Daphne Guinness channels David Bowie for German Vogue

Daphne Guinness channels David Bowie for German Vogue's January issue - Photos: Bryan Adams.

Happy Birthday David Bowie.

'Ashes to Ashes' - David Bowie.

Watch David Bowie's Unearthed 1973 Performance of 'Jean Genie'

From : http://www.spin.com

A David Bowie television performance that no one has seen in three decades, and that Americans have never seen at all, hit the web today. As the story goes, Bowie as his red-haired Aladdin Sane persona visited U.K.'s long-running music program Top of the Pops on January 3, 1973 to showcase his then-new single "Jean Genie." The performance aired only once, and the tapes from that TOTP episode were placed in the BBC vaults… where they were ultimately erased so the network could reuse the tapes, the BBC admits.


It was believed that this "Jean Genie" was lost forever, but recently, a cameraman named John Henshall revealed that he made a an additional copy of the performance for himself. That copy is what you're watching here, a slightly extended version of the Aladdin Sane cut backed by the Spiders From Mars. This rendition debuted earlier today on the BBC's Top of the Pops Christmas Special, but thanks to the YouTube, we can all now share this unearthed Thin White Duke clip, which marks the second significant Bowie find in 2011.


http://www.spin.com/articles/watch-david-bowies-unearthed-1973-performance-jean-genie

5 Minutes With Paul Trynka

Paul Trynka by Julian Burgin

Paul Trynka is probably best-known as editor of MOJO magazine, the international bible of rock’n’roll music: he joined the title as reviews editor in 1996, overseeing it from 1999 to 2003. During his time on MOJO the magazine’s sales grew from 46,000 to 108,000 worldwide. He has also served as Editorial Director of Q magazine, editor of International Musician Magazine, and founding editor of The Guitar Magazine.

He has written definitive studies of the Electric Guitar (Virgin 1993, a co-production with London’s Design Museum), blues music (Portrait Of The Blues, with Val Wilmer, Hamlyn/Da Capo 1996) and Denim (Aurum Press, 2001) and edited MOJO’s bumper co-production with Dorling Kindersley, The Beatles, 10 Years That Shook The World (2004). All of these books are available in various international editions, including Japanese (Portrait of the Blues, Denim), German (Iggy, The Beatles), French (Denim, The Beatles), Italian and Hungarian (Iggy).

Angie, Zowie (aka Duncan Jones) and David Bowie at a press conference in Amsterdam, 1974. Photograph: Gijsbert Hanekroot/Redferns

Paul has written for Elle, The Independent, The Guardian, Blueprint and many other titles, on design, fashion, music and travel, and in his previous career as a musician made critically-lauded albums for labels like Beggars Banquet and Factory, one of which reached Number Three in the charts. In Andorra. He lives in Greenwich, London, with partner Lucy and son, Curtis.

Q1.What was the first song or record you bought that really changed your life?

PT: It was Hey Joe, by Patti Smith, which I got hold of from the hippie head shop round the corner from my school, and I Remember You by the Ramones, a few months later. Before that point, much of the music I liked was on the point of petering out, and there was a period of desperation when I was considering buying a record by The Eagles. THen suddenly, rather than a dearth, there was this deluge of great music, even more so when I got hold of the Stooges debut album, and my mate discovered the Bowie Santa Monica bootleg.


Q2. Starman is a fantastic Bowie biography. What was the process in writing it? How long did it take to complete?

PT: Starman was in many ways a natural progression from my book on Iggy; broadly speaking, I wasn't convinced by the sections of existing Bowie books that dealt with Iggy. THey didn't give me a sense of their Berlin days - and ultimately, with Iggy, I thought I'd got pretty close to the feel, the texture of their life. So I couldn't wait to get to Bowie and try to shine a light on all the other eras of his life; but it was still a real challenge to wrestle the story into shape, and it took nearly three years and well over 200 interviews.

Q3. I do want to ask about your Denim (Aurum Press, 2001) book and the denim section of your site http://www.trynka.net. Have you always been a denim enthusiast?

