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Grapheme created by David Bowie in 1971

Ziggy Stardust
David-Bowie Early.jpg

David Bowie performing as Ziggy Stardust at Newcastle City Hall in 1972.
Showtime appearance 1972
Last advent 3 July 1973
Created by David Bowie
Portrayed by David Bowie
In-universe information
Species Alien
Gender Male
Occupation Rock star

Ziggy Stardust is a fictional graphic symbol created by English musician David Bowie, and was Bowie's phase persona during 1972 and 1973. The eponymous character of the vocal "Ziggy Stardust" and its parent album The Rising and Fall of Ziggy Stardust and the Spiders from Mars (1972), Ziggy Stardust was retained for Bowie's subsequent concert bout through the United kingdom of great britain and northern ireland, Japan and North America, during which Bowie performed every bit the character backed by his band The Spiders from Mars. Bowie connected the character in his next anthology Aladdin Sane (1973), which he described every bit "Ziggy goes to America". Bowie retired the character on 3 July 1973 at a concert at the Hammersmith Odeon in London, which was filmed and released on the documentary Ziggy Stardust and the Spiders from Mars.

As conveyed in the title vocal 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-peak, sexually liberated rock star and serve as a commentary on a society in which celebrities are worshipped. Influences for the grapheme included English singer Vince Taylor, Texan musician the Legendary Stardust Cowboy, and Japanese kabuki theatre.

Ziggy Stardust's exuberant fashion fabricated 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 grapheme and its iconic await flung Bowie into international superstardom. Rolling Stone wrote that Bowie's Ziggy Stardust was "the change ego that changed music forever and sent his career into orbit".[1]

Ziggy Stardust's look and bulletin of youth liberation are now representative of one of Bowie'southward most memorable eras. The Rising and Fall of Ziggy Stardust and the Spiders from Mars became Bowie'south 2d most popular album in terms of tape sales.[2]

Advent [edit]

A sequinned one-piece, one of the costumes designed by Kansai Yamamoto for Ziggy Stardust.[iii] [4]

Pilus [edit]

As Ziggy Stardust, Bowie had a brilliant carmine mullet.[v] The hairstyle was inspired by that of a model for Japanese designer Kansai Yamamoto that Bowie had seen in Dearest magazine,[6] and modelled on three different images from Faddy—a French issue inspired the front of the haircut, while the sides and back came from ii dissimilar German copies.[7] Bowie's mullet was cut and dyed by hairdresser Suzi Fussey, who accompanied the Ziggy Stardust bout until 1973.[8] Fussey initially cutting Bowie's hair in the style in January 1972,[nine] and after experimenting with colour treatments on samples of Bowie'south hair, dyed it a flaming red color;[eight] Bowie recalled the dye color was "Schwartzkopf reddish".[nine] The dye contained 30 volume peroxide which gave Bowie's hair some elevator, simply Fussey and then used an anti-dandruff treatment called Gard to help stiffen it and brand information technology stand up upright.[10] The haircut achieved widespread mainstream success in popular fashion, every bit Bowie himself stated in 1993, "[The Ziggy cut] became to hairdressing in the early seventies, what the Lady Di cut was for the early eighties. Only with double the appeal, because it worked for both sexes."[11]

Clothing [edit]

Stage outfits for Ziggy Stardust designed past Freddie Burretti in 1972.

Long and slender, Ziggy was dressed in glamorous outfits frequently with flared legs and shoulders, and an open chest.[5]

On the cover of The Rise and Fall of Ziggy Stardust and the Spiders from Mars, Bowie appeared a green suit of his ain design, made past 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 articulatio genus-loftier, lace-upwardly boots designed past Stan Miller. Similar outfits were made for Bowie's backing band The Spiders From Mars;[6] these costumes worn in early live performances were based on those sported by the Droogs in Stanley Kubrick's 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 upwards past using the about ridiculous fabrics. It was a Dada thing—this farthermost ultraviolence in Freedom fabrics." In addition to his green accommodate, 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.[12]

