Super Fly (Curtis Mayfield LP), 230
“Supermen, The” [19], 90–92, 110
“Superstar” (Carpenters), 165
Supremes, the, 169, 327
“Susie Cincinnati” (Beach Boys), 123
Sweet, 179, 186, 187
“Sweet Head” [55], 158, 159–60
“Sweet Jane” (Velvet Underground), 116, 134n
“Sweet Thing/Candidate/Sweet Thing” [100], 205, 232, 235–37, 238, 333
“Sweets for My Sweet” (Drifters), 446
Sylvain, Sylvain, 191
Takada, Kenzo, 197
“Take It with Soul,” 431
“Take My Tip” [A5], 403, 412
Talking Heads, 357, 359, 360, 376
Talmy, Shel, 213, 402, 403, 405, 406, 408
Tangerine Dream, 315, 319
Taupin, Bernie, 426n
Taxi Driver (film), 272
Taylor, James, 107
Taylor, Mick, 133
Taylor, Vince, 166n
Teardrop Explodes, the, 336
“Teenage Wildlife” [186], 377–80
Television, 381
“Tell Me Why” (Neil Young), 107
Tempest, The (play), 285
Temptations, the, 253, 295
10cc, 218
Teorema (film), 155
Tevis, Walter, 280
“Thank You Falettinme Be Mice Elf Again” (Sly & the Family Stone), 277
“That’s Where My Heart Is” [A8], 405–6
Thatcher, Margaret, 9, 15, 360, 366, 380n
Them, 210
“Theme from Shaft” (Isaac Hayes), 230, 295
“There Is a Happy Land” [A25], 71, 421
These Foolish Things (Bryan Ferry LP), 218
“Things to Do” [95], 227
“This Boy,” 154, 200
“This Pullover” (Jess Conrad), 436
This Year’s Model (Elvis Costello LP), 383
Thomas, Dylan, 81
Thomas, Leslie, 35
Thomson, Malcolm, 60
Thorn in Mrs Rose’s Side, The (Biff Rose LP), 136
Three Degrees, the, 258
Three Dog Night 131
Threepenny Opera, The (stage musical), 110
“Threepenny Joe,” 443
“Threepenny Pierrot” [14], 84
Thunders, Johnny, 187
Ticket That Exploded, The (book), 233
“Tiger Rag, The” (Benny Goodman), 188
“Till the Morning Comes” (Neil Young), 129
“Time” [69], 192–93, 308
Time Out (magazine), 62n
“Times They Are a-Changin’, The” (Bob Dylan), 133
Tin Machine, 393
“Tiny Girls” (Iggy Pop), 305
Tiny Tim, 133, 136
“Tiny Tim,” 445, 446
“Tired of My Life” [27], 107–8, 132n, 368
“Tired of Waiting for You” (Kinks), 411, 412
Toffler, Alvin 245
Tokens, the, 406
Tommy (Who LP), 447
“ ‘Tonas’ y Lavinias” (poem), 172n
Tonight (LP), 225, 392
Tonight (TV series), 35
Tonight Show, The (TV series), 387
Top of the Pops (TV series), 11, 156, 168, 174, 177–79, 374
Tornados, the, 367
Toroni, Niele, 315
Towering Inferno, The (film), 7
Townshend, Pete, 38, 142, 213, 215, 247, 327, 383, 390, 433n, 447
Toy (proposed LP), 395, 419, 428
“Tragic Moments.” See “Zion”
“Trans-Europe Express” (Kraftwerk), 336
Trans-Fixed (artwork), 330
Transformer (Lou Reed LP), 182–84
Treatise on White Magic, A (book), 298n
Tremeloes, the, 440
T. Rex, 108, 124, 170, 178, 185, 191, 345, 394n
Triumph of the Will (film), 452
Truth (Jeff Beck LP), 98
Tumbleweed Connection (Elton John LP), 120
Turquoise, 53, 62n, 451
TV Eye (Iggy Pop LP), 304n
“TVC15” [129], 124, 291, 293–94, 340, 386
“25-Cent Dude, The” (Lead Belly), 175
Twiggy, 191
2001: A Space Odyssey (film), 59, 111n, 212n
Two Virgins (John Lennon & Yoko Ono LP), 158
Tyrannosaurus Rex, 64, 118
Tzara, Tristan, 234
“Uncle Arthur” [A23], 420
“Under Pressure,” 390
Underwood, George, 22, 34, 64, 82n, 128–30, 192, 400
