Ziggy Stardust (character)

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Ziggy Stardust is a fictional character created by the English musician David Bowie, and was Bowie's stage persona during 1972 and 1973. The eponymous character of the song "Ziggy Stardust" and its parent album The Rise and Fall of Ziggy Stardust and the Spiders from Mars (1972), Ziggy Stardust was retained for Bowie's subsequent concert tour through the United Kingdom, Japan and North America, during which Bowie performed as the character backed by his band the Spiders from Mars. Bowie continued with a similar character in his next album Aladdin Sane (1973), which he described as "Ziggy goes to America". Bowie retired the character in October 1973 after one final show at The Marquee in London.[1]

As conveyed in the title song and album, Ziggy Stardust is an androgynous, alien rock star who came to Earth before an impending apocalyptic disaster to deliver a message of hope. After accumulating a large following of fans and being worshipped as a messiah, Ziggy eventually dies as a victim of his own fame and excess. The character was meant to symbolise an over-the-top, sexually liberated rock star and serve as a commentary on a society in which celebrities are worshipped. Influences for the character included English singer Vince Taylor, Texan musician the Legendary Stardust Cowboy, and Japanese kabuki theatre.

Ziggy Stardust's exuberant fashion made the character, and Bowie himself, staples in the glam rock repertoire well into the 1970s, defining what the genre would become. The success of the character and its iconic look propelled Bowie into international superstardom. Rolling Stone wrote that Bowie's Ziggy Stardust was "the alter ego that changed music forever and sent his career into orbit".[2]

Ziggy Stardust's look and message of youth liberation are now representative of one of Bowie's most memorable eras. The Rise and Fall of Ziggy Stardust and the Spiders from Mars became Bowie's second most popular album in terms of record sales.[3]

Fictional narrative

"'Ziggy' was my Martian messiah who twanged a guitar. He was a simplistic character. I saw him as very simple ... fairly like the character Newton I was to do in the film [The Man Who Fell to Earth] later on. Someone who dropped down here, got brought down to our way of thinking, and ended up destroying his own self. Which is a pretty archetype story line."

—Bowie on the character.[4]

Bowie explained that the character of Ziggy Stardust was conceived as an alien rock star who arrives on an alternate Earth that is dying due to a lack of natural resources. Around the world, older people have lost touch with reality, while children have adopted a hedonistic way of life and no longer want rock music, as there is no electricity to play it. Ziggy is advised in a dream by the infinites ("black-hole jumpers") to write about the coming of a starman who will save the earth. Ziggy's tale of the starman is the first news of hope that the people have heard, so they latch onto it immediately. Ziggy soon gathers a large following and is worshipped as a prophet. According to Bowie, "He takes himself up to incredible spiritual heights and is kept alive by his disciples." The infinites eventually arrive and tear Ziggy apart onstage.[5]

Much of the Ziggy Stardust story is told in the album The Rise and Fall of Ziggy Stardust and the Spiders from Mars, or appears in Bowie's writings as plans for a never-realised theatrical performance of the narrative.[6] Various songs on the album are written from the viewpoints of different characters.[7] On the album, the Ziggy Stardust character is introduced directly on the third track, "Moonage Daydream".[8] However, the song "Ziggy Stardust" is the central piece of the narrative of the album, presenting a complete "birth-to-death chronology" of the character.[9] "Starman" is Ziggy's song prophesying the coming starman who will save the earth.[5] According to author Michael Luckman, the song "Lady Stardust" presents Ziggy meeting his disciples, playing before a crowd of worshippers, followed by "Star", in which he "reveal[s] his plan for intergalactic superstardom".[10] Ziggy is torn apart onstage during the song "Rock 'n' Roll Suicide".[5] The song "Sweet Head", recorded during the Ziggy/Hunky Dory sessions, reference Ziggy directly as well, but the song was left off the album and went unreleased until 1989.[11]

The character was revisited by Bowie in his next album Aladdin Sane (1973), which topped the UK chart, and was his first number-one album. Described by Bowie as "Ziggy goes to America", it contained songs he wrote while travelling to and across the US during the earlier part of the Ziggy Stardust Tour.[12][13]

