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Wildlife can be found in all ecosystems. Deserts, rain forests, plains, and other areas including the most developed urban sites, all have distinct forms of wildlife. While the term in popular culture usually refers to animals that are untouched by human factors, most scientists agree that wildlife around the world is impacted by human activities.
Humans have historically tended to separate civilization from wildlife in a number of ways including the legal, social, and moral sense. This has been a reason for debate throughout recorded history. Religions have often declared certain animals to be sacred, and in modern times concern for the natural environment has provoked activists to protest the exploitation of wildlife for human benefit or entertainment. Literature has also made use of the traditional human separation from wildlife.
In November 2008, almost 900 plucked and "oven-ready" owls and other protected wildlife species were confiscated by the Department of Wildlife and National Parks in Malaysia, according to TRAFFIC. The animals were believed to be bound for China, to be sold in wild meat restaurants. Most are listed in CITES (the Convention on International Trade in Endangered Species of Wild Fauna and Flora) which prohibits or restricts such trade.
A November 2008 report from biologist and author Sally Kneidel, PhD, documented numerous wildlife species for sale in informal markets along the Amazon River, including wild-caught marmosets sold for as little as $1.60 (5 Peruvian soles). Many Amazon species, including peccaries, agoutis, turtles, turtle eggs, anacondas, armadillos, etc., are sold primarily as food. Others in these informal markets, such as monkeys and parrots, are destined for the pet trade, often smuggled into the United States. Still other Amazon species are popular ingredients in traditional medicines sold in local markets. The medicinal value of animal parts is based largely on superstition.
Exploitation of wild populations has been a characteristic of modern man since our exodus from Africa 130,000 – 70,000 years ago. The rate of extinctions of entire species of plants and animals across the planet has been so high in the last few hundred years it is widely considered that we are in the sixth great extinction event on this planet; the Holocene Mass Extinction.
Destruction of wildlife does not always lead to an extinction of the species in question, however, the dramatic loss of entire species across Earth dominates any review of wildlife destruction as extinction is the level of damage to a wild population from which there is no return.
The four most general reasons that lead to destruction of wildlife include overkill, habitat destruction and fragmentation, impact of introduced species and chains of extinction.
Populations are confined to islands, whether literal islands or just areas of habitat that are effectively an “island” for the species concerned have also been observed to be at greater risk of dramatic population declines following unsustainable hunting.
Examples of habitat destruction include grazing of bushland by farmed animals, changes to natural fire regimes, forest clearing for timber production and wetland draining for city expansion.
Another example is the black drongos and the cattle egrets found in India. These birds feed on insects on the back of cattle, which helps to keep them disease-free. If we destroy the nesting habitats of these birds, it will result a decrease in the cattle population because of the spread of insect-borne diseases.
This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
| Name | Sir David Attenborough |
|---|---|
| Caption | David Attenborough, May 2003 |
| Birth date | May 08, 1926 |
| Birth place | London, England |
| Residence | Richmond, London |
| Nationality | British |
| Alma mater | |
| Occupation | |
| Title | |
| Spouse | Jane Elizabeth Ebsworth Oriel (1950–1997 (Deceased)) |
| Children |
Sir David Frederick Attenborough () OM, CH, CVO, CBE, FRS, FZS, FSA (born 8 May 1926 in London, England) is a broadcaster and naturalist. His career as the respected face and voice of natural history programmes has endured for more than 50 years. He is best known for writing and presenting the nine "Life" series, in conjunction with the BBC Natural History Unit, which collectively form a comprehensive survey of all life on the planet. He is also a former senior manager at the BBC, having served as controller of BBC Two and director of programming for BBC Television in the 1960s and 1970s.
He is the younger brother of director, producer and actor Richard Attenborough.
Attenborough spent his childhood collecting fossils, stones and other natural specimens. He received encouragement in this pursuit at age seven, when a young Jacquetta Hawkes admired his "museum". A few years later, one of his adoptive sisters gave him a piece of amber filled with prehistoric creatures; some 50 years later, it would be the focus of his programme The Amber Time Machine.
Attenborough was educated at Wyggeston Grammar School for Boys in Leicester and then won a scholarship to Clare College, Cambridge in 1945, where he studied geology and zoology and obtained a degree in Natural Sciences. In 1947, he was called up for National Service in the Royal Navy and spent two years stationed in North Wales and the Firth of Forth.
In 1950, Attenborough married Jane Elizabeth Ebsworth Oriel; the marriage lasted until her death in 1997. The couple had two children, Robert and Susan.
His son, Dr Robert Attenborough, is a senior lecturer in Bioanthropology for the School of Archaeology and Anthropology at the Australian National University in Canberra.
Attenborough's association with natural history programmes began when he produced and presented the three-part series The Pattern of Animals. The studio-bound programme featured animals from London Zoo, with the naturalist Sir Julian Huxley discussing their use of camouflage, aposematism and courtship displays. Through this programme, Attenborough met Jack Lester, the curator of the zoo's reptile house, and they decided to make a series about an animal-collecting expedition. The result was Zoo Quest, first broadcast in 1954, which Attenborough presented at short notice, due to Lester being taken ill.