PT: I think I got given my first pair of Levi's by a friend when I was around 16, they had a huge rip on the front which my sister repaired. The in the 80s I spotted that older Levi's looked nicer than newer ones. And of course the story of denim parallels that of rock music. Putting together a denim book was an accident when I met a neighbour, Graham Marsh - we cooked up the idea to do one that first evening, wrote the pitch within a couple of days, and started work on it within a couple of weeks. I've spent a lot of time travelling around the states interviewing musicians - going to places like Cone, who make Levi's denim, in North Carolina or Lee, in Kansas, was a natural extension of that.

Q4. Please tell me a little about your own music and your albums for labels like Beggars Banquet and Factory.

PT: I started my main band, Nyam Nyam, while at school, we had a track on a local compilation album - later on Peter Hook, of New Order, noticed the sleeve of our first single when they were recording Everything's Gone Green at Cargo in Rochdale, and offered to produce us. Meanwhile we had Ivo Watts-Russell of 4AD interested. Hookie produced our Factory Benelux single, Fate/Hate, which made several dance charts, then our self-produced debut album, Hope Of Heaven, came out on Situation Two. We were widely described as "great white hopes", with remarks like "if this were to sell in large quantities, pop music will never be the same again." Which just shows how wrong critics can be! I hugely value that time making music, but in retrospect I realise that we didn't really have that ambition, that ruthlessness, that talent for self-promotion, that people like Iggy or Bowie exhibit. It's often seen as a character flaw, but I think it's obligatory.

Q5. David Bowie seems to have quietly retired from the spotlight in the past few years. With no live shows on the calendar through 2012 (according to davidbowie.com) do you think we can ever look forward to seeing DB live or hear new recordings in the future?

PT: David Bowie has given so much of his life over to showbusiness, that it seems totally reasonable that he's finally devoted himself to his daughter, and re-created himself as a conventional dad. I know he feels that Duncan's childhood was affected, maybe damaged, by his unconventional life.He's always been very conscious of the ebb and flow of a career, the importance of a grand statement - so if he does return, it will have to be with a work that is great, not just good, and I think the prospect of any more live tours is remote indeed. That said, I'm hoping we will see new material from the vaults once his deal with EMI expires next year.

http://www.trynka.net/trynka.net/Home.html

Keanan Duffty Screen Print Posters - 2004.

Acrylic Paint on Heavy Poster Paper - Printed in 2004. The Queen and The Dame.

5 Minutes With Kevin Cann

Kevin Cann and the wonderful Mick Ronson 1991.

I'll let Kevin Cann tell you a little bit about himself:

"I was born in Hackney, London in 1959 and we moved to Hemel Hempstead when I was two. I moved to Watford when I was 16, where I went to art school and where I first met Brian Eno. Brian visited Watford Art School in late 75 to do some trial recordings – though we were expecting him to give a lecture - and our class spent the day with him and Peter Schmidt recording vocal experiments. These recordings turned out to be try-out ideas for Music For Airports, which became one of my favourite albums (so I recorded with Brian before David did!).
I ran my own design studio for many years before I finally went solo, concentrating on marketing, book design and also technical (manual) writing for a few years with Sean Mayes. We also wrote a biography about Kate Bush during this time.
I also helped set up All Saints Records in the early 90s and have generally worked in LP and CD design and on associated research projects for over 20 years. I now live by the sea and it’s fab."

David getting ready for a show in the summer of 72. credit: Byron Newman

Q1. What was the first record you bought and what effect did it have on you?

KC: I think it was actually a trade with a school friend for the Beatles ‘Magical Mystery Tour’ EP. It was sometime in 1970 because ‘let It Be’ was in the charts at the time. I’m pretty sure I didn’t see the original Magical Mystery Tour TV broadcast though. But the EP was a real eye-opener, particularly ‘I Am The Walrus’ of course. The piano fade on the title track always gets to me, and ‘Your Mother Should Know’ is great. In fact the whole EP is still brilliant, so many different ideas mixed together. I liked the booklet and graphics too.