By August 1972, Bowie was introducing Kansai Yamamoto'southward designs as stage habiliment for the Ziggy grapheme,[6] lent to him by Yamamoto's stylist friend, Yasuko Hayashi.[iii] [thirteen] Bowie commissioned Yamamoto to design his 1973 U.Grand. tour costuming, and later the U.S. tour costuming for the Aladdin Sane shows.[4] In full, vii costumes were designed for Ziggy Stardust by Yamamoto.[14] 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.[xv] Many of Yamamoto's stage clothing designs for Bowie were "tear-away" outfits, influenced by hikinuki, the method of changing costumes quickly in kabuki theatre.[four] [13]

Makeup [edit]

An example of traditional Japanese kabuki makeup

The character had pale skin, described past Bowie equally a "snowfall-white tan".[16] Post-obit the didactics Yamamoto gave to his models,[half dozen] Bowie shaved off his eyebrows in late 1972, adding to Ziggy's conflicting visage.[17] On Ziggy's forehead was a gold "astral sphere" suggested by make-up creative person Pierre La Roche (who also practical the lightning flash to Bowie'due south face for the encompass of Aladdin Sane).[7] When the Ziggy Stardust tour came to Nihon in April 1973, Bowie met the kabuki theatre star Bando Tamasaburo, who taught him most traditional Japanese makeup techniques.[xv] In a 1973 Mirabelle magazine article, La Roche explained that Bowie bought most of his make-up from a shop in Rome but acquired his "white rice powder" from "Tokyo'due south Woolworth's equivalent". Bowie used a "High german gold base in cake class" for the sphere, and would occasionally "outline that gold circle with tiny gold rhinestones, stuck on with eyelash glue".[seven]

By the end of the Ziggy Stardust period in 1973, Bowie would spend at to the lowest degree two hours earlier each concert to have his makeup washed.[7] According to La Roche, for his last few English concerts, Bowie painted tiny lightning streaks on his cheek and upper leg.[eighteen]

Origins [edit]

The character was inspired by English rock 'north' roll singer Vince Taylor, whom Bowie met afterward Taylor had a breakup and believed himself to be a cross between a god and an conflicting.[xix] [20] Bowie's lyrical allusions to Taylor include identifying Ziggy equally a "leper messiah".[21] Taylor was only part of the grapheme's design.[22] 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 idea, great theatrical result. This rock stance became position number one for the embryonic Ziggy."[23] [24]

Bowie biographers as well 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.[25] [26] A girlfriend recalled his "scrawling notes on a cocktail napkin most a crazy stone star named Iggy or Ziggy", and on his return to England he alleged his intention to create a character "who looks like he's landed from Mars".[27]

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 – like my references were Velvet Hugger-mugger, whatever ... It was a British view of American street energy."[28] Bowie stated that Ziggy is meant to be an alien of some kind,[29] perchance a Martian,[30] and was based "very much on a Japanese concept". The grapheme'southward Japanese influences provided a homo connection, Bowie explained, as in United kingdom during the early 1970s Japan "all the same seemed similar an conflicting society, but it was a human alien social club."[29] Bowie besides stated that Ziggy Stardust was a product of his career-long appetite to combine rock music and theatre,[31] [32] and that at the time of creating the character he had viewed Ziggy as "a very positive creative statement ... a grand kitsch painting. The whole guy."[33]

Bowie asserted elsewhere that Ziggy Stardust was built-in out of a desire to move away from the denim and hippies of the 1960s.[34] Forth 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 stone world of the time.[35] Bowie had previously created artificial stage personas in 1970 with his bankroll ring Hype. Over a modest series of shows which, while poorly received at the time, are now credited as the origin of glam rock,[36] the ring performed in flamboyant costumes, each with an accompanying persona of a spoof superhero. Bowie, dressed in a blueish cape, lurex tights, thigh boots and a leotard with colourful scarves sewn onto his shirt, was "Rainbowman".[36] [37] Describing his costume as "very spacey", he later explained that his thought for the outfits was to counter the pop image of rock acts at the time, which was "all jeans and long hair".[37] The concept behind Rainbowman was recycled and reinvented every bit Ziggy Stardust.[38]

Proper name [edit]

