"Ashes to ashes" - David Bowie
Do you remember a guy that's been
In such an early song
I've heard a rumour from Ground Control
Oh no, don't say it's true
They got a message from the Action Man
"I'm happy, hope you're happy too
I've loved all I've needed love
Sordid details following"
The shrieking of nothing is killing
Just pictures of Jap girls in synthesis and I
Ain't got no money and I ain't got no hair
But I'm hoping to kick but the planet is glowing
Ashes to ash and funk to funky
We know Major Tom's a junkie
Strung out in heaven's high
Hitting an all-time low
Time and again I tell myself
I'll stay clean tonight
But the little green wheels are following me
Oh no, not again
I'm stuck with a valuable friend
"I'm happy, hope you're happy too"
One flash of light but no smoking pistol
I never done good things
I never done bad things
I never did anything out of the blue, woh-o-oh
Want an axe to break the ice
Wanna come down right now
Ashes to ashes, funk to funky
We know Major Tom's a junkie
Strung out in heaven's high
Hitting an all-time low
My mother said to get things done
You'd better not mess with Major Tom
My mother said to get things done
You'd better not mess with Major Tom
My mother said to get things done
You'd better not mess with Major Tom
My mother said to get things done
You'd better not mess with Major Tom
In such an early song
I've heard a rumour from Ground Control
Oh no, don't say it's true
They got a message from the Action Man
"I'm happy, hope you're happy too
I've loved all I've needed love
Sordid details following"
The shrieking of nothing is killing
Just pictures of Jap girls in synthesis and I
Ain't got no money and I ain't got no hair
But I'm hoping to kick but the planet is glowing
Ashes to ash and funk to funky
We know Major Tom's a junkie
Strung out in heaven's high
Hitting an all-time low
Time and again I tell myself
I'll stay clean tonight
But the little green wheels are following me
Oh no, not again
I'm stuck with a valuable friend
"I'm happy, hope you're happy too"
One flash of light but no smoking pistol
I never done good things
I never done bad things
I never did anything out of the blue, woh-o-oh
Want an axe to break the ice
Wanna come down right now
Ashes to ashes, funk to funky
We know Major Tom's a junkie
Strung out in heaven's high
Hitting an all-time low
My mother said to get things done
You'd better not mess with Major Tom
My mother said to get things done
You'd better not mess with Major Tom
My mother said to get things done
You'd better not mess with Major Tom
My mother said to get things done
You'd better not mess with Major Tom
Del álbum "Scary Monsters (And Super Creeps) (1980)
*******
Los acompañantes de Mr. David Bowie en el video no son otros que Steve Strange y algunos de los Blitz Kids, los cuasi "creadores" de la estética New Romantic :)
Aquí las impresiones de Steve Strange de poder participar en el video de su máximo ídolo ;-)
It was about a month laster, in july, when we had a visit from
my childhood idol, David Bowie. There had already been
rumours that his 'Boys Keep Swinging' video, in which he
donned lip gloss and dress up as various women, had been
inspired by some of the sartorial antics at Billy's, and Bowie
was always keen to throw himself into the latest, coolest
trends, so it should not really have been a surprise when he
appeared unannounced. But despite my outward show of
calm, inside I had butterflies, wondering what he wanted and
what he would think of Blitz. We had no prior warning, and
he arrived with two other people and his PA Coco, whom I
didn't was very nice. We managed to sneak them into the club
the back way to avoid a fuss and usher him upstairs to a private
area. David himself was charming and asked if I would join
him upstairs for a drink when I had finished on the door. I
wanted to go straight away, but, annoyingly, I had to do my
job first and stay at the door.
my childhood idol, David Bowie. There had already been
rumours that his 'Boys Keep Swinging' video, in which he
donned lip gloss and dress up as various women, had been
inspired by some of the sartorial antics at Billy's, and Bowie
was always keen to throw himself into the latest, coolest
trends, so it should not really have been a surprise when he
appeared unannounced. But despite my outward show of
calm, inside I had butterflies, wondering what he wanted and
what he would think of Blitz. We had no prior warning, and
he arrived with two other people and his PA Coco, whom I
didn't was very nice. We managed to sneak them into the club
the back way to avoid a fuss and usher him upstairs to a private
area. David himself was charming and asked if I would join
him upstairs for a drink when I had finished on the door. I
wanted to go straight away, but, annoyingly, I had to do my
job first and stay at the door.
Word soon spread like wildfire that David Bowie was there. He
was probably the reason most people at the club had got into
pop music in the first place. Travel back to the childhood
bedroom of most Blitz habitués and you'd a Bowie poster on
the wall. He had changed his look and his sound so many
times, there were more than enough images to go round. The
alien from Low and The Man Who Fell To Earth, Aladdin Sane,
Diamond Dogs, Ziggy Stardust. He was on the person that
everyone there would cite as an influence, even more
important than punk. Everyone wanted to go upstairs and see
him. We had to have extra security to keep people back. He
said it was a great scene and asked me if I would like to appear
in the video for his next single, Ashes To Ashes. He also asked
me if I could suggest a make-up artist for him, and I
recommended Richard Sharah, the man who did my make-up .
Imagine, when I was a 13-year-old boy, this man had been my
ultimate hero. I just couldn't believe it. He then said to me, "
Look, I'd like it felt to you to pick the clothes you are going to
wear, and to choose three other extras for the video. But there
is only one snag. We have to meet tomorrow morning at 6am
outside the Hilton to leave for the location shoot." Blitz didn't
finish until 2.30 and I didn't usually get home until 3.30am.