Promo Card - Decca Records promotional postcard, 1966. Any Day Now memorabilia.

Q2. Where did the idea for your book 'Any Day Now' originate from?

KC: I have always been fascinated with dates and timelines. I particularly like the juxtaposition of events in history; and luckily that works quite successfully in music biography too. Where possible it’s nice to remind people of the cultural landscape surrounding the time you are writing about, and in this case the records, books, films and musical events that were happening at similar times, that somehow impacted on David’s own work.

Sadly you can only take that style so far, but a chronology is not only a great way to accurately take someone through a detailed biography (and David’s doesn’t come much more detailed) it also allows a certain degree of creative flexibility. You can, I believe, handle a wider range of material in a sometimes unpredictable, but still coherent order.
My timeline interests also stem from a broader appreciation of history. I just love the juxtaposition of historical events of all kinds. Straying a bit here I know, but the comparison of say, 1880’s Victorian Britain with 1880’s America has fascinated me for years.

Gallery shot - Any Day Now Proud Gallery London Exhibition, December 2010.

KC: I love the idea of Oscar Wilde, for example, used to the finer life of literary Dublin, Oxford and London, visiting America for a whole year in 1882. He travelled across a country that was still – away from the main cities - in its earliest forms (he hated the muddy streets), and along the way met a real broad cross-section of Americans who were forging a new country.
Wilde missed the gunfight at the OK Corral and Billy The Kidd’s death by a couple of months, and Jesse James was shot and killed a couple of months after he arrived.
These things rarely, if ever, get mentioned when Wilde’s visit is researched, as they aren’t a direct part of his history. But they are still significant concurrent, cultural events. It’s only when you examine timelines like this that an often strange blurring of historical information becomes more apparent.
Talking of Oscar Wilde, I’m sure that David was very well aware of Wilde’s famous arrival in America in 1882, the stir that his clothes caused and his widely reported remark; “I have nothing to declare but my genius”. When David rolled up at Washington‘s Dulles Airport in 1971, wearing his bright blue Universal Witness coat, I’ve no doubt he knew he was making a similar statement.

Over the years I worked on Any Day Now whenever I had a chance. It was one of those fascinating projects you can enjoyably research for years if you let it. I realised that the main bulk of it was in place about three or four years ago and pretty much concentrated on getting it to page from then on. Publication was delayed for nearly a year because we simply had too much information to edit down, and that was pretty tough going. The book could easily have been three times the size. As I said, David’s life and career is very detailed. It’s just one of the many reasons he is such an interesting person to write about.

Q3. Did you hear the online version of the unrealized Bowie album 'Toy' and if so, what did you think about the re-worked versions of old material?

KC: I haven’t heard the album as David intended it. I’ve just heard random tracks. It was a shame that it wasn’t released officially as I think it needs packaging and notes from David. I’m not sure I’ve heard all of it but the tracks I have heard are very good. But for me, it’s the same with David’s work as it is with that of any other artist; I rarely, if ever prefer a re-recorded song from the same performer.
But to take Toy as a whole, as it was originally intended, I think it had merit, particularly as it was recorded with Tony Visconti. The first two songs the pair worked on in 1967 were ‘Let Me Sleep Beside You’ and ‘Karma Man’. Two fantastic songs with excellent production, which both men at the time evidently believed were just crude, throwaway “pop rubbish”!

It would be great if he did release Toy properly, and even better if he did all the artwork and sleeve notes himself (he’s a dab hand with Photoshop and page make-up software). I would probably be able to appreciate it better that way and then perhaps the songs would take on a new life.


Q4. Do you think that distribution via the online media means that print is a dying format for media?

KC; It’s a challenge of course, but it will be hard to replace the joy of reading a real book. It’s a form of communication that has been around almost as long as man has been able to write. I believe the oldest known book is about 2,500 years old and the pages are made of gold. Now that’s what I call a quality limited edition publication!
Even with the most amazing advances in technology, I have no doubt that real books will be published for many decades to come.
But there is undoubtedly an interesting future for ebooks, and one of the great things is that it also gives many more people the opportunity to get their work out there.