Bowie's friend and collaborator Iggy Pop in concert in 1973

Bowie told Rolling Stone that the proper name "Ziggy" was "one of the few Christian names [he] could find commencement with the alphabetic character 'Z'".[39] He subsequently explained in a 1990 interview for Q mag that the Ziggy function came from a tailor'south shop called Ziggy's that he passed on a railroad train, and he liked it because information technology had "that Iggy [Pop] connotation just it was a tailor's shop, and I thought, Well, this whole matter is gonna be well-nigh clothes, and so it was my own little joke calling him Ziggy. So Ziggy Stardust was a existent compilation of things."[40] [41] "Stardust" came from the Legendary Stardust Cowboy, the phase name of vocalist Norman Carl Odam,[twoscore] [42] whose music intrigued Bowie.[43] [44]

Fictional narrative [edit]

"'Ziggy' was my Martian messiah who twanged a guitar. He was a simplistic grapheme. I saw him equally very elementary ... fairly similar the character Newton I was to exercise in the movie [The Homo Who Savage to Earth] subsequently. Someone who dropped downward hither, got brought downwardly to our manner of thinking, and ended up destroying his own self. Which is a pretty archetype story line."

— Bowie on the graphic symbol.[30]

The character of Ziggy Stardust was conceived every bit an alien rock star who arrives on an Earth that is dying due to a lack of natural resources. Around the world older people take lost touch with reality, while children have adopted a hedonistic way of life and no longer desire stone music, as there is no electricity to play information technology. Ziggy is advised in a dream by the infinites ("black-hole jumpers") to write about the coming of a starman who will relieve 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 every bit a prophet. According to Bowie, "He takes himself upwards to incredible spiritual heights and is kept alive past his disciples." The infinites somewhen make it, and tear Ziggy autonomously onstage.[45]

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'south writings every bit plans for a never-realised theatrical performance of the narrative.[46] Various songs on the album are written from the viewpoints of different characters.[28] On the album, the Ziggy Stardust character is introduced straight on the 3rd track, "Moonage Daydream".[47] However, the song "Ziggy Stardust" is the fundamental piece of the narrative of the album, presenting a complete "birth-to-expiry chronology" of the character.[48] "Starman" is Ziggy'southward song prophesizing of the coming starman who volition save the earth.[45] According to author Michael Luckman, the vocal "Lady Stardust" presents Ziggy meeting his disciples, playing before a oversupply of worshippers, followed past "Star", in which he "reveal[s] his plan for intergalactic superstardom".[49] Ziggy is torn autonomously onstage during the song "Stone 'northward' Roll Suicide".[45]

The graphic symbol was revisited by Bowie in his adjacent anthology Aladdin Sane (1973), which topped the UK chart, and was his start number-one anthology. Described by Bowie equally "Ziggy goes to America", it contained songs he wrote while travelling to and across the US during the earlier office of the Ziggy Stardust Tour.[50] [51]

Cultural impact [edit]

"I wasn't at all surprised 'Ziggy Stardust' fabricated my career. I packaged a totally apparent plastic rock star."[52]

– David Bowie, in an interview with Rolling Stone

The character received success effectually the earth. By the time Bowie returned to Britain for the final leg of the Ziggy Stardust tour in May 1973 following the release of Aladdin Sane, he had become the biggest English rock star since The Beatles almost a decade before,[53] in terms of concert and record sales.[54] [55] Crowd reactions to Bowie during the Ziggy Stardust menstruum have been likened to Beatlemania,[56] and the character'southward distinction equally the height of his popularity dubbed "Ziggymania".[57] [1] Rolling Stone described Ziggy Stardust every bit "the ultimate stone star": "He's a wild, hedonistic figure ... but at his core communicates peace and beloved".[1]

Influencing the glam rock genre and manner wave,[58] Bowie as Ziggy Stardust became one of the most iconic images of rock history[59] and pop culture.[60] The Washington Mail service wrote, "He was non only glam's principal architect, he was its most beautiful specimen."[59] Ziggy Stardust helped to popularise the mullet in the 1970s, though the hairstyle was withal without a name at the fourth dimension.[61] The "Ziggy" cutting marked an "era-defining grooming change" equally it went confronting the typical manner of natural, long haircuts for men at the time and was likewise suited to either sexual activity. GQ wrote that the "Ziggy" cut "remains 1 of the boldest and most fashionable haircuts in history, from the way information technology spiked upwards on top and swooped downwards to a sort of mullet – but way cooler than a mullet – finish."[x]

