The subject of innumerable books and documentaries, Bowie has also had a touring exhibition that ran, appropriately enough, for five years, and now the Victoria & Albert Museum in London is opening on 13 September a David Bowie Centre at its new Storehouse facility in the east of the city, to house a wealth of material from his archive, including notes on his uncompleted final project – a musical set in 18th-century London.
In the interview, the Starman reflected on how he reacted to the fame and success he enjoyed in the early 70s, telling Shaw: "I think that throughout the 60s and most of the 70s I was driven by lust, as much as anything. It's a great creative force. That in turn is replaced by anger, when you ask where the money is. And then you get depression, and then you go to Berlin and write really moody instrumental stuff. It’s the triptych of the 70s. Lust, anger, moody."
There’s no doubting on which side the contributors to the podcast fall, including its presenter Kate Moss, who became friends with Bowie through his deep interest in fashion. She recalls how their friendship began in the sweetest manner, “David, whose nickname for me by the way was Smasher, started phoning me on my birthday. I didn’t need any other presents after that.”
But then the surreal is part of the appeal of the Bowie legend and that otherworldliness is summed up rather well by an entertainer many would consider a down-to-earth chap, Robbie Williams: “He was basically a celestial, angelic member of a fraternity that exists outside of this planet and this ‘normie’ realm and there are very few that are sent to teach us, love us, show us the way, but he was one of them.”
Actor Tilda Swinton, for one, sees it clearly: “I think that what Bowie contributed and contributes still - and presumably always will contribute to the culture - is a model of flexibility, curiosity. [He] was clearly a deeply experimental spirit, so dedicated to not repeating himself and very healthily not invested in minding when other people didn’t like what he was up to.”
“That fact that he was not scared of his sexuality, the fact that there were so many young people in small towns who would go out in their ‘Bowieness’ - dressed like him, probably getting beat up every night in night clubs - but he was bold and he was unafraid and there was something that always sort of attracted me to him.”
A pop star who made a similar splash with his look in the 1980s, Boy George saw that Bowie’s impact was more profound than perhaps widening what music fans were able to wear: “[He] was unique because he was so contradictory in every way. He wasn’t the archetypal homosexual – or bisexual, I don’t think he was even that — and we were part of a new breed of gay people who weren’t apologetic. We weren’t going to apologise for being gay.”
Yet it’s left to a superstar peer of Bowie’s to sum up everything in the simplest of terms. Elton John, who amazingly said at the time that Bowie’s Ziggy Stardust gigs were “too camp” (though he did later recant and admit the influence Ziggy had on him), now states clearly, “His music speaks for itself - he’s a giant, a ground-breaking artist, songwriter, performer, actor - and his legacy will be there for ever.”
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