Unification Church, 292
“Unwashed and Somewhat Slightly Dazed” [11], 79–80
“Up the Hill Backwards” [182], 369–70, 371
Uriah Heep, 107
Ustinov, Peter, 346
Valentine, Penny, 105, 135
Valentino, Rudi, 126, 164
Van Der Graaf Generator, 287
Van Dyke, Dick, 339
Van Gogh, Vincent, 305
Vandross, Luther, 256, 261, 270, 271
Vasarely, Victor, 81
“Velvet Couch” [176], 364
“Velvet Goldmine” [54], 158–59, 193
Velvet Underground, the, 5, 116, 134, 137, 158, 167, 182, 183, 219, 246, 266, 336, 364, 423n, 437, 439, 447, 450
Velvet Underground & Nico, The (Velvet Underground LP), 437, 439
“Venus in Furs” (Velvet Underground), 437
Verlaine, Tom, 381
Vile Bodies (book), 188, 193
Vincent, Gene, 158
Vintage Violence (John Cale LP), 364
Virgin Fugs (Fugs LP), 437
Virgin Soldiers, The (book/film), 35, 54
Visconti, Tony, 49, 52, 72, 83, 87–89, 91, 96, 97, 99, 101, 102, 104–6, 124, 128, 135, 186n, 200n, 246n, 250, 251, 255, 264n, 272, 273, 307, 308, 310n, 311, 317, 329, 332, 334, 355, 358, 359, 366, 370, 371, 376, 391, 441, 442
Visitor, The (fictional LP), 280n
Vogue (magazine), 126, 198
Von Däniken, Erich, 166
“V-2 Schneider” [154], 336–37
Wagner, Richard, 72, 212, 288
“Wagon Wheel” (Lou Reed), 183
Wainwright, Rufus, 158n
“Waiting for the Man” [A44], 154, 246, 437, 439
Wakeman, Rick, 61, 143, 147, 150
“Walk on By” (Dionne Warwick), 427
“Walk on the Wild Side” (Lou Reed), 183
Walkabout (film), 280
Walker, Scott, 85, 184, 214, 354n, 379
Walker, General Sir Walter, 300
Walker Brothers, the, 354n, 362
“Walking the Dog” (Rolling Stones), 400
Wally (proposed film), 347
Ward, Brian, 152
Warhol, Andy, 5, 50, 129, 136–39, 152, 182, 183, 185, 188, 217, 302, 437
“Warszawa” [140], 317–18, 322
Warwick, Dionne, 427, 450
Waste Land, The (book), 64n
“Watch That Man” [66], 187–88, 218
“Watching the Detectives” (Elvis Costello), 383
Waterhouse, Keith, 142, 421
Waters, Muddy, 34, 186, 401
Watts, Michael, 114, 154, 173, 349
Waugh, Evelyn, 188, 193, 194, 438
Wayne, John, 106
Wayne, Mick, 61, 65, 443
“We Are Hungry Men” [A26], 422–23
“We Are the Dead” [102], 229, 239–40, 247n
“We Love You” (Rolling Stones), 386
“We Should Be on by Now,” 192
Webb, Jimmy, 61
Weberman, A. J., 130
Weedon, Burt, 327
“Weeping Wall” [142], 319
Weill, Kurt, 110, 350, 351, 390
Weller, Mike, 106
Wells, H. G., 114, 416
West Side Story (stage musical), 223, 272
“Western Movies” (Olympics), 273
“Wham Bam Thank You Ma’am” (Charles Mingus), 167n
“What in the World” [135], 309–10
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“What Kind of Fool Am I” 39, 427
“Whatcha Gonna Do About It” (Small Faces), 404
Wheatley, Dennis, 93
“When I Live My Dream” [A40], 435–36, 443
“When I’m Five” [A53], 70, 71, 449, 450
“When I’m Sixty-Four” (Beatles), 450
“When Your Parents Go to Sleep” (Kevin Ayers), 242
“Where Have All the Good Times Gone” [87], 216–17
White, Timothy, 27, 349
“White Light/White Heat” (Velvet Underground), 154, 167, 219, 222, 266, 331, 336
White Light/White Heat (artwork), 331
“White Room” (Cream), 363
Whitman, Slim, 327
