since David Bowie left us for his home planet, and we haven’t been the same since,’ suggested the Consequences of Sound site in January 2018, under the headline ‘Remembering the Man Who Fell to Earth, Two Years After Bowie Returned to the Stars’.

Of course, Bowie provided the raw material for this final media incarnation, which joins the dots of various songs and characters – Starman, Lady Stardust, Blackstar, Major Tom, the Man Who Fell to Earth and, more fundamentally, the idea of Ziggy as messiah – into the picture of an uncanny visitor from outer space, an ‘Earthly Messenger’, whether alien or angel. Fans can hardly be blamed for extending Bowie’s career-long fascination with outer space into a comforting image – somewhere between religion and science fiction – of him not dead, but departed to another world; he even advised them on his final album to ‘look up here, I’m in heaven’. But even at the time, this idea felt to me like a misreading, understandable as a coping mechanism but disrespectful to his mourning family – Duncan Jones, I guessed, did not think of his father as an extraterrestrial who’d returned to his home planet – and misrepresentative of the Bowie I felt I knew.

My own sense of Bowie was not of an uncanny creature who had descended, fully-formed, to treat us to his art before leaving us again. I saw ‘Bowie’ as a persona originally conceived by the young David Jones, who struggled for success and worked hard to maintain and develop it. Part of the point of Bowie, to me, is that Jones was, contrary to the popular myth, an ambitious, frustrated and creative young man from an ordinary environment, who created something extraordinary through sustained effort, dedication and drive in the face of repeated failure. To see him as a creature who effortlessly came and went from the stars diminishes that other side of the story: to my mind, this more complex version is the truer story, though, as we’ll see, the truth of Bowie is elusive.

The Aylesbury statue points to another, contradictory way of seeing Bowie that emerged after his death. He was supposedly from elsewhere, but he was also from, or associated with, specific places on earth, and those places wanted to claim him for tourism. Aylesbury’s boast was that the Ziggy Stardust album had debuted there – though Ziggy himself first performed at the Toby Jug in Tolworth, down the road from me – and argued that its Market Square, the site of the statue, inspired the first line of ‘Five Years’. South-east London maintained that Bowie was ‘Our Brixton Boy’ – the slogan appeared on the Ritzy Cinema just after his death – and has its own mural, now repainted and protected with a plastic cover, around the corner from his childhood home on Stansfield Road.