Images from the Internet
The Sacred Triangle: Bowie, Iggy & Lou, 1971-1973
Directed by Alec Lindsell
Narrated by Thomas Arnold
Sexy Intellectual, 2010
107 minutes, USD $19.95
Chromedreams.co.uk
MVDvisual.com
Let’s get right down to it:
This is a British documentary, so you know which one of the three is getting the main focus. Okay, picture two pyramids next to each other. The one on the left is Lou Reed and the one on the right is Iggy. Balancing between them is a line connecting the two (that is Marc Bolan, mentioned often but not in detail). And finally there is the third pyramid of the “sacred” triangle, David Bowie, on top of it all. That is the vision presented here. Okay, I’m done. Naw, not really, as this is still an interesting – albeit somewhat skewed – vision of the three.
Let me quickly add here that I am totally impressed by the choice of interviews that have been selected for this doc, which is so much better than the Pearl Jam one in this series. But more on the talking heads later.
There’s no doubt that Bowie was influenced by Lou Reed and the Velvet Underground, but that’s nothing new. Just listen to David Jones’ singing style around the Ziggy Stardust period, and it’s easy to see the progression from his earlier works. Personally, I’d rather listen to Reed’s take, but that’s just me, walkin’ on the wild side on a Sunday morning when comes the dawning.
There’s plenty of clips here of the Velvets; well, as much as there really is, which is limited, and taken by the Warhol crowd “artfully” (i.e., in fast speed) while in Exploding Plastic Inevitable mode (Gerard and his whip dance is often present). Bowie was still in folkie / cutsie mode when he first heard “Waitin’ for My Man,” and (rightfully) became a huge VU fan. An example given here is his “Toy Soldier,” which is such a – er – homage to “Venus in Furs,” it even quotes it in a few place, such as the line “bleed for me.” The video for the song has someone dancing with whips. And on “Black County Rock,” as explained in this doc, Bowie even imitates Bolan. MainMan publicist and photographer Leee Black Childers, who would later manage Iggy and then the Heartbreakers, states here that Bowie’s true talent is to know what to steal. In fact he said this and many of other the other bon mots he posits in a FFanzeen interview conducted by our own Nancy Foster (aka Nancy Neon) back in 1982 (reprinted here: ffanzeen.blogspot.com/2010/02/portrait-leee-black-childers.html).
Andy Warhol is shown as possibly as big an influence as the VU, and to talk about the theatrics of the Factory and its influence on Bowie are the likes of the very wound up VU biographer Victor Bockris, the fabulous aforementioned Childers (who used to have one of the coolest motorcycle jackets ever, with an image of Gene Vincent painted on its back), the equally extraordinary Jayne County, smartly dressed in bright red Little Red Riding Hood mode (she even matches the couch!), 16 Magazine publisher (early on) and Ramones manager Danny Fields, and the Psychotic Frog himself (who was also one of Andy’s superstars), Jimi LaLumia. They paint a vivid picture of Lou and Andy’s influence on not only Bowie, but music in general. But Bowie is the main focus here, and in this case almost rightfully so, as Lee, Jayne, and Jimi were all hired by the Bow-ster to work with Tony DeFries and help run his production company, MainMan. One person seriously missing from the interview call list, though, is Cherry Vanilla, which is a serious deficit.
But the person of interest for me here, interview wise, is definitely Angela Bowie. A while back I found her kind of abrasive, but I must say that my opinion has totally changed, and I now I can see her as incredibly refreshing. She holds nothing back, and will tell the most intimate details at top volume. My apologies to you, for any negative thoughts I may have had in the past. But I digress…
Other interviewees include writers Paul Tryoka and Dave Thompson, and musician John Harlsen, who was a drummer on the Bowie-produced Lou Reed first popular solo effort, Transformer (as well as being Barry Womble, of the Rutles), which included his hits “Satellite of Love” and “Walk on the Wild Side.” They all paint a very detailed portrait of Bowie, and what effect Reed and Iggy had on him, and how Bowie had affected them. Also included are some short interviews (more likely called clips) with the key artists involved, such as Bowie (from 2001 and 2007), Lou Reed (1986), Iggy (1988), and just as importantly, Mick Ronson (looking extremely frail shortly before his death in 1993). There would arguably be no Bowie to the scale he achieved without Ronson as a musical driving force (rather than an influence, like Reed and Pop), I’m convinced.
Possibly one of Warhol’s biggest influences (and he really is as big as either Lou or Iggy in the David Jones pantheon) is the idea that “You’re a Star!” and if you act like it, people will come to believe and expect it. Even before the money, there was the wardrobe, the limos, the expense accounts, and all the trappings. LaLumia states it quite well when he relates that Bowie claimed that “I’m an actor. I’m not a musician. I’m portraying a rock star.” I can’t argue with that, as I’ve always found that Lou Reed was true to what he believed, as was Iggy totally committed to what he was doing, but Bowie was posing, rather than being. Perhaps that’s why I’ve never found him to be someone I’ve looked up to musically, especially in the reality of the punk days of the Ramones and the ilk.
While Iggy’s role in the Bowie history (and vice-versa) is more commonly known, there is much less about Iggy here than either Reed or especially Warhol. Bowie famously helped Pop both get off drugs and revive his career. For me, Bowie major force was in the studio as a producer, more than a vocalist, or especially as an innovator, as he was a series of influences creatively recast. Angela probably had as much to do with Bowie’s success as did David or Ronson – or even DeFries. And I won’t even detail Cherry Vanilla’s outreach program.
The added feature to the DVD is a seven-minute documentary called “The Nico Connection,” which shows how she had touched the lives of all three musicians that are the focus of the main feature. There is a bio for each of the contributors, and it put a smile on my face to see my pals the She Wolves given a shout out by Jayne County, as they’ve worked together over the past few years.
As a last note, I would like to add that after viewing this DVD, check out The Velvet Goldmine, which will then make so much more sense.
Bonus video