Origins

The character was inspired by English rock 'n' roll singer Vince Taylor, whom Bowie met after Taylor had a breakdown and believed himself to be a cross between a god and an alien.[14][15] Bowie's lyrical allusions to Taylor include identifying Ziggy as a "leper messiah".[16] Taylor was only part of the character's blueprint.[17] In the 1960s Bowie had seen Gene Vincent performing live wearing a leg-brace after a car accident, and observed: "It meant that to crouch at the mike, as was his habit, [Vincent] had to shove his injured leg out behind him to, what I thought, great theatrical effect. This rock stance became position number one for the embryonic Ziggy."[18][19]

Bowie biographers also propose that Bowie developed the concept of Ziggy as a melding of the persona of Iggy Pop with the music of Lou Reed during a visit to the US in 1971.[20][21] A girlfriend recalled his "scrawling notes on a cocktail napkin about a crazy rock star named Iggy or Ziggy", and on his return to England he declared his intention to create a character "who looks like he's landed from Mars".[22]

Bowie stated that with Ziggy Stardust, "I wanted to define the archetype messiah rockstar. That's all I wanted to do. I used the trappings of kabuki theatre, mime technique, fringe New York music." One of his primary references was the Velvet Underground.[7] Bowie stated that Ziggy is meant to be an alien of some kind,[23] possibly a Martian,[4] and was based "very much on a Japanese concept". The character's Japanese influences provided a human connection, Bowie explained, as in Britain during the early 1970s Japan "still seemed like an alien society, but it was a human alien society."[23] Bowie also stated that Ziggy Stardust was a product of his career-long ambition to combine rock music and theatre,[24][25] and that at the time of creating the character he had viewed Ziggy as "a very positive artistic statement ... a grand kitsch painting. The whole guy."[26]

Bowie asserted elsewhere that Ziggy Stardust was born out of a desire to move away from the denim and hippies of the 1960s.[27] Along these lines, some critics assert that Bowie's artificial concoction of a rock star persona was a symbolic critique of the artificiality seen in the rock world of the time.[28] Bowie had previously created artificial stage personas in 1970 with his backing band Hype. Over a small series of shows which, while poorly received at the time, are now credited as the origin of glam rock,[29] the band performed in flamboyant costumes, each with an accompanying persona of a spoof superhero. Bowie, dressed in a blue cape, lurex tights, thigh boots and a leotard with colourful scarves sewn onto his shirt, was "Rainbowman".[29][30] Describing his costume as "very spacey", he later explained that his idea for the outfits was to counter the popular image of rock acts at the time, which was "all jeans and long hair".[30] The concept behind Rainbowman was recycled and reinvented as Ziggy Stardust.[31]

Name

Bowie told Rolling Stone that the name "Ziggy" was "one of the few Christian names [he] could find beginning with the letter 'Z'".[32] He later explained in a 1990 interview for Q magazine that the Ziggy part came from a tailor's shop called Ziggy's that he passed on a train, and he liked it because it had "that Iggy [Pop] connotation but it was a tailor's shop, and I thought, Well, this whole thing is gonna be about clothes, so it was my own little joke calling him Ziggy. So Ziggy Stardust was a real compilation of things."[33][34] "Stardust" came from the Legendary Stardust Cowboy, the stage name of singer Norman Carl Odam,[33][35] whose music intrigued Bowie.[36][37]

Appearance

A sequinned jumpsuit, one of the costumes designed by Kansai Yamamoto for Ziggy Stardust[38][39]