Retirement [edit]

Past July 1973, Bowie had been touring as Ziggy for eighteen months.[15] Due to the intense nature of his touring life, Bowie felt as though maintaining the Ziggy persona was affecting his ain personality and sanity too much; acting the same role over an extended period, it became hard for him to separate Ziggy Stardust from his ain character offstage.[a] Bowie was likewise first to reach a signal of creative boredom and felt that he could no longer perform Ziggy with the aforementioned enthusiasm.[b] There were also practical reasons backside his decision to retire the character: Bowie's record visitor RCA refused to finance a third large US tour due to Bowie'southward management overspending in excess of $300,000 during the 1972 and 1973 tours, too as disappointing tape sales in the United states of america.[15]

Bowie retired Ziggy Stardust during a alive concert on three July 1973, at London'due south Hammersmith Odeon in forepart of three,500 fans. The concert featured an eighteen-vocal fix, with Jeff Beck joining the ring for a medley of "The Jean Genie" and The Beatles' "Love Me Do".[65] Just before the final song of the concert, "Rock 'n' Roll Suicide",[66] Bowie announced, "Of all the shows on this tour, this particular bear witness will remain with united states the longest, because not only is it the last show of the tour, only 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. Still, it only referred to the Ziggy Stardust persona and the Spiders from Mars bankroll band.[65] [67]

The terminal Ziggy concert was filmed by D. A. Pennebaker and released in 1979 as the documentary Ziggy Stardust and the Spiders from Mars [66] and the sound on the live anthology Ziggy Stardust: The Movement Motion-picture show (released in 1983).[68]

Legacy [edit]

The plaque on Heddon Street marker Bowie'south album cover shoot

Ziggy Stardust is widely considered Bowie's greatest cosmos.[59] [69]

In 2012, a plaque was unveiled by the Crown Estate at the site at which the iconic Ziggy Stardust album encompass photograph was taken by Brian Ward on Heddon Street, London.[70] The unveiling was attended by original Spiders from Mars band members Woody Woodmansey and Trevor Bolder, and was unveiled by Gary Kemp.[71] The plaque was the first to be installed by the Crown Manor and is one of the few plaques in the country devoted to fictional characters.[seventy] In 2018, a statue depicting a mature Bowie looking at his younger self as Ziggy Stardust was unveiled in Aylesbury, the boondocks where Bowie debuted the character in 1972.[72] [73] The statue stands in Aylesbury'south Market Square,[73] which Bowie referenced in "Five Years", the opening vocal of The Rise and Fall of Ziggy Stardust and The Spiders from Mars album.[74]

In 2015, the African butterfly species Bicyclus sigiussidorum was named after the character due to its "glammy" appearance.[75] (Sigiussidorum is a Latin rendering of "Ziggy Stardust".)[76]

In pop culture [edit]

Music [edit]

  • The 1976 cyberpunk rock opera Starmania features a character called Ziggy.
  • The British rock band Def Leppard referenced the character in their song Rocket on their 1987 album Hysteria.
  • The Swedish band Gyllene Tider recorded a vocal called "Åh Ziggy Stardust (var blev du av?)" ("Ah Ziggy Stardust, what became of you lot?"),[81] included on the 1990 re-release of their album Gyllene Tider.
  • Ziggy Stardust was ane of several popular icons Marc Almond dressed up every bit in the video for his 1995 single "Adored and Explored" and the cover of its follow-up single, "The Idol".[81]
  • The Omēga character, featured on the cover of Marilyn Manson's 1998 anthology Mechanical Animals was based on Ziggy Stardust, aesthetically and story-wise.[82]
  • A cartoon version of Ziggy featured in the video for Boy George's 2008 unmarried "Yeah We Can".[81]
  • Matt Sorum made reference to the character in the song "What Ziggy Says" on his 2022 album Stratosphere.[81]

Film and television [edit]