Q5. Give us a really off the wall Bowie anecdote/story.

KC: Apparently, when David was about 9 years old, he cut out a coupon from a newspaper that was offering a free booklet about joining the army, and he sent it to the Ministry of Defense. Not that he was interested in joining the services, but evidently he went through a fad of sending off coupons at random, which of course isn’t particularly unusual for kids to do.
After receiving his army booklet, to his and his parent’s surprise, a few weeks later he was sent an invitation to have a medical and join the Territorial Army. His father recounted the anecdote during a speech at a Dr Barnardo’s conference, where he mentioned his young son’s humorous experience, and then proffered the idea of using coupons as a good way to promote the charity.

The Any Day Now Facebook page:
http://www.facebook.com/pages/David-Bowie-Any-Day-Now/122008031195556?ref=ts

The Any Day Now web site about the regular and limited edition book:
http://www.anydaynowbook.com/

An Any Day Now video:



Magical Mystery Tour -Intro to the Magical Mystery Tour film.

5 Minutes With Marc Spitz

Marc Spitz is a music journalist, author and playwright. Spitz's writings on rock n' roll and popular culture have appeared in Spin (where he was a Senior Writer) as well as the New York Times, Maxim, Blender, Harp, Nylon and the New York Post. He is currently the music blogger for Vanity Fair and a regular contributor to the British music magazine Uncut. Spitz is the author of the novels, How Soon Is Never, and Too Much, Too Late and the biographies We Got the Neutron Bomb: The Untold Story of LA Punk (with Brendan Mullen), Nobody Likes You: Inside the Turbulent Life, Times and Music of Green Day, Bowie: A Biography and Jagger: Rebel, Rock Star, Rambler, Rogue.

Q1. What was the first record you owned and how did it change your life?

I would like to say something cool like Unknown Pleasures, but it was Glass Houses by Billy Joel, which I thought was a punk rock record since he sang about "Hot Punk," and the Chipmunks covered him on chipmunk punk...
I was ten. I had favorite singles like "Cars" by Gary Numan, "Pop Muzik" by M, and "My Sharona," but the full album that i actually bought myself and spent time staring at and thinking about was Billy's. for a Long Island kid, it was sort of a rite of passage. Billy is religion out there and you can't escape it. I still love that record. The shattered glass at the start of "You May Be Right," the push button tones before "Sometimes A Fantasy," The breezy strumming on "don't ask me why" and of course, the sax solo on "it's still rock and roll to me," where he screams, "alright rico." and that "woo hoo," at the very end.
I thought Bruce Springsteen's The River was punk too, by the way....and Voices by Hall and Oates. By 1982, I'd figured it out. But I still love both those albums as well.

Q2. How did you get into the worlds of literature and rock & roll?

When I turned 40 last year I had a whole ‘how did I get here,’ moment, because I never really wanted to be a “rock writer,” especially since there’s a lot of bad rock writing out there. I guess there was in the 70s too but we don’t think about it, we only think about the ones who could do it well: Lester Bangs, Nick Kent, Nick Tosches, Richard Meltzer, Christgau, Ellen Willis etc. I guess writing about rock and roll in a literary fashion, with those writers and many more as heroes worked out a lot of anger in a positive way and still keeps my problems with authority from getting out of control. The way I imagine playing rock and roll would handle those issues. I am not musically talented but I can write. Writing about food or even sports and politics just wouldn’t quiet that booming, “Fuck you,” that I have in my head like white noise. Writing about music in a certain way does the trick. I used to live that shit out a lot more but I’m the clichéd “mellowing with age” guy now. Come to think of it, you could tie that all back to Billy Joel as well. He was also one of my first concerts and at the end of every show, he tells the crowd, “Don’t take any shit from anybody…”

Q3. David Bowie seems to be 'off the radar' these days so I am guessing that you weren't able to speak to the Thin White Duke for you book 'Bowie: A Biography' (2009). If you had been able to talk to him what would be the one burning question that you would ask?