Hair

عندما كان ديفيد بوي يُعرف باسم زيغي ستاردست، كان لديه قصة شعر حمراء زاهية . [ 40 ] استوحى بوي هذه التسريحة من عارضة أزياء للمصمم الياباني كانساي ياماموتو، والتي رآها في مجلة هوني ، [ 41 ] كما استوحى تصميمها من ثلاث صور مختلفة من مجلة فوغ - حيث استوحى مقدمة الشعر من عدد فرنسي، بينما استوحى الجانبين والخلف من نسختين ألمانيتين مختلفتين. [ 42 ] قامت مصففة الشعر سوزي فوسي، التي رافقت جولة زيغي ستاردست حتى عام 1973، بقص وصبغ شعر بوي. [ 43 ] قصت فوسي شعر بوي بهذه الطريقة لأول مرة في يناير 1972، [ 44 ] وبعد تجربة ألوان مختلفة على خصلات من شعره، صبغته بلون أحمر ناري؛ [ 43 ] ويتذكر بوي أن لون الصبغة كان "أحمر شوارتزكوف". [ 44 ] احتوى الصبغ على بيروكسيد بتركيز 30، مما أعطى شعر باوي كثافةً، لكن فوسي استخدم بعد ذلك علاجًا مضادًا للقشرة يُسمى جارد للمساعدة في تثبيته وجعله منتصبًا. [ 45 ] حققت قصة الشعر نجاحًا جماهيريًا واسعًا، كما صرّح باوي نفسه عام 1993: "أصبحت [قصة زيغي] في عالم تصفيف الشعر في أوائل السبعينيات، بمثابة قصة ليدي دي في أوائل الثمانينيات. ولكن بجاذبية مضاعفة، لأنها كانت مناسبة لكلا الجنسين." [ 46 ]

ملابس

أزياء مسرحية لشخصية زيغي ستاردست من تصميم فريدي بوريتي عام 1972

كانت زيغي طويلة ونحيلة، وكانت ترتدي ملابس براقة، غالباً ما تكون ذات أرجل وأكتاف واسعة، وصدر مكشوف. [ 40 ]

On the cover of The Rise and Fall of Ziggy Stardust and the Spiders from Mars, Bowie appeared in a green suit of his own design, made by his tailor friend Freddie Burretti and seamstress Sue Frost. Produced in a geometric-patterned fabric, representing an integrated circuit, the bomber jacket and matching cuffed trousers were worn with knee-high, lace-up boots designed by Stan Miller. Similar outfits were made for Bowie's backing band the Spiders From Mars;[41] these costumes, worn in early live performances, were based on those sported by the Droogs in Stanley Kubrick's 1971 film A Clockwork Orange. Bowie explained, "I wanted to take the hardness and violence of those Clockwork Orange outfits—the trousers tucked into big boots and the codpiece things—and soften them up by using the most ridiculous fabrics. It was a Dada thing—this extreme ultraviolence in Liberty fabrics." In addition to his green suit, Bowie's costumes for early concerts were white satin trousers with a flock-patterned jacket, and a multi-coloured jumpsuit that he also wore on Top of the Pops.[47]

By August 1972, Bowie was introducing Kansai Yamamoto's designs as stage wear for the Ziggy character,[41] lent to him by Yamamoto's stylist friend, Yasuko Hayashi.[38][48] Bowie commissioned Yamamoto to design his 1973 U.K. tour costuming, and subsequently the U.S. tour costuming for the Aladdin Sane shows.[39] In total, seven costumes were designed for Ziggy Stardust by Yamamoto.[49] The collection he provided Bowie in April 1973 included a white robe with "David Bowie" written in Japanese, a silver leotard hung with a floor-length fringe of glass beads, a striped spandex bodystocking, and a multi-coloured kimono that could be torn away to reveal a red loincloth.[50] Many of Yamamoto's stage wear designs for Bowie were "tear-away" outfits, influenced by hikinuki, the method of changing costumes quickly in kabuki theatre.[39][48]

Makeup

Ziggy's makeup was partly inspired by techniques taught by kabuki actor Bandō Tamasaburō V (pictured: an example of kabuki makeup).

كانت بشرة الشخصية شاحبة، وصفها باوي بأنها "سمراء بيضاء كالثلج". [ 51 ] وبناءً على تعليمات ياماموتو لعارضيه، [ 41 ] حلق باوي حاجبيه في أواخر عام 1972، مما زاد من مظهر زيغي الغريب. [ 52 ] وعلى جبين زيغي كانت هناك "كرة نجمية" ذهبية اقترحها خبير التجميل بيير لاروش (الذي وضع أيضًا وميض البرق على وجه باوي لغلاف ألبوم علاء الدين سان ). [ 42 ] عندما وصلت جولة زيغي ستاردست إلى اليابان في أبريل 1973، التقى باوي بنجم مسرح الكابوكي باندو تاماسابورو الخامس ، الذي علّمه تقنيات المكياج اليابانية التقليدية. [ 50 ] في مقال نُشر في مجلة ميرابيل عام 1973 ، أوضح لاروش أن باوي اشترى معظم مستحضرات التجميل الخاصة به من متجر في روما، لكنه حصل على "مسحوق الأرز الأبيض" من "متجر مماثل لمتجر وولورث في طوكيو ". استخدم باوي "قاعدة ذهبية ألمانية على شكل كعكة" للكرة، وكان أحيانًا "يحدد تلك الدائرة الذهبية بأحجار الراين الذهبية الصغيرة، ويلصقها بغراء الرموش". [ 42 ]

