by Aimee Levitt
Still. Geoffrey Marsh, one of two V&A curators (the other is Victoria Broackes) who worked on the exhibit, made it sound that easy in his chat with Darling at the MCA's press preview.
Peter Frampton's father was one of Bowie's early music teachers.
Bowie did not attend the exhibit in London or in Berlin. Darling and the rest of the MCA staff have not given up hope that he'll come to Chicago. He's been in Chicago before: in 1980, he starred in The Elephant Man onstage and was a regular at Neo nightclub. There's a clip of his performance in the exhibit. "It's difficult to look good in a loincloth," says Marsh, "but, God, he looks good in it." (The Elephant Man later moved to New York, where it was overshadowed by John Lennon's assassination.
The "Boys Keep Swinging" video, featuring Bowie as himself and three female backup singers, was filmed in a single weekend at the BBC studios, along with two other videos. Marsh has been told that after the studio closed, Bowie and his crew continued filming on the street.
Marsh says that the exhibit is definitely not meant to be a retrospective. "We wanted to get away from the idea of 'David Bowie, 1947 to . . .' It's 'David Bowie Is' because he's always doing something. It's less about the output than the process. One-third of the people who came to the exhibit [in London] had never been to the V&A before. A lot of them said they came out inspired to do something. David Bowie has the ability to make people think they can do things."