For the finale for David Bowie is at the V and A, they rather cleverly created a last chance to see the tour of the exhibition at cinemas across the UK as a live event.
So we went as a family to the Phoenix East Finchley, our local independent cinema (that I still refer to as the Rex) to see David Bowie is happening now.
Why I thought the audience would be made up of cool artistic freaks and beauties I don’t know. It was, of course, filled to the brim with grown ups that, like me, experienced Bowie in real time. And, as the film was at pains to tell us, that started 50 years ago. So not a lot of Spandex then, more Paul Smith Shirts and Cos frocks.
The show began proper at 7. Two rather charming and nervous curators – Victoria Broackes and Geoffrey Marsh – introduced the proceedings, awkwardly tripping over their words and smiling until it was time to cut away to the exhibits and the special guests.
A rice sculpture with every grain of rice represented those born in the UK in 1947. Mr David Jones is one of them. As is Mark Feld, Reg Dwight and Sandra Goorich (Marc Bolan, Elton John and Sandy Shaw.)
Onto the cute baby picture and lots of shots of the teenage boy in various moody and attractive poses with different haircuts. This part of the exhibition is all about the early years and points out the ridiculous ambition, determination and attention to detail. Turns out Bowie (Jones) released his first album before his first single. Smart move – except it was the same day as Seargent Pepper’s release.
Some gorgeous Space Oddity footage and an explanation of what it was really about, and then members of the public get to talk about THAT appearance on Top of the Pops in July 1972. I was well in my comfort zone (as readers might remember).
Lots of love and emotion about seeing the costumes live and in front of you. I confess to feeling exactly the same way. The painted rabbits! The heels! The Clockwork-Orange-without–violence-but–with-colour jumpsuit.
We see Bowie talking about his lyrics, about Eno’s box of cards and how he invented a computer programme that randomises words like they are in your dreams “without the boredom of going to sleep at night”. Which, I think, says a lot about the man.
All acknowledged that Bowie made it okay to be different. Fashion scribe Iain R Webb said that overnight he went from Weirdo to Bowie Freak. He told how he wore his fox fur jacket watching Match of the Day with his dad (who didn’t mind) and about Bowie Nights all over the country. I felt sad I never went to one.
Jarvis Cocker referred to those mesmerising hand written lyrics. The words you know so well with the penmanship of “a twelve year old girl”, while Terry O’ Neill gave an insight into the second most recognised rock image that he took of Bowie and the huge dog. How, when the dog leapt up, everyone ran for cover except Bowie who just stayed still in the pose: “He’s a laid back type of cat”.
We learnt about how Bowie had planned to turn 1984 into a musical but was refused the rights so went on to come up with an idea for a Diamond Dogs Movie. An ambitious and massively detailed storyboard for Hunger City was animated to show the scope and ambition of the project, which ultimately saw the light of day as the awesome set for the Diamond Dogs tour.
He “walked towards the part” in Man Who Fell to Earth. Remarking on comments about how he was convincing in the role, he said, “I rest my make up case”.
The exhibition ends with a slightly bizarre and impressive version of Bowie’s life as a periodic table, and then some more breathless love-struck sound bites from the public: “I mean, he’s not even dead yet!”
A piece of concert footage of Bowie singing Heroes to the survivors and relatives of the victims of 9/11 rounded things off. Just so we could all have a good cry.
The verdict? David Bowie is “worthy of our fandom”.
