David Bowie (October 22, 1972) – “David Bowie, Superstar Of Theatrical Rock” Feature - The Post-Crescent
This substantial Post-Crescent feature by Mary Campbell captures David Bowie during his first major American tour and the rapid emergence of Ziggy Stardust. Bowie discusses his theatrical stage presentation, changing musical interests, Marc Bolan, Lou Reed, his early career and songwriting, while rejecting attempts to categorise his work simply as drag rock or part of a fashionable trend.
Publication: The Post-Crescent
Date: October 22, 1972
Country: United States
THE STORY
Published under the headline “David Bowie, superstar of theatrical rock”, Mary Campbell's feature finds Bowie in America undertaking what the article describes as an eight-city, month-long tour.
Bowie explains that he originally considered bringing the complete theatrical production he had been using in England to America, but decided against it. Rather than overwhelming a new audience with props and theatrical effects, he wanted initially to concentrate on presenting the songs.
He nevertheless intended to expand the production later, explaining that subsequent tours could introduce different styles and theatrical ideas.
The article describes Bowie's American stage appearance in considerable detail, including his hair, boots, tight shiny jumpsuit and eye make-up. The Spiders are also discussed, with the article noting the use of flashing strobe lights during their performance.
Songs from The Rise And Fall Of Ziggy Stardust And The Spiders From Mars formed the first and last parts of the show, while the middle section reached back into Bowie's earlier albums.
BOWIE, BOLAN AND GLAM ROCK
Bowie directly addresses the emerging British glam-rock movement and specifically discusses Marc Bolan.
Rejecting the idea that he belongs to a narrowly defined musical fashion, Bowie says:
“I like Marc Bolan's and Alice's work but I think we're in very different fields.”
Bowie acknowledges being grouped with the leaders of glam rock but expresses discomfort with being categorised as part of a movement. Bowie explains that Bowie had been “very much on my own” and wanted to continue working without allowing a trend to define the music.
The feature also discusses Bowie's interest in earlier Bolan material. Bowie says that RCA planned to re-release Bowie's own “Hunky Dory” and “Ziggy Stardust” while also releasing records from the two Mercury albums plus a cut made with Bolan.
Bowie tells Campbell:
“I knew how good my early work was and bought the tapes back. I love my early albums and play them a lot.”
FROM DAVID JONES TO DAVID BOWIE
The article provides considerable background on Bowie's early career.
Bowie discusses being born in Brixton and explains the change from David Jones to David Bowie, noting that the existence of Davy Jones of The Monkees made a different professional name necessary.
The feature traces Bowie's early recording career through David Bowie, later work with Buddah and the mime period preceding “The Man Who Sold The World” for Mercury in 1969.
Campbell also asks about the visual transformation accompanying Bowie's music. Bowie rejects suggestions that the image should be interpreted solely as drag rock, saying that such clothes had been designed for people more generally and recalling similar fashions circulating in London several years earlier.
LOU REED AND MOTT THE HOOPLE
The article also documents Bowie's growing role beyond Bowie's own recording career.
Bowie says Bowie had recently played saxophone on a Mott The Hoople album and was producing a forthcoming album by Lou Reed.
These projects form part of the wider picture Campbell presents of Bowie in 1972: not simply a performer promoting Ziggy Stardust, but an increasingly active songwriter, musician and producer working with other artists.
SONGWRITING AND ZIGGY STARDUST
Towards the end of the interview Bowie discusses Bowie's approach to songwriting.
Bowie explains that much of the writing is almost cyclical, with songs sometimes becoming difficult for Bowie to fully understand only a short time after they had been written.
Rather than forcing a single interpretation upon listeners, Bowie says this allows Bowie to enjoy hearing other people's interpretations and discovering something different within the material each time.
Asked whether Bowie and Ziggy Stardust are essentially the same person, Bowie answers “Yes”, while qualifying that statement by describing Ziggy as partly autobiographical and partly a personification of the rock figure.
Bowie closes by reflecting that Bowie often feels like a person playing at being a rock singer and states:
“I always felt like a song writer.”
CONTEXT AND NOTES
Published during Bowie's breakthrough American period, the feature is particularly valuable for the range of subjects covered directly through Bowie's own comments.
The article documents Bowie's attitude towards theatrical presentation while also recording Bowie's contemporary assessment of Marc Bolan and Alice Cooper. Rather than dismissing either artist, Bowie explicitly praises their work while insisting that all three occupied different creative areas.
The clipping is accompanied by a large black-and-white photograph showing Bowie performing with a guitar and microphone, captioned simply “David Bowie.”
FEATURE HIGHLIGHTS
Event: Mary Campbell interviews David Bowie during Bowie's American tour
Era: 1972 Ziggy Stardust era
Tone: Detailed, reflective and career-focused
Photography: Large black-and-white live performance photograph accompanying the feature
WHAT THE CLIPPING SHOWS
• David Bowie discussing the theatrical presentation of Bowie's American shows
• Discussion of The Rise And Fall Of Ziggy Stardust And The Spiders From Mars
• Bowie praising Marc Bolan and Alice Cooper while distinguishing Bowie's own work from theirs
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