Palin, Will: Equipment
manager/roadie on the Ziggy Stardust Tours.
"I remember all the fantastic times, the excitement,
the breathtaking 'breaking-new-ground'. Do you remember how "The Jean
Genie" was written on that chartered Greyhound (NYC/Cleveland/Nashville/NYC - not
sure guess I need to look up the old diary). Anyhow it went something like:
"Bus, Bus Bus, - we're going 'Busin'!" was the jam that Mick and I
started! Next thing you know we're loading-in the backline to RCA's studio in New
York and a 'classic' is born. What's the name of the girl with short blond hair I
have always thought of as Genie? (Ed: thats Cyrinda Foxe!). That was all before the band
and crew decided to fly; leaving David to catch-up by car and Am Track: Beverly
Hills Hotel was something else for a 21 year-old 'roadie'! How long did we have to
wait there? Two weeks I think!" - Will Palin
(2001) to Angie Bowie
"Panic In Detroit" (Bowie):
Song on ALADDIN SANE (1973) performed on the 2nd US
Tour and the 3rd UK Tour. It was written in Los Angeles after Bowie spent a
night with Iggy Pop who reminisced about violence in Detroit, and for the purposes of the
song, Bowie therefore portrayed Pop as a dangerous political radical.
Parma, Daniella: Girlfriend of
Freddi Burretti who assisted him with making costumes for the Ziggy Stardust concerts.
This was to be virtually a full time job for them with Angela Bowie helping out as well.
Pastor, Terry (of Main Artery): Credited
with the art work for the album cover of THE RISE AND FALL OF ZIGGY STARDUST AND THE
SPIDERS FROM MARS (1972).
Pennebaker, (Richard) D.A: American
film-maker who produced and directed filming of the last Ziggy Stardust concert at the
Hammersmith Odeon, London on 3 July 1973. The film of the event was shown once on ABC TV
in October 1974, then it premiered at the Edinburgh Film Festival on 31 August 1979 and
finally was released in 1983 as ZIGGY STARDUST - THE MOTION PICTURE.
PINUPS (1973) was released
after ALADDIN SANE (1973).
Bowie's manager and mentor from 1966 to 1970 until he was superseded by Tony DeFries.
Under Pitt, Bowie recorded his first album (titled DAVID BOWIE (1968)) and made his first
film (LOVE YOU TILL TUESDAY (1969)) from which the single "Space Oddity"
evolved. Bowie and Angela surprised Pitt by visiting him at his flat on 10 May 1973 after
the Japanese Tour, and gave him tickets for the Rainbow Theatre concert. He has written a
comprehensive account of Bowie's early days in The Pitt Report.
Pop, Iggy (real name Jimmy Osterberg):
American singer/songwriter and close friend of Bowie. Bowie remixed the album RAW POWER
(1973) after an early poor attempt at mixing by Iggy Pop. Bowie was also to rescue Iggy
Pop from an American mental institution in the mid Seventies and then resurrect his career
by co-writing and producing THE IDIOT (1976) and LUST FOR LIFE (1977).
Intro to RAW POWER: Iggy & the Stooges 1972 by Mick Rock
"Twenty-eight years is a long time. Its not always easy
to go back. But 1972 was a potent year for rock n roll, for London, and for me. I
saw (and photographed), the rise of Ziggy Stardust, Mott the Hooples All the Young
Dudes, the surfacing of Lou Reed with the Bowie/ Mick Ronson produced Transformer (and its
key cut Walk on the Wild Side), and Raw Power (which wasnt released until 1973, but
was recorded, mixed and photographed in 1972). I dont recall it like it was
yesterday, but I do recall certain shiny moments in a year that transformed all our lives.
Iggy & the Stooges....Now therein lies a tale or two or three. Genius comes in strange
packages. I knew that the Punkmeister had it the first time I heard the immortal couplet:
1969 OK All across the USA Such resonance in such minimal form; fuck, I knew
this guy was a pure poet. David Bowie introduced me to Jim Osterberg at a welcome party he
had organised for Jims first UK visit at some little veggie restaurant off
Westbourne Grove, where everyone sat on the floor, in the early summer of 1972. David had
often riffed enthusiastically to me about the Ig, who in many ways was the inspiration for
(Z)iggy Stardust. He swapped tales of Iggy for stories of Syd Barrett, an intimate of
mine. The very informed (and very hip) of London at that time had heard apocalyptic
stories of peanut butter, broken glass and blood, and I maybe expected someone of an
outrageous, outgoing nature, so I was struck by how quiet, polite, almost shy, Jim was.
Shortly after I bore witness to the other side of this unique coin at a concert at the
recently converted La Scala cinema in Kings Cross, the Stooges one and only
show ever in the UK. Even the early albums and the tales of gore hadnt prepared me
(or any of us). Remember this was 1972 (although the Stooges in some form had been on and
off the game since 1967). A rock n roll lifetime before the advent of the Sex
Pistols and Punk Rock. For a London lad this was an unprecedented experience.
