Glitter Quickies: Photo Gallery
Pictures that may or may not have inspired Todd Haynes in the design of "Velvet Goldmine". Does anything look familiar?
A picture is worth a thousand wanks--I mean, words
Imitated also by John Cameron Mitchell in the glam musical, "Hedwig and the Angry Inch"
Warhol's Superstars, 1965: (top l to r) Nico, Brigid Polk, Louis Waldon, Taylor Mead, Ultra Violet, Paul Morrissey, Viva, International Velvet, unknown; (bottom l to r) Ingrid Superstar, Ondine, Tom Baker, Tiger Morse, Billy Name, Warhol.
Brian Eno: Where did you get those feathers, eh?
Lou before Glam
Lou after Glam
"The Man Who Sold The World"
Ziggy and The Spiders
Bowie on the inside cover of "Man Who Sold The World"
Bowie, Iggy, and Lou at the infamous press conference
(Manager Tony DeFries is visible behind Iggy)
Iggy, in silver pants (note stack heels)
Glitter Quickies: Famous Little Moments in Glam Rock
The following may or may not be true, but are the glittering stories and tidbits that legends are made of:
"I think rock should be tarted up, made into a prostitute, a parody of itself. It should be the clown, the Pierrot medium."--David Bowie, April 1971 (From Barney Hoskyn's "Glam!")
"'June [Marc Bolan's wife] employed Tony Secunda's wife, Chelita, as T. Rex's publicist, and Chelita saw that Marc was very pretty.' Bolan made the spur-of-the-moment decision to let Chelita put glitter under his eyes before appearing on Top of the Pops. ' Chelita was the first person to really make up Marc. She didn't just put some eye make-up on him, she threw glitter on his cheeks.' Marc claimed he'd done it purely for a laugh and thought no more about it, but at the next T. Rex gig he was greeted by the sight of hundreds of beglittered fans." (From Barney Hoskyn's "Glam!", with quotes from Tony Visconti)
Lindsay Kemp, who ran the influential Underground Mime Troupe that David Bowie belonged to in the 1960's, appears in VG as the cabaret singer performing "A Little of What You Fancy Does You Good".
"Do you jive?"--David Bowie's first words to Angela Bowie at a King Crimson press party, 1968
Angela Bowie on househunting with Lou Reed: "...[Lou] brought his friends with him...and his friends, let me tell you were amazing...both very young; both utterly, almost astonishingly gorgeous, with ash-blond curls and heart-shaped faces, their eyebrows and eyelashes as dark as if they'd been dyed, their bodies slight, sweet, and slender; different in that one was a boy and one a girl, and similar in that they were brother and sister. 'Angie, I'd like you to meet my boyfriend and my girlfriend,' Lou said very matter-of-factly..." (note in the script for VG, Slade's entourage first encounters Curt Wild flanked by male-female androgynous twins)
Iggy Pop on Tony Defries, Bowie's manager: "I thought, People will go for this guy. He had a big cigar and a big pointed nose and a great big Afro and a smug look on his face and an English accent and a big fur coat and a belly. And to the people who were running the American industry it just spelled 'Hot Manager'!" (From Barney Hoskyn's "Glam!")
July 1972: Iggy Pop lacerates his chest onstage at Max's Kansas City, reportedly on account of groupie and scenester (and mother of Liv Tyler) Bebe Buell (From Barney Hoskyn's "Glam!")
|Separated at Birth?|
and Brian Slade?
Oliver Reed (R.I.P.) in "Tommy"...
and Jerry Devine?
Daniel Ash from Bauhaus/Love and Rockets...
(More about Bauhaus below)
and Ray from the Flaming Creatures?
Bauhaus: Goth as Glam
Despite the political and cutural attitudes of many at the time, bands
of the 80s were clearly drawing inspiration from their Glam idols. The
movement from glam to punk
|RoseBud and I stumbled (pun intended) onto this fabulous exhibit on
our way to catch a flight in mid-January 1999. |
Nearly all of the shoes in the exhibit are sixties-seventies era, most of them well worn. These multi-colored oxfords reminded us awfully of Arthur...
|These feminine beauties are two shades of pink and have silver glitter throughout the polyurethane heels.|
Platform Diva--do not miss this glorious site!
|Pat Hartley, a bit player in Warhol's Factory
scene, told a story in Stephen Shore's gorgeous book of photography,
"The Velvet Years: 1965-1967 (Warhol's Factory)", that resonated with me
and I'd like to share it.
"There seemed to be a lot of sex going on. But it seemed very unthreatening compared with what I was looking at--a heterosexual, grown-up men's dating game, which seemed extremely violent and very frightening. This seemed a whole lot less frightening, definitely less threatening. It seemed as if I was going to get to make a choice as to who or what I was going to sleep with. In these other situations, where you went out with somebody in that way, you started, sort of, losing all your choices. Even in the so-called hip milieu, there was always violence and women getting beat up all the time. All these disastrous love affairs, and things seemed really spooky. What I saw at the Factory didn't freak me out because of what I'd already seen. It actually seemed like a world full of consenting adults, which the outside world didn't seem to be to me."