No role could have suited David Bowie better in his first major movie than that of an inscrutable interplanetary traveler outfitted with human skin, sex organs, Ronald Reagan hair and humanoid pupils to slip over his horizontal, mismatched feline slits. Bowies perfect evocation of The Man Who Fell To Earth surprised only reviewers unaware of his past. After all, its a part hes been creating, re-recreating and defining for the last 11 years through his shifting, ever-improving brand of rocknroll space drama.
If there is a counterpart in pop music for "the perfect crime," the British born Bowie has committed it. He has emerged as one of the most bizarre and eclectic figures in rock not by simply selling his soul to the image manufacturers of the industryhes too classily independent for thatbut by temporarily leasing it. No other performer of this decade has so cannily perceived and exploited the recurring susceptibility of the media to calculated outrage and extremes of manipulative self-dramatization. Or pulled it off with such creature-from-another planet insouciance. What other earthling would proclaim his imminent retirement any time he felt like it (hes 29) and christen his son Zowie plus publicly profess to be a bisexual himself and married to one?
Bowie is an electric performer AC, DC, or whatever. This is one of the transformations of his act in 1973.
"I am an actor," he elaborates. My whole professional life is an act. I slip from one guise to another very easily. One guise plays into another, and the extreme comments force it into another direction." Or alternatively he reflects, fixated on a mirror: "Could that physical look possibly support a sane mind?" In short, Alice Cooper is road companyDavid Bowies the real macabre.
One of his best incarnations, back in 1972, was his alter-ego rock star, Ziggy Stardust, who, in his hilariously caricatured androgyny, was instantly crowned the once and neuter of glitter. Then Bowie unplugged Ziggy and rechristened himself Major Tom on his Space Oddity LP and sang of "Sitting in a tin can / far above the world." When Major Tom landed, he toured U.S. cities like Seattle, Detroit and New York, wrote songs about them and, for a 1973 album, renamed himself Aladdin Sanejust for pun (A Lad Insaneget it?).
By 1974 Bowie was something else. Depicted on the cover of his LP Diamond Dogs as grotesque half-man, half-dog, he brought to the U.S. a lurid and elaborate stage show (lighting alone set him back $200,000) dramatizing nothing less than the demise of urban civilization.
As The Man Who Fell To Earth Bowie's eyes were made up. His own left pupil was paralyzed in a boyhood brawl.
Then "flat broke" from production excesses and "other persons greed," he uncovered the lucrative core of his present metamorphosisthe commercial disco music that he calls his "plastic soul." Back by a largely black rhythm-and-blues section, he enjoyed two major U/S. hits, Fame and Young Americans, and his fifth gold LP, Station to Station. The album cover of Station catches the new David Bowie as he appeared on most of this year' tour of the U.S. and Europeshorn, slicked-back locks, starkly lit in black-and-white and sans expensive props.
The return of the thin white voice: Bowie's latest tour was backed by Raw Moon, a mostly black band he found "heavier".
Professionally and personally, Bowie abhors consistency. Contradictions inflame his very movement and pronouncement. Not long after becoming the first rock bisexual to come out of the closet ("Im proud that Ive never tried to hide that") he declared: "Bisexuality was just a lie. They gave me that image so I stuck to it pretty well." Similarly, Bowie recently announced hed be "the only alternative for premier in England, and Britain would benefit from a fascist leader." Later he stormed, "Wasnt a word of truth in it. A bunch of reporters asked a lot of ridiculous political questions and I gave them ridiculous answers. Im astounded that anyone can believe that".
Bowies contradictions are like Houdinis underwater cages, self-set traps from which he executes miraculous escapes that work as well as the illusions they create. In fact, Bowie itself is a stage name, adopted 11 years ago by David Jones because it was "the ultimate American knife. "Bowie, he says, "is the medium for a conglomerate of statements and illusions. I have no confidence in David Jones as a public figure." "The thin white duke"as depicted in his latest LP"thats as close to David Jones as Bowie is ever likely to be onstage," says Bowie. "Jones has become a real shell. Hes given it all to Bowie."
A rare family photograph shows Bowie in 1974 with his wife of six years, Angela, and their son, Zowie, then 4.
Vast expanses of spaceinner and outerhave always lured Bowie away from more confining realities. When David was a boy, his father, a publicist for Dr. Bernardos orphanages (among others) near their two-bedroom working-class row house in south London, would take David to visit. "I played with their things, read their books. I had a number of stepbrothers and stepsisters." He suggests that some of them were, as the British say, "mental." I wanted my freedom quickly and looked for a profession that would let me be eccentric and express all my idiocies." Schoolteachers tried and failed to correct his left-handedness. "That cemented into me the idea that Id have to invent my own world to be fulfilled."
By 13 a gaunt, leggy long-distance runner with deceptive stamina, he owned a leaky plastic sax, played jazz and had discovered paintingand boredomat school. He left at 16 and worked as an ad designer for six months when told hed never make it as an artist. Though of Anglican-Catholic-Jewish origin, he contemplated joining a Tibetan Mahayana monastery, then fell under the tutelage of renowned mime Lindsay Kemp, who helped Bowie plumb the realms of illusion and reality. Bowies apparent conclusion: they are indistinguishable.
Is it a bird or a bloke? asked the gossip sheets in May when Bowie nuzzled transvestite Romy Haag in a Paris boite.
Much of that studied mystery rubs off on wife Angela, his one time road manager whom he met, supposedly, through a mutual boyfriend. Along with curious sex lives, David and Angela share enormous powers of self-dramatization. "The most amazing thing," says David, "is that we are still together. We should have broken up years ago, but we still love each other, and we love our son, Zowie. I cant imagine life without either of them."
"We are changing, slowing down," says Angela, 26, daughter of a mining engineer, who was born in Cyprus, schooled in Switzerland and kicked out of a Connecticut College for "being a lesbianwhat did they expect us to do, fool around across the street at the Coast Guard Academy?" She stayed home during his years tour to fix up their new home in Geneva, and saw David only one week in four. On the road Bowies most constant companion is majordomo is Corinne ("Coco") Schwab, an attractive 30ish French-American who speaks four languages, reminds him to eat, worshipfully shields him from intrusions and shares his hotel suites and the back seat of his chauffeured limousine. But Angela has said shes "not worried that Bo will fall in love with someone else while were apart. Hes incapable of loving anything except his work. Im his securityanyone else is just a one night stand."
The Bowies 'au naturel'. "In the past," says David, "we didn't really know what we were doing. It was part of growing up."
David lived in New York for three years but felt confined by the city, loathed LA even more, and recently moved to a seven-bedroom manse in the hills above Geneva. "Its my first home," says David. I was always short on possessions." But, uniquely linear for a rock artist, he has a library of 4,500 books and also paints and experiments in sculpture.
Curiously, Davids legal name remains Jones. "Bowie was never meant to be," says David. "Hes like a Lego kit. Im convinced I wouldnt like him, because he too vacuous and undisciplined." The final word from the conjurer himself: There is no definitive David Bowie.