The Nixon-Kissinger Transcripts: June 1, 1973

RN: You had told me that McGeorge Bundy [former National Security Advisor to JFK] had the effrontery to tell you that Bobby Kennedy in that period didn't have any taps … Let's get away from the bullshit. Bobby Kennedy was the greatest tapper—three hundred in 1963—almost three hundred. Two hundred fifty in the rest. And I'm getting the names, and I'm going to publish the names next Thursday … And let the assholes know that they're going to get this, Henry.
HK: I think you should, absolutely.
RN: Because they have done us in on this thing … They started it. They want to have a gut fight; they're going to get one … Now, I want you—now, this is not going to go out till Monday, but leak it to somebody. Talk to one of your liberal friends and say we've got a blockbuster coming out …
HK: Certainly I can.
RK: Good. Good. Is that—
HK: One other thing ... I have the Bowie ...
RN: The new one?
HK: Aladdin Sane, yes.
RN: What is it?
HK: Aladdin Sane, Mr. President.
RN: What the hell's that supposed to mean?
HK: I believe it's the new character.
RN: New character? What do you— Why can't this son-of-a-bitch just a sing song, for crying out loud?

HK: I ... don't ...
RN: Who does this— Does Lennon have to become a new character every year-and-a-half? Does Dylan?
HK: To be fair, one can point to distinct phases—
RN: Oh, I don't give a damn about that ... a phase is not the same as a— I'm talking about indulging in this ... this fruity, theater-y ... dressing up, and, and, putting together a back-story ... How can you compare that to—
HK: Well, on Nashville Skyline—
RN: No, I already know what you're going to say, and it's a bullshit argument. Dylan changed his voice. Right? On Nashville Skyline. Is that what you were going to say?
HK: Yes, that's—
RN: Okay. Yes. His voice is different. But he's still Bob Dylan. He's not— He didn't start calling himself ... Charlie Bumfuck or some such—
HK: But, surely, "Bob Dylan" himself ... itself ... is a, a construct, Mr. President.
RN: He's living the construct, is my point.
HK: How can you be so sure—
RN: Don't—
HK: I'm only playing devil's advocate. How do you know that Bowie isn't living his characters?
RN: Because I've seen the pictures, Henry! Look at the— Crack open a Creem, he's right there. Out on the town ... what's Bowie wearing? Corduroy jacket, scally cap ... whatever they call 'em. The one's the Micks are always wearing. Son-of-a-bitch isn't walking around London in that bullshit leotard, is he?
HK: Mr. President, I am no Bowie defender ...
RN: Well, you seem to be right in there ... pitching hard for him ...
HK: That was not my intent. I was just— I have the record, I thought perhaps—
RN: Sure, sure. Put it on.
(Silence followed by sound of a needle on vinyl.)
RN: Don't scratch it, Henry. Jesus.
HK: I'm sorry. My fingers—
(Sound of "Watch That Man.")

RN: Well, this one's right out of the playbook.
HK: He's been listening to his T-Rex.
RN: Mm.
HK: That was true of Ziggy, as well, though.
RN: Yeah, but Ziggy has that ... Ziggy has that vibe ... that apocalyptic, cinematic ... It's not Bolin Lite. It's not faux-Stones barrelhouse. There's a vision there.

HK: Well, this is just the first song.
RN: It's never "just" the first song, Henry. It's the opener.

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