In the summer of 1971, the play Pork, based on the diaries of Andy Warhol had run for 26 nights at the Roundhouse in London. Angie had befriended many of the players, a mixture of New York freaks and Warhol ‘superstars’ such as Cherry Vanilla, Wayne County and Geri Miller.
In Nicholas Pegg’s book The complete David Bowie, Wayne County recalls that: “There was someone else [in a newspaper] who said ‘Pork is nothing but a pigsty. Pork is nothing but nymphomaniacs, whores and prostitutes running around naked on stage’3 ”
Most of the cast ended up with Bowie’s manager Tony Defries’ Mainman business organisation, which carried on where Defries’ associate Laurence Myers’ company, Gem Productions, had started off in looking after and grooming Bowie. Essentially employed to ‘put on a show’ and create a buzz around Bowie outside of the UK, the staff excelled in their role, indeed, they probably did take it too far, particularly in the USA. They generally put the impression across that Bowie was a ‘pinko commie faggot.’
Assistants were paid to make sure that doors were always held open for him, the entire entourage travelled in a fleet of limousines and their mantra was ‘Mr Bowie does not like to be touched.’ They both helped project the image and helped him fulfil DeFries’ belief that ‘To become a star, first one has to act like one.’
Bowie himself was noted in that he refused to fly anywhere; American tours had to be embarked upon using the QE2, which was even then, an essentially obsolete yet very expensive way to travel, adding another layer to the Bowie mystique. 3 P283 8 At the time, Bowie had stated that his intention was to create something that rested somewhere between ‘Nijinsky and Woolworth’s.’ The art was not in the music alone; the art was the whole concept of Ziggy Stardust himself.
As Bowie later stated: “I wasn’t surprised ZS made my career. I packaged a totally credible plastic rock starmuch better than any sort of Monkees fabrication. My plastic rocker was much more plastic than anybody’s.” And this was quite true.
Bowie later reflected in Feb 1976 that: “I could have been Hitler in England. Wouldn’t have been hard. Concerts alone got so frightening that even the papers were saying “This ain’t rock music, this is bloody Hitler!” And they were right. It was awesome.” (bihow p30).4 And to see that, one has only to watch the footage of the final concert as Ziggy Stardust, just before the culmination of the Gig, and the final song.
Bowie makes a short speech, telling his audience at the end of it that this was “not only the last show of the tour, but the last show that we’ll ever do,” which led to one of the most anguished outpourings of confusion and bewilderment ever committed to film or tape. One feels after seeing this, that Bowie was not overly exaggerating.