I didn’t really try to talk to him. Didn’t pester him. I just assumed he wouldn’t be interested and I didn’t want that hanging over the whole project like a pall. The book had enough issues to vex it, believe me. There’s a book about that book somewhere. I’m actually work on a novel right now about (in part) a rock writer (this alter ego character I have named Joe Green who is the narrator of How Soon and also appears in the follow up novel Too Much Too Late) takes on a huge rock book about a hero and it basically reduces him to tears. If I had one thing to say to Bowie, I would probably ask, “Why didn’t you stop me, man?”

Q4. 'How Soon Is Never' is your novel-cum-homage to The Smiths. Can you tell me a bit about the novel and do you think The Smiths should ever re-unite?

If they did reunite, I would be there. I was on tour with Pixies when they reunited and saw Pavement last summer in Central Park and it didn’t ruin my memory of loving either of those bands in the late 80s and early 90s respectively. And I was warmed to read about Pulp reuniting. I’m not anti-reunions, if they’re done right. Like you have to have the original members if they’re still alive (the New York Dolls get a pass) and I don’t see Moz and Mike Joyce sharing a stage. So it would be Moz, Marr, maybe Andy Rourke and a drummer for hire? Ringo Starr’s kid? No disrespect to him but do you want to hear the drum beat from “Reel Around the Fountain” from that guy? That might fuck with my memories a little. I respect Morrissey for not doing it the same way I respect Bowie for seemingly putting a period on his career and saying, “that’s enough.” This is real non-conformist behavior when compared with the whole Coachella Reunion/Don’t Look Back/All Tomorrow’s Whatever syndrome. Or someone like McCartney or Dylan literally touring into their 70s and making it (to their great credit) fully acceptable. Oh and about the novel, I recently re-read it and was shocked to find that it's very good. I never read any of my stuff after it's published (see above mentioned Bowie lament) but I was trying to get back into the voice of my alter -ego and so it was a must. I was shocked by how brave i was only seven years ago. I've really turned into a mushy pea.

Q5. You have written a new biography of Mick Jagger, the wonderfully titled 'Rebel, Rock Star, Rambler, Rogue'. Since he's now 'Sir Mick' do you think he relinquished the right to use sobriquets?

I don’t know. This is something you Brits tend to take a lot more seriously. I think we Americans like the idea of Sir Mick or Sir Paul or Sir Elton and it just becomes another term of affection like you calling Madonna Madge or Morrissey Moz as I did earlier (although I can’t bring myself to call Little Wayne Weezy). We don't have knights of the realm. The angle I take in my new book is that it’s secretly the most rebellious and perhaps revolutionary thing Mick has done even though there are some sources who claim that he has been chasing the honor his entire career, there must have been some mid point meet up. They came to him just as much as he came to them and if you think about it, he’s not really publicly affiliated with a cause like Sting or Elton John, he’s unabashedly young in his behavior and his taste and romantic exploits, and has not really stopped being a rebel, even though when compared with keith’s perfect outlaw myth, he seems less so. So to bestow such an honor on such a rogue, is like than scene in Goodfellas when Deniro is elated to first hear that Joe Pesci is getting made (even though it ends in tears later). It’s a victory for all the rogues. I think his contribution to British music and culture is immeasurable. If I were British the Stones would make me feel patriotic. I am assuming that’s what earned him the honor. And if that’s the case, why not give it to Keith too? And Charlie.

spitzbooks.com

mickjaggerbiography.com

The Day I Met David Bowie

The Day I Met Bowie by Designer and Rebel Rebel Anti-Style Author Keanan Duffty


In 2002 I had reached out to Bill Zysblat. Bill is David Bowie’s longtime business manager. His office, which houses the RZO organization is on 57th Street in Manhattan.
I was interested in designing some clothes for David. “Great,” said Bill, “but he’s on tour so let’s revisit after the current dates come to a close in 2003.”