Here was a monster in the Shakespearian sense, elemental, a force of nature.
To quote myself: He was like something caged and very angry about it. Something
dreamed up by Karl Jung...Dionysius in silver, breaking out... I remember feeling
distinctly intimidated, even as I boldly aimed my lens at him. He appeared so much bigger
in the frame than I knew him to be. He had undergone a complete and dangerous
transformation, and I was totally fascinated. Little did I comprehend how great a
resonance the images I was collecting would have. How could any of us have known the
legendary status this concert would attain. It seemed to last a lifetime (although it was
in fact only 40 minutes) and it changed everything. There was no blood and broken glass,
but we were all riveted and devastated by the ritual enacted before us. Never was there a
truer description - Raw Power! The stuff of narcotics and nightmares.... A
couple of weeks later Iggys manager Tony Defries (also Bowies manager) called
me. Two or three publications needed recent Stooges pics en groupe and there were none. It
wasnt a commission (nor was the Kings Cross session). Tony didnt believe
in paying for photographs. But he understood my enthusiasm and my naivete, and knew that I
would jump at the opportunity (which I did). In those days I came very cheap (I even paid
all expenses). In truth, nobody valued rock photography very highly at the time. But I
didnt care. I got my kicks out of aiming my lens; everything else was unimportant
and my material needs were modest. I had one camera and two lenses (a normal and a wide
angle) and my red sneakers, and I was flying. It took me a while to locate the trashed out
basement rehearsal studio off the Fulham Road, but I was buzzed. I had tracked the Stooges
to their lair, and they were to be mine for a whole hour! There was no brief. There never
was in those days. Just grab a fistful of frames and get out. But it was my nature to
linger and probe around, to cram as much variety as I could into a few modest rolls of
film. And in fact, the Stooges were glad to see me. They were bored with rehearsing for
the upcoming Raw Power recording sessions, and I provided respite and
distraction. It wasnt as if they were inundated by attention, or local photographers
kicking down the door desperate to immortalise them! Those were very different times and
there were few shutterbugs on the music scene. I was the only one who shot them on their
Raw Power jaunt. First I recorded the Stooges as a group, then later
individually (which, of course, meant mostly Iggy). They were very co-operative, and I
remember it was Iggys idea to be shot embracing the toilet bowl! Iggy and Ron
Asheton were communicative although James Williamson was the most voluble, while Scott
Asheton hardly mumbled a note. I remember James explaining to me that the Stooges
attention could wander easily, and not linger too long with one set-up: a hint I readily
took. Certainly the location and circumstances were ideal for the Stooges. I worked with
the available light (3 or 4 bare light bulbs hanging from the ceiling) and a long exposure
or a small flash on the camera. Raw was what we got and it was of course
perfect. As I always did in those early years, I processed all the black and white photos
myself. Some of the negatives are even somewhat fogged. Who knows why, but that only seems
to add to the overall flavour. A key point to note is that none of these photos
(Kings Cross or the basement) were shot with an album package in mind, and of course
the Stooges hadnt even begun to record. The decision to use them came a few months
later in New York where I was lensing Ziggy Stardusts first US tour, when CBS
decided they wanted Bowie to remix the album and to release it in early 1973. Since these
were the only recent photos available, out of necessity they made the grade. In their
largesse, CBS even paid me a couple of hundred dollars! And Im sure I was grateful
for the pittance! It was great to be young and not give a damn about such trivial matters
as geld. The beauty of it all is that as copyright owner of these images which have become
an indelible part of rock n roll lore, my naivete has been rewarded many times over
in the years in-between. Time and again life has proven itself to be wild and
unpredictable, Im grateful to say. My advice to young photographers: Hang on to your
copyrights. Its been a privilege and a pleasure and Im glad Ive got the
pics to bear witness. May your raw power pump forever, Igmeister. Thanks for the
magic." © Mick Rock 1999
Pork: Name of Andy Warhol's
notorious underground play supported and attended on a number of occasions by Bowie and
Angela in London during its performance from 2-28 August 1971. A number of its UK cast
were to later become MainMan employees specifically tasked with promoting Bowie.
"Port of Amsterdam"
(Jacques Brel/M.Shuman): Song covered by Bowie and a regular acoustic number on the
1st UK Tour only. The original version is on Brel's album titled LA CHANSON
FRANCAISE. A Bowie studio version of the song was recorded during the Trident sessions for
THE RISE AND FALL OF ZIGGY STARDUST AND THE SPIDERS FROM MARS (1972) but was only released
later as the B-side of "Sorrow/Port of Amsterdam." (RCA 2424 - 28
September 1973). It is included as a bonus track on the PIN-UPS
(1973) CD. See also "My Death."
"Prettiest Star, The" (Bowie):
Originally a single and then re-recorded for ALADDIN SANE (1973)
and performed only on the 2nd US Tour. Marc Bolan was the guitarist on the
original Bowie single version of "The Prettiest Star/Conversation Piece"
(Mercury MF.1135 - 6 March 1970) which can be heard on SOUND + VISION I