مع نهاية فترة زيغي ستاردست عام 1973، كان باوي يقضي ساعتين على الأقل قبل كل حفلة موسيقية لوضع مكياجه. [ 42 ] ووفقًا لـ لاروش، فقد رسم باوي في حفلاته الأخيرة في إنجلترا خطوطًا صغيرة تشبه البرق على خده وفخذه. [ 53 ]

التأثير الثقافي

"لم أتفاجأ على الإطلاق بأن شخصية 'زيغي ستاردست' صنعت مسيرتي المهنية. لقد قدمتُ شخصية نجم روك بلاستيكي مقنع تماماً." [ 54 ]

— ديفيد باوي، في مقابلة مع مجلة رولينج ستون

عندما عاد ديفيد بوي إلى بريطانيا في مايو 1973 لإحياء الجولة الأخيرة من جولة زيغي ستاردست، عقب إصدار ألبوم علاء الدين سان ، كان قد أصبح أشهر نجم روك إنجليزي منذ فرقة البيتلز قبل نحو عقد من الزمن، [ 55 ] من حيث مبيعات الحفلات والألبومات. [ 56 ] [ 57 ] وقد شُبّهت ردود فعل الجماهير تجاه بوي خلال فترة زيغي ستاردست بهوس البيتلز ، [ 58 ] ووُصفت ذروة شهرة الشخصية بأنها "زيغي مانيا". [ 59 ] [ 2 ] وصفت مجلة رولينغ ستون زيغي ستاردست بأنه "نجم الروك الأمثل": "إنه شخصية جامحة ومحبة للمتعة  ... لكنه في جوهره ينشر السلام والمحبة". [ 2 ]

أثّر ديفيد بوي، بشخصية زيغي ستاردست، على موسيقى الغلام روك وموجة الموضة، [ 60 ] ليصبح أحد أكثر الصور شهرةً في تاريخ موسيقى الروك [ 61 ] وثقافة البوب. [ 62 ] وكتبت صحيفة واشنطن بوست : "لم يكن فقط المهندس الرئيسي لموسيقى الغلام، بل كان أجمل تجسيد لها." [ 61 ] ساهم زيغي ستاردست في نشر قصة الشعر "الموليت" في سبعينيات القرن الماضي، على الرغم من أن هذه التسريحة لم تكن تحمل اسمًا آنذاك. [ 63 ] مثّلت قصة "زيغي" "تغييرًا جذريًا في عالم العناية الشخصية" إذ خالفت الموضة السائدة آنذاك والمتمثلة في قصات الشعر الطويلة الطبيعية للرجال، كما أنها كانت مناسبة لكلا الجنسين. وكتبت مجلة GQ أن قصة "زيغي" "لا تزال واحدة من أكثر قصات الشعر جرأةً وأناقةً في التاريخ، بدءًا من شكلها المدبب من الأعلى وانتهاءً بقصة تشبه الموليت - ولكنها أكثر أناقةً بكثير." [ 45 ]

قال آندي ماكلوسكي، المغني الرئيسي لفرقة OMD، عن تأثير الشخصية على الجمهور البريطاني: "لقد رأينا موسيقى الغلام، لكن موسيقى الغلام البريطانية - مثل فرقتي سليد وسويت - كانت أشبه بعمال بناء يرتدون ملابس مرصعة بالترتر. وكان هناك ديفيد بوي بمظهره الذي يشبه سحلية ذات ملامح أنثوية وذكورية، وكان ذلك عامل إبهار حقيقي." [ 64 ]