Several years later I reconnected with Zysblat. In the time since our first conversation my fashion business had changed. My label had blossomed and I struck a deal with the American mass retailer Target, a 1400 plus chain based in Minneapolis and reaching across America coast to coast.


“Come up to the office,” said Bill. “You should meet with David and see if there is synergy.” The RZO organization – that would be the place where I would first encounter the guy who had influenced my whole career.

In December 2006, at his management offices in Manhattan, I met David Bowie to discuss my idea of creating a fashion collection inspired by him, his style, and his music. I confess to feeling something approaching awestruck at the first meeting, which was to be with David, Coco Schwab, and Bill Z in Bill’s boardroom. Beforehand I imagined the meeting would be with the Thomas Jerome Newton character fromThe Man Who Fell To Earth. The seminal Nic Roeg movie that cemented Bowie’s mid 1970’s star as the alien rock icon. Would David enter the room in a fedora, black coat and shades? Was I suddenly being transported into the offices of World Enterprises? ”Slow down Arthur, keep to thirty.”

I nervously paced the boardroom. After a few minutes Bowie appeared looking very casual in a sweatshirt, chinos and suede desert boots. “I guess I’m meeting David Jones then,” I thought to myself. Bowie immediately put me at ease by having me sit in the chair at the head of the desk! Now I was on the spot. That voice. Even his speaking voice is totally distinctive. This is the guy who inspired me to be creative in the first place. I’m in the same room. This is surreal but I am keeping it together. Just act natural…After some light hearted small talk I made my pitch. Bowie was charming and funny, at one point in the conversation I forgot where I was in my monologue, “I’ve lost my thread,” I said, at which Bowie pointed out that was “not so good for a fashion designer – losing your thread.”


He asked what I had in mind and I told him that I thought it was a good time to bring my idea of a Bowie fashion line to him. “Oh, why is that then?” he asked. Simply, that I had built a small business selling to hip premium retailers around the world and had now struck a deal with Target, meaning that my clothes would have the potential to be in shops across America. It was a bit like getting a big record deal after years with an independent label. With that distribution already in place I could put the Bowie name on a fashion collection and offer a “Warhol style” mass market approach. David seemed intrigued.

One of the appealing elements for me was to make a limited edition line for sale in Target’s 1,200 stores in the United States; I felt this then would be in the spirit of Andy Warhol. There was an enormous satisfaction from bringing someone of Bowie’s caliber – a globally renowned rock star who is in the mainstream but constantly works in the leftfield – to the mass market.

I was dying to ask David for his autograph and get my picture taken with this icon of innovation and cool, but I resisted the temptation to ask. “Don’t’ blow it” I kept telling myself. We shook hands and Bowie asked to see some design ideas. “You haven’t already pitched this to Target have you?” “No”, I said, “I was waiting to get your approval.” He seemed happy with this and gave his blessing for me to approach the retailer.


In terms of tone, I had in mind Bowie’s Man Who Fell To Earth/Station To Stationlook of the mid-‘70s, which was quite dressy: suits, hats, smart shirts and coats. I saw the overall palette as black and white with a hint of color, and also detail that referred to other parts of his career. Since it was into stores in and around the holiday period, the dressy approach felt right.

Meeting number two took place again at Bill Z’s office. David, Coco, Mark Wolk, the president of the manufacturing company, my wife Nancy Garcia, and myself attended. We had sketches, sample garments, and designs for the labels, hang tags and packaging. All we needed was David’s green light. “Nice jacket,” Bowie said to me of the coat I was wearing. “It’s one of Vivienne Westwood’s,” I said, relieved at the seal of approval.


The third meeting was at the Isolar offices on Lafayette Street in Soho. This time it was just David, Coco, and myself. I had come to present the marketing ideas. Target were very keen to have David perform a song at an opening party. Not going to happen. “I’m not Posh Spice,” he said. Oh dear. Did I fuck this up? He seemed happy with the in-store promotional presentation and the CD design.

