The song comprised a complex arrangement of fragments in the vein of a progressive rock suite (imagine something by early-seventies Genesis or mid-seventies Jethro Tull), connected by the sonic impact of Bowie’s remarkable 1975/76 band, and the mannered flexibility of his voice. I just thought hers was a bit too intense,” Holt said. It was La Roche who applied the lightning bolt motif to Bowie's face for the ALADDIN SANE (1973) album cover photo and the astral sphere make-up on Bowie's forehead.

Ten years later, a print of the Moss photo, taken by Actress Sarah Hyland dressed as Bowie's alter-ego Aladdin SaneInspired by theater and space operas, Bowie wanted to outdo heavily makeup-ed, larger-than-life rock personalities like Alice Cooper. Layed flatish. Only the keenest of occult scholars would have recognised With that, the lyrics came full circle, from the Duke’s command (Among other things it produced my own favorite Bowie album, Station to Station.) "If you were a kid, it was kind of weirdly exciting, because these ideas of gender and masculinity and femininity are these acquired notions."

Painted by street artist Jimmy C in 2013, it showed the musician in the guise of Aladdin Sane, with celestial bodies orbiting around his head. I couldn't afford the clothes but I could get the hair.

his entrance alongside the Duke, still unwilling to settle comfortably into a recognisable key signature. Don't want them to get too cartoony. 104 views / Category: Entertainment Share: More Questions: Who scored the famous "Hand of God" goal in the 1986 World Cup?

orthodox) and intentions: Bowie had entered the landscape of mountains and sunbirds, prodded by a burbling electric guitar. From Countless fans have applied their own lightning bolts in homage -- today one can find an endless number of In 2003, Kate Moss famously graced the cover of Vogue with the red-and-blue flash overlaid on her face. In a song this esoteric, it may or may not be significant that Aleister Crowley’s pack of Tarot cards represented Art and Lovers as complementary icons; that a dart, or arrow, was a symbol of direction revealing the dynamic of the True Will; that the Kabbalistic Tree of Life referred to a ‘heavenly bow and arrow’... almost every line could be glossed and interpreted, without coming any closer to Bowie’s intentions. I hate anything that slows me down.’ So open was his drug use that the normally bland British pop newspaper Record Mirror felt safe in 1975 to describe Bowie as ‘old vacuum-cleaner nose’. Bowie announced his arrival in double-voice, one echoed and tired, the other almost hysterical, as if under attack from the wicked one’s fiery darts.A thud of drums signalled a change, of tempo, key (now strictly Its makeup includes “the famed astral sphere forehead icon,” Mattel says, and its swept-back shock of deep red hair takes inspiration from Bowie’s too.

"At first, I just assumed that character onstage," Bowie Bowie wrote "Aladdin Sane" while touring the States. when the Kansai show must have been given maximum press."

His girlfriend in 1974/75, Ava Cherry, recounted that ‘David has an extreme personality, so his capacity [for cocaine] was much greater than anyone else’s.’ ‘I’d found a soulmate in this drug,’ Bowie told Paul Du Noyer in 2002. was at the heart of the action: Prospero, the rightful Duke of Milan, exiled on an island in Shakespeare’s Shakespeare, however, was only one source for a song rich in

'Station To Station’, he was effectively condemning himself: ‘A very Aryan, fascist-type; a would-be romantic with absolutely no emotion at all but who spouted a lot of neo-romance.’ Michael Lippman, Bowie’s manager during 1975, said his client ‘can be very charming and friendly, and at the same time he can be very cold and self-centred’.