التقاعد

By July 1973, Bowie had been touring as Ziggy for 18 months.[50] Due to the intense nature of his touring life, Bowie felt as though maintaining the Ziggy persona was affecting his own personality and sanity too much; acting the same role over an extended period, it became difficult for him to separate Ziggy Stardust from his own character offstage.[a] Bowie was also beginning to reach a point of creative boredom and felt that he could no longer perform Ziggy with the same enthusiasm.[b] There were also practical reasons behind his decision to retire the character: Bowie's record company RCA refused to finance a third large US tour due to Bowie's management overspending in excess of $300,000 during the 1972 and 1973 tours, as well as disappointing record sales in the US.[50]

Bowie retired Ziggy Stardust during a live concert on 3 July 1973, at London's Hammersmith Odeon in front of 3,500 fans. The concert featured an 18-song set, with Jeff Beck joining the band for a medley of "The Jean Genie" and The Beatles' "Love Me Do".[68] Just before the final song of the concert, "Rock 'n' Roll Suicide",[69] Bowie announced, "Of all the shows on this tour, this particular show will remain with us the longest, because not only is it the last show of the tour, but it's the last show that we'll ever do." The fans and press took this to mean that Bowie was retiring entirely, causing much media attention. However, it only referred to the Ziggy Stardust persona and the Spiders from Mars backing band.[68][70]

The final Ziggy concert was filmed by D. A. Pennebaker and released in 1979 as the documentary Ziggy Stardust and the Spiders from Mars[69] and the audio on the live album Ziggy Stardust: The Motion Picture (released in 1983).[71]

Legacy

The plaque on Heddon Street marking Bowie's album cover shoot

Ziggy Stardust is widely considered Bowie's greatest creation.[61][72]

In 2012, a plaque was unveiled by the Crown Estate at the site at which the iconic Ziggy Stardust album cover photograph was taken by Brian Ward on Heddon Street, London.[73] The unveiling was attended by original Spiders from Mars band members Woody Woodmansey and Trevor Bolder, and was unveiled by Gary Kemp.[74] The plaque was the first to be installed by the Crown Estate and is one of the few plaques in the country devoted to fictional characters.[73] In 2018, a statue depicting a mature Bowie looking at his younger self as Ziggy Stardust was unveiled in Aylesbury, the town where Bowie debuted the character in 1972.[75][76] The statue stands in Aylesbury's Market Square,[76] which Bowie referenced in "Five Years", the opening song of The Rise and Fall of Ziggy Stardust and The Spiders from Mars album.[77]

In 2015, the African butterfly species Bicyclus sigiussidorum was named after the character due to its "glammy" appearance.[78] (Sigiussidorum is a Latin rendering of "Ziggy Stardust".)[79]

Music

Film and television

  • Fictional pop star Brian Slade and his space-age alter ego Maxwell Demon in the 1998 film Velvet Goldmine were based on Bowie in his Ziggy Stardust period,[82]. However, Bowie would dissociate himself from the film.[83]
  • In the 1999 comedy special Golden Years, Ricky Gervais plays a Bowie impersonator named Clive Meadows who arrives at a business meeting as Ziggy Stardust.[84]
  • In the sixth episode of the 2007 sitcom Flight of the Conchords, the character Brett (Bret McKenzie) is visited by a dream version of Ziggy Stardust, among several other of Bowie's personas.[85]
  • The character of "Ziggy Stardust" in full costume appears in Zack Snyder's Watchmen.[86]
  • "Artie" (played by John McCrea) in the 2021 film Cruella was inspired by the character.[87]
  • In season 2 episode 4 of Big Little Lies, the character of Ziggy dresses up as Ziggy Stardust. Ziggy Stardust is also mentioned by name in the season 1 premiere.[88][89]

See also

Notes

  1. ↑Bowie: "It was quite easy to become obsessed night and day with the character. I became Ziggy Stardust. David Bowie went totally out the window. Everybody was convincing me that I was a messiah ... I got hopelessly lost in the fantasy."[65] "My whole personality was affected ... I thought I might as well take Ziggy to interviews as well. Why leave him on stage? Looking back it was very absurd. It became very dangerous. I really did have doubts about my sanity."[26][66]
  2. ↑Bowie: "I had an awful lot of fun doing [Ziggy] ... but my performance on stage reached a peak. I felt I couldn't go on stage in the same context again ... if I'm tired with what I'm doing wouldn't it be long before the audience realised."[67]

