Backstory of "Rebel Rebel" By The Great David Bowie.

  The mother is out of herself; confused and restless, she no longer knows if her son is a he or a she, but Little can she do against the hormonal storm that projects the child,fueled by the new glam fashion. That is to say, the eyesore look that melts sophistication and vulgarity seeking to end the hip and yoong look along with its carelessness, unhygienic and colorful naturalism of the 60s. The important thing for the child is to feel divine, to dance to bands that blow his mind away and deafen him from the outside world, to drink the adolescence in large sips, as if there were no tomorrow, The disguise looks torn and the make-up has run; as it thunders from the speakers the new single from David Bowie “Rebel Rebel”

 The song is born from a poisonous clash of egos. Goaded by his jealous competitor Mick Jagger. Bowie creates Rebel Rebel  as an act of overcoming his models and artistic empowerment. The Stones, hols and artistic empowerment. The Stones, who find themselves recording in the Ron Wood mansion , back then in the Faces they invite a new star to participate in their next single “its only rock n roll.” Suspicious, Bowie detects clear references to his galactic asexual-universe with its dramatic tricks in the lyrics. He who has given them homage covering “Let´s spend the night together”  in his recent LP Aladdin Sane, sme who appeared back en 1973, doesn’t know what to think: are they stealing from him? are they flattering him?or simply just making fun of him behind his back?. 

 The choice of the enviroment of where to give to strike of effect leaves no doubts: Bowie is installed in the Olympic Studios, home of the Stones, and since he kicked out his guitarrist Mick Ronson, he sculpts a guitar riff next to the mercenary Alan Parker, a riff that leaves astonished Keith Richards, who despises Glam. A shot right in the stomach; a radiant joke. Bowie plays the guitar in the final take, tucked under the bass of Herbie Flowers and the piano of Mike Garson. Drummer Aysnsley Dunbar is in charge of plotting a transcript of the popular rhythm of Satisfaction. The jubilant lyrics gives voice to all those wild things that come in the time of puberty and occupy the place of a previous generation. The streets are his, for the despair of the adults still trapped in the Victorian corset and post-war scars.

 The last glam anthem of its autor, Rebel Rebel will be included in the dystopian concept album Diamond Dogs (1974), where Bowie abducts 1984 of Orwell and copies the sliced and terrible futurism of Borroughs.   His innate insolence has the same impact. The Little monsters of Lady Gaga do not scare more than the snobs and no grandmother is astonished to the looks that recycled but proud wear teenagers today. It was another time.