Who, the, 38, 97, 123, 127, 142, 154, 205, 208, 213, 216, 218, 247, 251, 327, 328, 383, 390, 404, 420, 433n, 438, 440, 447, 448
“Who Can I Be Now?” [115], 262–63, 279
“Who Can I Turn To” (Anthony Newley), 42
“Why Don’t You Write Me” (Jacks), 273
Widmark, Richard, 36n
“Width of a Circle, The” [18], 86–90, 91, 92
Wild Angels, the, 153
Wild Boys, The (book), 244
“Wild-Eyed Boy from Freecloud” [7], 71–73, 102
“Wild Is the Wind” [131], 66, 74n, 290, 295–96, 405
Wilde, Oscar, 43, 51, 81
Williams, Andy, 52
Williams, Hank, 144
Williams, Larry, 359
Williamson, Sonny Boy, 180
Willis, Ellen, 185
Wilson, Brian, 318
Wilson, Colin, 24, 94, 118, 141, 145, 331
Wilson, Harold, 15, 415
“Win” [120], 270
Winwood, Stevie, 34
“Witch Doctor” (David Seville), 431
“With a Little Help from My Friends” (Beatles), 416n
Wizard a True Star, A (Todd Rundgren LP), 223
Wolfe, Tom, 13–15, 31, 252
Wonder, Stevie, 34, 250, 268, 275, 292
Wood, Ron, 220
Wood, Roy’s Wizzard, 192
Woodmansey, Woody, 96, 97, 103, 104, 106, 128, 147, 181, 207, 209
Woolf, Virginia, 42, 120
“Word on a Wing” [128], 289–93
Wordsworth, William, 95, 429
World Jones Made, The (book), 169n
World of David Bowie, The (LP), 84, 441–43, 448
Wright, Arthur G., 136
Wyman, Bill, 406
X Factor, The (TV series), 398
Yamamoto, Kansai, 197, 204
Yardbirds, the, 180, 186, 211, 215, 310, 400, 414n
“Yassassin” [167], 355–56
“Yeah Yeah” (Georgie Fame), 403
Yeats, W. B., 360n
“Yellow Submarine” (Beatles), 450
York, Peter, 196
“You Belong to Me” (Elvis Costello), 383
“You Didn’t Hear It from Me.” See “Dodo”
“You Gotta Have a Job,” 154
“You Haven’t Done Nothin’ ” (Stevie Wonder), 268
“You Keep Me Hanging On” (Supremes), 169
“You’ll Never Walk Alone,” 39, 427
“You Really Got Me” (Kinks), 404
“You Shook Me” (Jeff Beck), 98
“You’ve Got a Habit of Leaving” [A6], 403–4, 408
“You’ve Got to Hide Your Love Away” (Beatles), 100n
“You’ve Lost That Lovin’ Feelin’ ” (Righteous Brothers), 435
Young, Neil, 107, 124, 129, 132, 144, 357
“Young Americans” [113], 237, 258, 259–61, 273
Young Americans (LP), 12, 141, 152, 198, 225, 249, 259, 262–64, 267, 269, 270, 273, 275, 278–79, 297, 313, 351
“Your Funny Smile” [A35], 430
Yule, Doug, 182
Zager & Evans, 80
Zanetta, Tony, 138
Zappa, Frank, 44, 127, 225, 244, 423, 424, 440, 447, 450
“Zen Archer” (Todd Rundgren), 223
Zen Buddhism (book), 45
“Ziggy Stardust” [35], 121–23, 124, 130
Ziggy Stardust (LP), 11, 81, 92, 106, 109, 116, 118, 119, 121, 127, 132, 133, 151–53, 158–62, 167–70, 172–75, 204, 230, 244, 297, 350, 441, 447
Ziggy Stardust (proposed musical), 242, 246
Zimmerman, Tucker, 186n
“Zion” [75], 205
“Zip-A-Dee-Doo-Dah” (Bob B. Soxx & the Blue Jeans), 433
Zoo, 211
ABOUT THE AUTHOR
Peter Doggett has been writing about popular music, the entertainment industry, and social and cultural history since 1980. A regular contributor to Mojo, Q, and GQ, Doggett is the author of many books, including There’s a Riot Going On: Revolutionaries, Rock Stars, and the Rise and Fall of the ’60s; and, most recently, You Never Give Me Your Money: The Beatles After the Breakup.
