Utente:Michele859/Sandbox12: differenze tra le versioni

Versione delle 17:06, 26 apr 2009

Versione delle 18:40, 26 apr 2009

Riga 11:

*The Astronettes (Geoffrey MacCormack, Jason Guess, Ava Cherry) - [[canto|cori]]

==Crediti==

*Stan Harris - Produttore

*Rocco Urbisci: - creative consultant

*Jaques Andre: - associate producer

*Matt Mattox: - choreography

*Freddi Burretti: - costumes

*Barbara Daley: - make-up

*Natasha Korniloff: - Amanda Lear's costume in "Sorrow"

*Billy The Kid: - Hair

*George Underwood: - Graphics

*Ken Scott & Ground Control (Robin Mayhew): - Sound Mix

==Lo show==

*'''Tutto da 5years'''

Producer & director: Stan Harris

Rocco Urbisci: creative consultant

Jaques Andre: associate producer

Matt Mattox: choreography

Freddi Burretti: costumes

Barbara Daley: make-up

Natasha Korniloff: Amanda Lear's costume in "Sorrow"

Billy The Kid: Hair

George Underwood: Graphics

Ken Scott & Ground Control (Robin Mayhew): Sound Mix

Il titolo dello show è un gioco di parole riferito alla canzone ''1984'' (Nineteen Eighty Four/ Nineteen Eighty Floor). Rappresenta la prima apparizione dal vivo di David Bowie dall'ultimo concerto di Ziggy Stardust del [[3 luglio]] [[1973]] all'Hammersmith Odeon, ed è considerata anche l'ultima apparizione in assoluto di Ziggy Stardust.

L'idea venne a Bowie quando venne contattato da Burt Sugarman per creare qualcosa per The Midnight Special, programma settimanale che dall'inizio dell'anno proponeva speciali sul rock. L'idea di Bowie era quella di uno spettacolo molto teatrale in cui lui stesso e altri gruppi rock degli anni sessanta si esibivano in un contesto futuristico, forse riprendendo le sue idee sullo spettacolo di cabaret che aveva programmato anni prima. Michael Lipman, avvocato di Los Angeles specializzato nell'industria musicale, si occupò del contratto che dava a Bowie la completa autonomia artistica. Quando il progetto divenne di pubblico dominio, i giornali britannici scrissero che gli americani si erano assicurati il "colpo pop dell'anno" e lamentarono il fatto che l'evento non sarebbe stato trasmesso nel Regno Unito. In effetti l'unico spezzone venne trasmesso a Top of the Pops mentre l'intero show non ha mai avuto altre distribuzioni televisive e non è mai stato reso disponibile per l'home video.

Il primo giorno fu dedicato alle riprese in studio, mentre quelle al Marquee vennero effettuate il 19 e 20 ottobre. Bowie scelse personalmente le scenografie, dopo aver preso in considerazione la possibilità di un concerto a più larga scala (idea rifiutata dalla NBC perchè troppo costosa).

Come ha dichiarato Bowie, «C'erano molti club disponibili a Soho negli anni sessanta ma il Marquee era in cima alla lista, perchè i musicisti bazzicavano quella zona, facendo finta di parlare d'affari e di recuperare ingaggi, ma più che altro recuperavano le ragazze». Ancora, «La mia ultima performance come Ziggy Stardust è stata al Marquee. Volevo tornarci perché c'erano molti bei ricordi che mi legavano al club. Ho vestito Marianne Faithfull da suora, con il vestito aperto dietro, ed io ero vestito come l'Angelo della Morte!»

L'ingresso allo show era solo su invito e il pubblico comprendeva 200 membri del neoformato International David Bowie Fan Club, personalità del mondo del rock e una rappresentanza selezionata della stampa musicale. Tra i presenti c'erano la moglie di Bowie, Angela e suo figlio Zowie, Tony Visconti, Mary Hopkins, Lionel Bart, Dana Gillespie, Long John Baldry e Wayne County.

TheAllo show alsoparteciparono featuredanche Marianne Faithfull, The Troggs anded aun Spanishgruppo vocalvocale groupspagnolo calledchiamato Carmen. ThisPer wasl'ultima to be the last time thatvolta, Mick Ronson ande Trevor Bolder playedsuonano withcon Bowie ascome Spiders from Mars.

