When you seek for David Bowie on Spotify, a well-recognized icon pops up: the person himself, eyes closed, made up with a deathly-looking pallor and a red-and-blue lighting bolt throughout his face. That is the photograph on the entrance of Bowie’s sixth album, 1973’s Aladdin Sane. “Maybe extra iconic than the music inside,” says the narrator of the Trash Idea video essay above, “it stands because the Mona Lisa of album covers.” It was additionally, on the time of manufacturing, the most expensive album cowl of all time: this was on the behest of Bowie’s supervisor Tony Defries, who suspected that sparing no expense on the picture would encourage RCA, his label, to spare no expense selling the album itself.
One would possibly name this a daring transfer for an artist like Bowie, who had solely simply made it large. Within the early years of his profession he’d racked up failure after failure: with 1971’s Hunky Dory, a sort of declaration of dedication to musical and creative “modifications,” he had a succès d’estime, however not till the next yr did he turn into a bona fide star.
The car for that transformation was the album The Rise and Fall of Ziggy Stardust and the Spiders from Mars, which launched the listening public to its title character, an androgynous rocker from outer house. All through his subsequent yr and a half of touring Bowie took the stage in full Ziggy glam regalia, inhabiting the character so totally that he finally started to query his personal sanity.
Although younger British audiences couldn’t get sufficient of Ziggy and the Spiders, reactions throughout america had been fairly much less enthusiastic. There, says the Trash Idea narrator, “they weren’t the kind of British rock that rock radio performed: hard-hitting, riff-heavy behemoths like Led Zeppelin or the Rolling Stones. However this indifference was shaping what Bowie needed to do subsequent.” His expertise of America impressed a brand new, harder-edged persona, Aladdin Sane. Ziggy Stardust “was a imaginative and prescient of the most effective a rock star might be, an inspirational determine, whereas Aladdin was extra about fame’s darker underbelly, filtered by means of imagined Americana and futuristic nostalgia” — and the character wanted a glance to match.
Shot by Brian Duffy, described in the San Francisco Artwork Change vide0 above as “a really eccentric and unimaginable photographer,” the Aladdin Sane cowl was printed with a seven-color system unprecedented within the medium. (As much as that time, four-color had been the usual.) In line with Trash Idea, Bowie described make-up artist Pierre Laroche’s lightning bolt “as consultant of schizophrenia, and extra particularly, his cut up emotions about his 1972 American tour.” (The form got here from the emblem on a Nationwide Panasonic rice cooker in Duffy’s studio.) Although the consequence has turn into, within the phrases of curator Victoria Broackes, “most likely probably the most recognizable image in rock and roll,” Bowie by no means truly assumed this look onstage; forward of him, there nonetheless lay 4 extra many years of modifications to undergo.
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Primarily based in Seoul, Colin Marshall writes and broadcasts on cities, language, and tradition. His initiatives embody the Substack publication Books on Cities, the guide The Stateless Metropolis: a Stroll by means of Twenty first-Century Los Angeles and the video collection The Metropolis in Cinema. Observe him on Twitter at @colinmarshall or on Fb.