Visit www.AuthorTracker.com for exclusive information on your favorite HarperCollins authors.
ALSO BY PETER DOGGETT
You Never Give Me Your Money: The Beatles After the Breakup
There’s a Riot Going On: Revolutionaries, Rock Stars, and the Rise and Fall of the ’60s
The Art and Music of John Lennon
Christie’s Rock and Pop Memorabilia (co-author)
Are You Ready for the Country: Elvis, Dylan, Parsons and the Roots of Country Rock
Abbey Road/Let It Be: The Beatles (Classic Rock Albums Series)
Lou Reed: Growing Up in Public
CREDITS
Cover photograph © R. BAMBER /Rex Features /Courtesy Everett Collection
Cover design by Archie Ferguson
COPYRIGHT
THE MAN WHO SOLD THE WORLD. Copyright © 2012 Peter Doggett. All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the nonexclusive, nontransferable right to access and read the text of this ebook on-screen. No part of this text may be reproduced, transmitted, downloaded, decompiled, reverse-engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins ebooks.
Originally published in different form in Great Britain in 2011 by The Bodley Head, The Random House Group Limited.
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* This was exactly the quality that the German rock band Kraftwerk exploited during the seventies, exerting a huge influence over Bowie’s work in the second half of the decade.
* The same argument had been propounded by surrealists such as the poet Paul Éluard in the 1920s.
* Though not for long: his company went into voluntary liquidation in July 1964.
*
The name was inspired by the legendary Wild West character Jim Bowie, creator of the Bowie knife. David would later claim that he had chosen it for its incisive, knifelike qualities, but this was retrospective exaggeration; the simple fact was that he had enjoyed Richard Widmark’s portrayal of Bowie in the 1960 Western epic The Alamo. In a bid for individuality, he chose to ignore the US pronunciation of the name [Boo-ie]; he rhymed the first syllable of his adopted surname with “mow,” and not “wow.”
* Van Morrison would later acknowledge the same influence, in his song “Cleaning Windows.”
* The British Board of Film Censors effectively sabotaged the project by informing Armstrong that the screenplay’s homoerotic ambience made it impossible to film within the existing censorship laws.
* Typically, Bowie was able to create mythology out of this depressing interlude. In 1975, he recalled: “I used to work for two guys [presumably in the copy shop] who put out a UFO magazine in England. And I made sightings six, seven times a night for about a year, when I was in the observatory. We never used to tell anybody.” A few seconds later, he talked about “media control . . . It’s just so easy to do.” Indeed, he could have lectured on the subject.
* All Our Yesterdays was a TV series that ran in the United Kingdom from 1960 to 1973, comprising nostalgic excerpts of twenty-five-year-old newsreel footage.
* The American rock band the Byrds preempted Kubrick by several months with their own “Space Odyssey”; they later recorded a tribute to the Apollo 11 astronauts.
* Compare also the construction of Simon & Garfunkel’s “Save the Life of My Child” on the Bookends album, which Bowie studied closely in 1968.
* This chord recurred on other songs Bowie wrote during their collaboration, then vanished from his repertoire.
* The C chord that established the key was played higher up the guitar neck than its companions.
* All Bowie biographers agree that this artifact was taped in the Mercury Records office and was aimed at the record company’s executives. But internal evidence leads me to believe that it was recorded at Bowie’s home, for the ears of Bob Harris, the future BBC disc jockey then working for the London listings magazine Time Out. Harris had secured prestigious London gigs for Turquoise the previous year and continued to promote Bowie’s cause throughout 1969.
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