La performance di Bowie di sabato 19 ottobre andò avanti per 10 ore, visto che ogni canzone venne eseguita e filmata ripetutamente. Date le dimensioni ridotte del Marquee, era possibile usare solo due telecamere per cui ogni canzone venne girata, almeno cinque o sei volte, per permettere il posizionamento delle telecamere. Il risultato, secondo il giudizio dello stesso Bowie, fu "girato pessimamente". I fan, naturalmente, erano entusiasti della possibilità di vedere il loro idolo esibirsi per così tanto tempo.

Oltre al materiale di Ziggy Stardust, lo show fu l'occasione per ascoltare in anteprima alcune tracce di Pinups e Diamond Ddogs. Time è stata inserita in RarestOneBowie del [[1995]].

==Scaletta==

"There were a lot of clubs to go to in the Soho scene in the 60's but The Marquee was top of the list, because musicians did hang out there, pretending to talk business and picking up gigs - but picking up girls mostly. One of my keenest memories of The Marquee in the '60's was having a permanent erection because there were so many fantastic looking girls in there, it was all tourists, especially in summer, all flocking to London to get an R&B star. My final performance of Ziggy Stardust was at The Marquee. I wanted to go back there because I had so many good memories over the years. We changed the place completely and for 3 days we filmed what became 'The 1980 Floor Show'. I had The Troggs on with me and then got Marianne Faithfull to duet with me on a version of Sonny & Cher's 'I Got You Babe'. I dressed Marianne in a nun's habit with the back cut out and I dressed as the Angel of Death!" - Bowie

*''[[1984]]''/''[[Dodo]]''

*''[[Sorrow]]''

The Marquee Club itself was a famous London performance venue where Bowie had watched many R & B giants of the 1960s perform and had himself played in the 1960s as a support act. It quickly outgrew its first ___location, on Oxford Street, and moved to 90 Wardour Street in 1964, where the Rolling Stones, Yardbirds, The Who, Small Faces, Spencer Davis Group and every other important band was showcased, along with Jimi Hendrix, the Byrds, the Lovin' Spoonful and other visiting American bands. It no longer exists today, having been demolished. While illustrious as a venue, the Marquee in 1973 was small, cramped and shabby and this necessitated a number of enforced changes for the benefit of television. Much to the horror of the Marquee staff and club owner Jack Barrie, the stage and back-drop were completely rebuilt and the walls and ceilings repainted black

*''Bulerias'' (Carmen)

*''[[Everything's Alright (Bowie)]]''

Admission to the show was by invitation only and those who attended included 200 democratically selected (by ballot) members of the newly formed International David Bowie Fan Club, rock luminaries, staff and patrons of The Marquee and selected musical press - all keen on seeing Ziggy rise from the grave to perform one last time. Included in this exclusive audience were Angie and Zowie, Tony Visconti and Mary Hopkins, Lionel Bart, Dana Gillespie, Long John Baldry and Wayne County.

*''[[Space Oddity (Bowie)]]''

*''[[I Can't Explain (Bowie)]]''

The show also featured Marianne Faithfull, The Troggs and a Spanish vocal group called Carmen. This was to be the last time that Mick Ronson and Trevor Bolder played with Bowie as Spiders.

*''[[As Tears Go By]]'' (Marianne Faithfull)

*''[[Time]]''

Bowie's performance on Saturday the 19th October, went on for 10 hours as each song was performed and filmed over and over. Because of the small size of the Marquee, only two cameras were able to film and so each song was shot, as many as five to six times, to allow for camera re-positioning and the overall satisfaction of Bowie and the film crew. The whole thing was, according to Bowie later, "shot abysmally." The fans, of course, loved the fact that they got to see their hero perform many times over. During the intervals between takes, and despite having just recovered from a recent bout of influenza, Bowie laughed and joked with the audience and signed autographs.

*''[[Wild Thing]]'' (The Troggs)

*''[[The Jean Genie]]'' (Bowie)

As well as featuring popular Ziggy material, the show was used to preview PINUPS (1973) and upcoming DIAMOND DOGS (1974) material; namely "1984".