The concept for the collection was to avoid the whole rock star /fashion route of plastering obvious images onto T-shirts. My notion was that Bowie’s richness and diversity could be used for a collection that was subtle and detailed.

It’s a testament to Bowie’s rightful position as a true style icon that the collection sold out very rapidly and I feel proud to have been part of his exploration of this new area.

Excerpt from Rebel Rebel Anti-Style by Keanan Duffty with Paul Gorman and Forward by BP Fallon, (c) 2010. Rebel Rebel Anti-Style is published in the US by Universe/Rizzoli (US $22.50 / CAN $27.95) and in the UK by Adelita (£14.99).

Keanan Duffty is a British fashion designer and musician based in New York City. He is a member of the Council of Fashion Designers of America and winner of the Fashion Group International Rising Star Award 2003. Duffty studied fashion design at Central St. Martin’s in London, and was awarded a first class Bachelor of Arts degree with honors. His celebrity clients include David Bowie, Sex Pistols, and Gwen Stefani. Duffty is also lead singer in the band Slinky Vagabond, alongside Glen Matlock of the Sex Pistols, Clem Burke of Blondie, and Earl Slick (David Bowie/John Lennon/New York Dolls). His book, Rebel Rebel Anti-Style explores how fashionable music and “anti-fashion” icons, like David Bowie, the Sex Pistols, and Gwen Stefani, have inspired fashion. Rebel style is all about wearing common or mundane items with a sense of creativity and irony.

For more on Keanan Duffty visit his blog: RebelRebelAntiStyle.blogspot.com/

Duffy - Legendary British photographer

Brian Duffy, known professionally as 'Duffy' was a celebrated English photographer and film producer, best remembered for his fashion photography of the 1960s and 1970s and his creation of the iconic "Aladdin Sane" image for David Bowie.

Book

An incredible never-before-seen visual record to the photographic genius that was Brian Duffy, featuring Duffy’s own words and an introduction by Philippe Garner is available from all good bookstores and Amazon from mid-June, published by the ACC Publishing Group (RRP £45.00).

A limited edition containing a rare print from the David Bowie Aladdin Sane cover shoot is priced at £250.00

ISBN: 9781851496570
Publisher: ACC Editions
Territory: World excluding Belgium and The Netherlands
Size: 300 mm x 240 mm
Pages: 208
Illustrations: 48 colour, 160 b&w

Exhibition

We're proud to present the first ever full retrospective of Brian Duffy - a man who changed the face of British photography.
The first ever full-career retrospective of the legendary British photographer opens to the public on July 8th 2011, coinciding with the publication of Duffy – the first and only book of the photographer's work.

Duffy infamously quit photography in 1979 when, at the height of his career, he took the majority of his photographic work into the back garden and set it on fire. Featuring more than 160 images painstakingly rediscovered by Duffy’s son after years of searching through archives and publications around the world, this exhibition has truly risen from the ashes.


Exhibition Details:

Dates: 8th July – 28th August 2011
Address:
Idea Generation Gallery
11 Chance Street
London E2 7JB
Tube: Liverpool Street or Old Street
Price: Free
Opening Hours:
Monday to Friday: 12pm - 6pm
Saturday & Sunday: 12pm – 5pm
First Thursdays: Open to 8pm

5 Minutes With....The Man Who Fell To Earth

The Man Who Fell To Earth - Original Trailer

The Man Who Fell To Earth

A new 35mm print of the complete, uncut version of Nicolas Roeg's science fiction classic The Man Who Fell To Earth (1976), starring David Bowie as an extraterrestrial visitor in search of water for his dying planet, will run at Film Forum in New York from Friday, June 24 through Thursday, July 7 (two weeks).

The complete, uncut version of Nicolas Roeg's The Man Who Fell to Earth will be re-released nationally in the USA this summer.

The Man Who Fell to Earth (Nicolas Roeg) 1976

The Man Who Fell to Earth (Nicolas Roeg) 1976