  • Fictional pop star Brian Slade and his space-historic period modify ego Maxwell Demon in the 1998 moving-picture show Velvet Goldmine were based on Bowie in his Ziggy Stardust period,[83] though Bowie would dissociate himself from the picture show.[84]
  • In the 1999 comedy special Golden Years, Ricky Gervais plays a Bowie impersonator named Clive Meadows who arrives at a business organisation coming together as Ziggy Stardust.[85]
  • 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.[86]
  • The character of 'Ziggy Stardust' in full-diddled costume appears in Zack Snyder'due south Watchmen.[87]
  • 'Artie' (played past John McCrea) in the 2022 moving-picture show Cruella was inspired by the grapheme.[88]

See likewise [edit]

  • Major Tom
  • The Thin White Duke

Notes [edit]

  1. ^ Bowie: "It was quite easy to become obsessed night and solar day with the graphic symbol. 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."[62] "My whole personality was afflicted ... I thought I might also take Ziggy to interviews as well. Why leave him on stage? Looking back information technology was very cool. It became very dangerous. I really did have doubts about my sanity."[33] [63]
  2. ^ Bowie: "I had an awful lot of fun doing [Ziggy] ... but my performance on phase reached a peak. I felt I couldn't go along phase in the same context again ... if I'chiliad tired with what I'm doing wouldn't information technology exist long before the audience realised."[64]

References [edit]

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Sources [edit]

  • Bowie, David (1980). Bowie In His Own Words. Compiled past Barry Miles. London: Omnibus Press. ISBN0860016455.
  • Buckley, David (2005) [First published 1999]. Foreign Fascination – David Bowie: The Definitive Story. London: Virgin Books. ISBN978-0-7535-1002-5.
  • Campbell, Michael (2005). Popular music in America: The Beat Goes On. Wadsworth/Thomson Learning. ISBN0-534-55534-9.
  • Chapman, Ian (2020). David Bowie FAQ: All That's Left to Know Nigh Rock'due south Finest Actor. Rowman & Littlefield. ISBN1493051407.
  • Doggett, Peter (2012). The Man Who Sold the World: David Bowie and the 1970s. New York: HarperCollins. ISBN978-0-06-202466-4.
  • Harris, John (2010). Hail! Hail! Rock 'north' Ringlet: The Ultimate Guide to the Music, the Myths and the Madness. Hachette United kingdom of great britain and northern ireland. ISBN0748114866.
  • Hendler, Glenn (2020). David Bowie's Diamond Dogs. New York: Bloomsbury. ISBN1501336592.
  • Jones, Dylan (2012). When Ziggy Played Guitar: David Bowie, The Man Who Changed The World. Random House. ISBN1409052133.
  • Luckman, Michael (2010). Alien Stone: The Rock 'n' Roll Extraterrestrial Connection. Simon and Schuster. ISBN978-1-4516-0432-0.
  • Miles, Barry (1980). David Bowie Black Book. London, New York: Autobus Press. ISBN0860018083.
  • Morse, Tim (1998). Classic Rock Stories: The Stories Behind the Greatest Songs of All Time. St. Martin'southward Publishing Group. ISBN978-1-4299-3750-iv.
  • Pegg, Nicholas (2016). The Consummate David Bowie (7th ed.). London: Titan Books. ISBN978-ane-78565-365-0.
  • Philo, Simon (2018). Glam Rock: Music in Sound and Vision. Rowman & Littlefield. ISBN1442271485.
  • Sandford, Christopher (1997) [1996]. Bowie: Loving the Alien. London: Da Capo Printing. ISBN0-306-80854-four.
  • Sims, Josh (1999). Rock Fashion. Motorbus Press. ISBN071197733X.
  • Zanetta, Tony; Edwards, Henry (1986). Stardust: The David Bowie Story. London: Michael Joseph. ISBN0718125959.

External links [edit]

  • The Ziggy Stardust Companion
  • Moonage Fantasize: The Life & Times of Ziggy Stardust by David Bowie and Mick Rock
  • Ziggy Stardust album cover shoot marked with plaque at BBC News

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Source: https://en.wikipedia.org/wiki/Ziggy_Stardust_%28character%29

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