*''[[Rock n Roll Suicide]]'' (Bowie) - notnon broadcasttrasmessa

*''[[20th Century Blues]]'' (Marianne Faithfull)

The songs performed were:

*''[[I Got You Babe]]'' (Bowie/Marianne Faithfull)

1984/Dodo (Bowie)

Sorrow (Bowie)

Bulerias (Carmen)

Everything's Alright (Bowie)

Space Oddity (Bowie)

I Can't Explain (Bowie)

As Tears Go By (Marianne Faithfull)

Time (Bowie) - Included on RARESTONEBOWIE (1995)

Wild Thing (The Troggs)

The Jean Genie (Bowie)

Rock n Roll Suicide (Bowie) - not broadcast

20th Century Blues (Marianne Faithfull)

I Got You Babe (Bowie/Marianne Faithfull)

Prior to the filming of the very first number, Bowie strode on stage, beamed at the audience and said in a broad South London accent "And what have you lot been up to?" and told them that he was "out of condition".

The first song to be filmed was "Everything's Alright" from the Pinups (1973) album. Bowies costume for this number was bright yellow trousers, a purple satin top, black leather jacket and high-heeled boots. All of the costumes for the show were designed by Bowie and old friend Freddie Burretti.

Mick Ronson's costume for the show was an all white satin jump-suit. Ronson led the band of Trevor Bolder, Aynsley Dunbar, Mike Garson and Mark Carr Prichard (introduced by Bowie as "Mark Two Rivers, a Mohician from Peage"!). Interestingly, Aynsley Dunbar, the drummer, was originally from The Mojos who had written "Everything's Alright" in the 1960s. A smiling Bowie ended each song with an affectionate pat on Ronson's back. This was to be the last time that Bowie and Ronson were to be on the same stage until they were reunited in Canada in 1983 during the Serious Moonlight Tour.

La prima canzone ad essere filmata fu ''Everything's Alright'', dall'album Pinups. Bowie indossava dei vivaci pantaloni gialli, un top di satin viola, giacca di pelle nera e stivali coi tacchi alti. Tutti i costumi dello show erano creati da Bowie e Freddie Burretti.

The Astronettes (not to be confused with the same named dancers at the Rainbow Concert) were Bowie's backing vocals and dance group for the show and consisted of Geoffrey MacCormack, Jason Guess & Ava Cherry.

Il costume di Mick Ronson era una tuta jumpsuit bianca. Mark Carr Prichard venne presentato da Bowie come "Mark Due Fiumi, un Mohicano di Peage". Curiosamente, il batterista Aynsley Dunbar aveva suonato con The Mojos, che scrissero ''Everything's Alright'' negli anni sessanta. Bowie e Ronson suonano per l'ultima volta dal vivo insieme da qui fino alla reunion in Canada nel 1983, durante il Serious Moonlight Tour.

Le Astronettes (da non confondersi con i ballerini del Rainbow Concert con lo stesso nome), coristi e ballerini di Bowie, erano Geoffrey MacCormack, Jason Guess e Ava Cherry.

ForPer "''The Jean Genie" - Bowie's fish net and', goldil hands-costume wasdi alteredBowie twiceera byfatto thecon filmuna crew.rete da Firstpesca ae goldvenne dummyaggiustato handdue withvolte blackdal varnishedpersonale. nailsPrima whichvennero coveredrimosse hisdue privatemani partsfinte wascon removed,unghie asnere wasche a revealing black jockstrap and wereerano coveredstate withapplicate a goldcoprire briefsi andcapezzoli, armcosì slipcome (asun above)sospensorio. The NBC were concerned that the suggestively placed dummy hand would be too shocking for American audiences. The film crew were subsequently instructed to film above Bowie's waist for that number. Other censorship for US TV occurred later when words such as "screw" and "goddam" were edited from the soundtrack.

"I did one particular song, can't remember what it was now but I had a strange kind of string knitted costume made with three hands on. Two of them on my chest, looking like I was being gripped from the back...And a third one on my crotch. I nearly started a riot with the Americans. They said: "Oh we can't show that, that's subversive." We went through hell, so I had to take the hand of my crotch. And then of course they didn't like the black pouch piece that was down there, that the hand was stitched to...so I had to change all that. So, like the 'Diamond Dogs' thing that they airbrushed the dick off, I was having more erasure problems. It followed me all through the Seventies.* It's funny that I can remember the costume and not the song, totally indicative of what the time was like." - Bowie (2002)