This was the most important moment of my life. I rushed
around and found Judith Franklin, Darla Jane Gilroy and
another girl for the video.
was probably the reason most people at the club had got into
pop music in the first place. Travel back to the childhood
bedroom of most Blitz habitués and you'd a Bowie poster on
the wall. He had changed his look and his sound so many
times, there were more than enough images to go round. The
alien from Low and The Man Who Fell To Earth, Aladdin Sane,
Diamond Dogs, Ziggy Stardust. He was on the person that
everyone there would cite as an influence, even more
important than punk. Everyone wanted to go upstairs and see
him. We had to have extra security to keep people back. He
said it was a great scene and asked me if I would like to appear
in the video for his next single, Ashes To Ashes. He also asked
me if I could suggest a make-up artist for him, and I
recommended Richard Sharah, the man who did my make-up .
Imagine, when I was a 13-year-old boy, this man had been my
ultimate hero. I just couldn't believe it. He then said to me, "
Look, I'd like it felt to you to pick the clothes you are going to
wear, and to choose three other extras for the video. But there
is only one snag. We have to meet tomorrow morning at 6am
outside the Hilton to leave for the location shoot." Blitz didn't
finish until 2.30 and I didn't usually get home until 3.30am.
This was the most important moment of my life. I rushed
around and found Judith Franklin, Darla Jane Gilroy and
another girl for the video.
As soon as the club closed I rushed home and sorted out my
outfit. We had quickly agreed that we should all dress as
gothic, ecclesiastical priests, in black an white topped off with
heads and crucifixes. The Vatican always was a great source of
inspiration. I had a long gown on and a kind of meted
beekeeper' hat designed by Stephen Jones and was all ready to
be jetted off to a glamorous location. Barbados ? Spain ? Paris
? The coach arrived and we were told where we were going.
Southend.
As if turned out, a kiss-me-quick hat was not required. It may
have sounded tacky and not at all what I expected from David
Bowie, but I have really fond memories of the video-shoot, my
first of many. It was done on a quiet beach which had been
closed off to the public. It seemed like a very long day for a
three-minute film. The basic plot for the day involved David
Bowie in a pierrot outfit, much like the one I had been wearing
at Blitz, walking along the beach followed by me and the girls
and then a bulldozer. Don't ask me what it was meant to
mean, though I'm sure David and the director David Mallett
were striving for something in particular.....
outfit. We had quickly agreed that we should all dress as
gothic, ecclesiastical priests, in black an white topped off with
heads and crucifixes. The Vatican always was a great source of
inspiration. I had a long gown on and a kind of meted
beekeeper' hat designed by Stephen Jones and was all ready to
be jetted off to a glamorous location. Barbados ? Spain ? Paris
? The coach arrived and we were told where we were going.
Southend.
As if turned out, a kiss-me-quick hat was not required. It may
have sounded tacky and not at all what I expected from David
Bowie, but I have really fond memories of the video-shoot, my
first of many. It was done on a quiet beach which had been
closed off to the public. It seemed like a very long day for a
three-minute film. The basic plot for the day involved David
Bowie in a pierrot outfit, much like the one I had been wearing
at Blitz, walking along the beach followed by me and the girls
and then a bulldozer. Don't ask me what it was meant to
mean, though I'm sure David and the director David Mallett
were striving for something in particular.....
The difficult was getting us all to move along at the correct
speed. If I was too fast, I caught David up; if I was too slow,
the bulldozer kept catching the robe I was wearing. There's a
famous moment in it where it looks as if Iam bending forward
to bow. What I was actually doing was moving the em of my
robe to avoid getting pulled over by the bulldozer, but they
decided to keep it in. It was a real learning experience about
the lengh of time as video takes, but throughout the day I
could no stop thinking that I was actually working with the
man I had worshipped as a teenager. I had queued outside a
record shop in Pontypool to buy his new album when I was 13,
and now he wanted to work with me. When I was handing
out flyers for Billy's I'd never thought something like that
would happen, but the clubs where beginning to pay off.
I was delighted when I was handed my wages of 50 pounds by
a grateful member of the production team. It had been hard,
nerve-wracking, demanding work, but worth every second. And
I was determined that this would not be my last time in front
of the cameras. I didn't tell them, but I would have paid them
to have appeared in a video with David Bowie.
speed. If I was too fast, I caught David up; if I was too slow,
the bulldozer kept catching the robe I was wearing. There's a
famous moment in it where it looks as if Iam bending forward
to bow. What I was actually doing was moving the em of my
robe to avoid getting pulled over by the bulldozer, but they
decided to keep it in. It was a real learning experience about
the lengh of time as video takes, but throughout the day I
could no stop thinking that I was actually working with the
man I had worshipped as a teenager. I had queued outside a
record shop in Pontypool to buy his new album when I was 13,
and now he wanted to work with me. When I was handing
out flyers for Billy's I'd never thought something like that
would happen, but the clubs where beginning to pay off.
I was delighted when I was handed my wages of 50 pounds by
a grateful member of the production team. It had been hard,
nerve-wracking, demanding work, but worth every second. And
I was determined that this would not be my last time in front
of the cameras. I didn't tell them, but I would have paid them
to have appeared in a video with David Bowie.
Steve Strange
***
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