In an ideal world, it probably wouldn’t be necessary for the BBC to advertise itself like this. Jane Frost, 1999.
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Blame: Lou Reed’s “Perfect Day,” arranged and produced in 1972 by Mick Ronson and Bowie, had a second life a quarter of a century later, thanks in part to Danny Boyle’s film. As Boyle used it to score a heroin overdose sequence, “Perfect Day” was subsequently interpreted by an entire generation as being a song about scag. Cisco Mcs 7800 Network Drivers. Sure, maybe it was: you could read the song that way. But it’s more interesting to take “Perfect Day” at its word. An alienated, drugged-out wastrel spends a day in the park with his girlfriend or boyfriend.
He does “normal” things—goes to a zoo, sees a film, has a picnic—which seem surreal to him. His life is so bent out of shape, his way of viewing the world so corroded, that banal existence has become strange and beautiful. Tafheem Ul Quran Malayalam. The perfect day for him is one that the good and prosperous people of the world would forget about in a week. And what to make of the closing line? You’re going to reap just what you sow, Reed sings sweetly and ominously.
Has he reformed? Or is he just clearing his head to ruin his partner’s life with greater force? A few months after the first Labour parliamentary victory in nearly 20 years, the BBC made a celebration and a justification of itself, a four-minute promotional film featuring the stars of pop, country, R&B, jazz (well, they got Courtney Pine) and classical.
All singing lines from “Perfect Day.” The promo film was masterfully shot and cut (Simon Hanhart produced the music), making a smooth whole out of what could have been an ungainly patchwork. There was a clamoring for the track to be released as a single, and soon enough it was, with all proceeds going to Children in Need: it would be Bowie’s last (collaborative) #1. Jane Frost, the BBC’s head of corporate marketing, was the force behind it. After tenures in marketing for Lever Brothers and Shell, Frost was recruited by the BBC in 1995: her main job was to explain the service’s role to a new generation, using the language of pop videos and advertisements. The BBC had just won a battle to raise its license fee (the fee for color TVs would increase from £71 in 1990 to £104 in 2000) and in Frost’s words, it wanted to remind viewers what they would miss if it ever went away (“if it disappeared, you really would be losing something”).* Assembling an all-star cast to sing Reed’s “Perfect Day” was Frost’s first big set-piece. “ The production values are high, because we want to catch people’s attention—they’ve got to be a cut above the standard of the old public information films,” she told the Guardian in 1999.
In the 17 years between Lodger and Outside, Bowie treated touring as a politician would re-election campaigns. Overriding Code File Scavenger 4.0 there. He had three grand efforts (,, ) and two small-scale ones ( ), and he’d mounted the larger productions as global carnivals, with exhausting rounds of publicity to make the shows “events.” At the close of each, he’d been spent: it would take him years to play live again. Then in the mid-Nineties he became a road dog, following up his lengthy Outside tour with a round of summer festival gigs in 1996, then spending another five months touring from Germany to Argentina in 1997. It was his most sustained period of live performance since the Ziggy Stardust days. So by the Earthling tour, the novelty of a “revived” Bowie playing live had waned a bit. With essentially the same band that he’d had since 1995, he used some of the same stage props, and his set lists, despite the new Earthling material and a few revived pieces, weren’t radically different from those of the Outside tour. So the 1997 tour tends to be forgotten, or folded into the overall “Outside” period; none of the Bowie bios devote more than a couple of paragraphs to it.