References

  1. 12Taylor, Trey (2017-11-20). "See Terry O'Neill's rare images of David Bowie's last show as Ziggy Stardust". Interview Magazine. Retrieved 2024-02-20.
  2. 123Light, Alan (2016). "'Ziggy Stardust': How Bowie Created the Alter Ego That Changed Rock". Rolling Stone. Archived from the original on 24 May 2021. Retrieved 29 May 2020.
  3. ↑Dee, Johnny (7 January 2012). "David Bowie: Infomania". The Guardian. Archived from the original on 8 January 2014. Retrieved 3 February 2020.
  4. 12Morse (1998), p. 100
  5. 123Copetas, Craig (28 February 1974). "Beat Godfather Meets Glitter Mainman: William Burroughs Interviews David Bowie". Rolling Stone. Archived from the original on 25 December 2019. Retrieved 19 April 2020.
  6. ↑Archived from "Frequently Asked Questions". The Ziggy Stardust Companion. 2007. Archived from the original on 25 October 2010. Retrieved 29 May 2009.
  7. 12David Bowie Explains Ziggy Stardust(YouTube). CBC News: The National. 12 January 2016.
  8. ↑Pegg (2016), p. 327
  9. ↑Doggett (2012), p. 121
  10. ↑Luckman (2010), p. 83
  11. ↑Pegg (2016), p. 275
  12. ↑Buckley (2005), p. 157
  13. ↑Sandford (1997), pp. 108
  14. ↑"BBC Radio 4 Programmes – Ziggy Stardust Came from Isleworth". BBC. Archived from the original on 30 September 2010. Retrieved 5 November 2010.
  15. ↑ "المسيح الأبرص: فينس تايلور" . الموقع الرسمي لديفيد باوي. مؤرشف من الأصل بتاريخ 27 يوليو 2011. تم الاطلاع عليه بتاريخ 5 نوفمبر 2010 .
  16. ↑ بيج (2016) ، ص 573 
  17. ↑ ماهوني، إليزابيث (20 أغسطس 2010). "زيغي ستاردست جاء من آيلزوورث - مراجعة" . صحيفة الغارديان . لندن. مؤرشف من الأصل في 16 يناير 2014. تم الاطلاع عليه في 5 نوفمبر 2010 .
  18. ↑ بيج (2016) ، "تمسك بنفسك" في الفصل. الأغاني من الألف إلى الياء .
  19. ↑ "فينسنت، جين" . موسوعة.كوم . تم الاطلاع عليه بتاريخ 29-10-2020 .
  20. ↑ ساندفورد (1997) ، الصفحات 73-74 
  21. ↑ بيج (2016) ، ص 619 
  22. ↑ ساندفورد 1997 ، ص 73-74.
  23. 1 2 كيري أوبراين (16 فبراير 2004). "ديفيد باوي يتحدث عن مسيرته الفنية". برنامج "تقرير الساعة 7:30 " . تلفزيون ABC .
  24. ↑ فيرا كفال (1990). "ديفيد باوي - من وجهة نظره" . من وجهة نظرك . هيئة الإذاعة النرويجية (NRK ).
  25. ↑ ديفيد باوي يتحدث عن السريالية والأحلام والتمثيل: مقابلة كاملة مع إم تي في عام 1987 (يوتيوب) . أخبار إم تي في . 11 يناير 2017.
  26. 1 2 جونز، آلان (29 أكتوبر 1977). "وداعًا لزيغي وكل ذلك" . ميلودي ميكر . تم الاسترجاع في 13 سبتمبر 2020 - عبر سنوات باوي الذهبية.
  27. ↑ "ديفيد باوي يتحدث عن سنوات زيغي ستاردست: 'كنا نصنع القرن الحادي والعشرين في عام 1971'"" . NPR . 19 سبتمبر 2003. مؤرشف من الأصل في 20 يوليو 2017. تم الاطلاع عليه في 21 مايو 2018 .
  28. ↑ ماكلويد، كين. "غرائب ​​الفضاء: الكائنات الفضائية، والمستقبلية، والمعنى في الموسيقى الشعبية". الموسيقى الشعبية . المجلد 22. JSTOR 3877579 .  
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  42. 1234Harris (2010), pp. 194-195
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