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Daly, Barbara: Bowie's make-up artist for The 1980 Floor Show. Daly had worked on Clockwork Orange and would later do Princess Diana's make-up on her wedding day to Prince Charles.

Davies, Dai: Freelance Welsh journalist who was drafted into the Bowie entourage as a publicist in late 1971. He would later manage The Stranglers and was a leading promoter and manager during the new wave scene.

Davies, Ron: American writer of the only non-Bowie song ("It Ain't Easy") on THE RISE AND FALL OF ZIGGY STARDUST AND THE SPIDERS FROM MARS (1972). The original version of this song can be found on his album SILENT SONG THROUGH THE LAND (1970). Some sources mistakenly credit this song to the British songwriter - Ray Davies of the Kinks.

DeFries, Tony (pronounced De Freeze): Bowie's unconventional manager in 1970 after Kenneth Pitt who promised to make Bowie into a star within two years. DeFries is generally credited as being the main driving force behind Bowie's rapid move to superstar status. He considered that Bowie was potentially bigger then Dylan and marketed Bowie as a superstar before he was actually one - giving him stretch limousines to be driven around in, chauffeurs, bodyguards and lavish press interviews at London's top hotels with champagne and caviar etc. All of this while Bowie rented his Haddon Hall flat at Beckenham for £7 a week. DeFries established the MainMan organisation to manage Bowie having previously been a partner in Gem, a management, production and record company.

"He's a real star. Not in the sort of record business style, not a Rod Stewart style, if you like, or a Cat Stevens, but ... a Marlon Brando or a James Dean-type star. I see him more in that category of large scale-untouchable. It's like he doesn't quite belong here." - Tony DeFries

"Bowie is setting a standard in rock 'n' roll which other people are going to have to get to if they want to stay around in the seventies. I think he's very much a seventies artist. I think most of the artists who are with us at the moment are sixties artists and Bowie, certainly to me, is going to be a major artist of the seventies. In 1975 he will be at his peak in music. What he does after that is going to depend on his talents in other fields. I want to see him on film. I want to see him in feature films..." - Tony DeFries (1972)

"I think he oversold me. Looking back on it, I think he did a lot of things far too early and tried to overkill with everything." - Bowie

"My personal opinion is that DeFries was brilliant.  He would be the perfect manager if he could work for someone other than himself; if he was not out all the time for himself.  He knows exactly how far to bend the law.  You will find lots of people he has pushed to one side and left.  I was one of them." - Ken Scott (1999)

De Somogyl, Polak: Bass player from the Dulwich College band called Runk who played in an early version of the Arnold Corns project.

DIAMOND DOGS (1974):

Diamond Dogs (1974) followed PIN-UPS (1973) and was the last Bowie album to feature a Ziggy-like visage on the cover. The artwork is by Guy Peellaert. Tracks: Future Legend / Diamond Dogs / Sweet Thing / Sweet Thing (reprise) / Rebel Rebel / Rock n Roll with Me / We Are the Dead / 1984 / Big Brother / Chant of the Ever Circling Skeletal Family / +Dodo (Previously unreleased track 1973) / +Candidate (Demo version 1973) (RCA APL1.0576 - 24 April 1974).

"Dodo" (Bowie): aka "You Didn't Hear it from Me." Song performed at The 1980 Floor Show. The studio version is included as a bonus track on the Rykodisc DIAMOND DOGS (1974) CD and was Mick Ronson's last studio performance with Bowie until 1993. Part of the song eventually become "1984" on DIAMOND DOGS (1974). The combination can be heard as the previously unreleased 1973 song "1984/Dodo"on SOUND + VISION II (1989).

"Don't Bring Me Down" (Johnnie Dee): Song recorded by Bowie on his PIN-UPS (1973) tribute album to British Sixties groups.

"Drive-In Saturday" (Bowie): Song from ALADDIN SANE (1973) and another of Bowie's favourites which was performed on the 1^st and 2^nd US Tours and the 3^rd UK Tour. Bowie wrote it on a train in the US after seeing the moon reflected on 17 or 18 domes:

"I couldn't find out from anyone what they were, but they gave me a vision of America, Britain and China after a nuclear catastrophe.  The radiation has affected people's minds and reproductive organs, and they don't have a sex life.  The only way they can learn to make love again is by watching films of how it used to be done" - Bowie (1973)

It was released in shortened form (3 minutes 59 seconds) on the single "Drive-In Saturday/Round and Round" (RCA 2352 - 6 April 1973) compared to the longer album version (4 minutes 29 seconds). Bowie wrote "Drive-In Saturday" for Mott the Hoople to use as their follow-up single to "All The Young Dudes." However, they never used it preferring to use their own (less successful) single "Honaloochie Boogie." The sticking point reportedly was that Ian Hunter changed the arrangement which Bowie did not like. Folklore has it that Bowie premiered "Drive In Saturday" on acoustic guitar at Miami on the first US Tour.  However, a fan says that Bowie actually premiered it at his Phoenix concert approximately two weeks earlier.  See Ziggy in America: 1st short US Tour for details.

Duffy, Brian: Photographer for the ALADDIN SANE (1973) album cover. He was one of Tony DeFries clients. It is said that the idea for the lightning flash on the album cover was his idea, who had seen the design on a Panasonic kettle!

Dunbar, Aynsley: Drummer who replaced Mick Woodmansey for the recording of PIN-UPS (1973) and who played with Bowie live in The 1980 Floor Show.