In 1957, the BBC Natural History Unit was formally established in Bristol. Attenborough was asked to join it, but declined, not wishing to move from London where he and his young family were settled. Instead he formed his own department, the Travel and Exploration Unit, which allowed him to continue to front the Zoo Quest programmes as well as produce other documentaries, notably the Travellers’ Tales and Adventure series.
In the early 1960s, Attenborough resigned from the permanent staff of the BBC to study for a postgraduate degree in social anthropology at the London School of Economics, interweaving his study with further filming. However, he accepted an invitation to return to the BBC as Controller of BBC Two before he could finish the degree.
BBC Two was launched in 1964, but had struggled to capture the public's imagination. When Attenborough arrived as Controller, he quickly abolished the channel's quirky kangaroo mascot and shook up the schedule. With a mission to make BBC Two's output diverse and different from that offered by other networks, he began to establish a portfolio of programmes that defined the channel's identity for decades to come. Under his tenure, music, the arts, entertainment, archaeology, experimental comedy, travel, drama, sport, business, science and natural history all found a place in the weekly schedules. Often, an eclectic mix was offered within a single evening's viewing. Programmes he commissioned included Man Alive, Call My Bluff, Chronicle, Life, One Pair of Eyes, The Old Grey Whistle Test and The Money Programme. When BBC Two became the first British channel to broadcast in colour in 1967, Attenborough took advantage by introducing televised snooker.
One of his most significant decisions was to order a 13-part series on the history of Western art, to show off the quality of the new UHF colour television service that BBC Two offered. Broadcast to universal acclaim in 1969, Civilisation set the blueprint for landmark authored documentaries, which were informally known as "tombstone" or "sledgehammer" projects. Others followed, including Jacob Bronowski's The Ascent of Man (also commissioned by Attenborough), and Alistair Cooke's . Attenborough thought that the story of evolution would be a natural subject for such a series. He shared his idea with Chris Parsons, a producer at the Natural History Unit, who came up with the title Life on Earth and returned to Bristol to start planning the series. Attenborough harboured a strong desire to present the series himself, but this would not be possible so long as he remained in a management post.
In 1969, Attenborough was promoted to Director of Programmes, making him responsible for the output of both BBC channels. His tasks, which included agreeing budgets, attending board meetings and firing staff, were now far removed from the business of filming programmes. When Attenborough's name was being suggested as a candidate for the position of Director General of the BBC in 1972, he phoned his brother Richard to confess that he had no appetite for the job. Early the following year, he left his post to return to full-time programme making, leaving him free to write and present the planned natural history epic.
On his return, he began to work on the scripts for Life on Earth. Due to the scale of his ambition, the BBC decided to partner with an American network to secure the necessary funding. While the negotiations were proceeding he worked on a number of other television projects. He presented a series on tribal art (The Tribal Eye, 1975) and another on the voyages of discovery (The Explorers, 1975). He also presented a BBC children's series about cryptozoology entitled Fabulous Animals (1975), which featured mythical creatures such as the griffin and kraken. Eventually, the BBC signed a co-production deal with Turner Broadcasting and Life on Earth moved into production in 1976.
The success of Life on Earth prompted the BBC to consider a follow-up, and five years later, The Living Planet was screened. This time, Attenborough built his series around the theme of ecology, the adaptations of livings things to their environment. It was another critical and commercial success, generating huge international sales for the BBC. In 1990, The Trials of Life completed the original "Life" trilogy, looking at animal behaviour through the different stages of life. The series drew strong reactions from the viewing public for its sequences of killer whales hunting sea lions on a Patagonian beach and chimpanzees hunting and violently killing a colobus monkey.
In the 1990s, Attenborough continued to use the "Life" moniker for a succession of authored documentaries. In 1993, he presented Life in the Freezer, the first television series to survey the natural history of Antarctica. Although past normal retirement age, he then embarked on a number of more specialised surveys of the natural world, beginning with plants. They proved a difficult subject for his producers, who had to deliver five hours of television featuring what are essentially immobile objects. The result, The Private Life of Plants (1995), showed plants as dynamic organisms by using time-lapse photography to speed up their growth.
Prompted by an enthusiastic ornithologist at the BBC Natural History Unit, Attenborough then turned his attention to the animal kingdom and in particular, birds. As he was neither an obsessive twitcher, nor a bird expert, he decided he was better qualified to make The Life of Birds (1998) on the theme of behaviour. The order of the remaining "Life" series was dictated by developments in camera technology. For The Life of Mammals (2002), low-light and infrared cameras were deployed to reveal the behaviour of nocturnal mammals. The series contains a number of memorable two shots of Attenborough and his subjects, which included chimpanzees, a blue whale and a grizzly bear. Advances in macro photography made it possible to capture natural behaviour of very small creatures for the first time, and in 2005, Life in the Undergrowth introduced audiences to the world of invertebrates.
At this point, Attenborough realised that he had spent 20 years unconsciously assembling a collection of programmes on all the major groups of terrestrial animals and plants — only reptiles and amphibians were missing. When Life in Cold Blood was broadcast in 2008, he had the satisfaction of completing the set, brought together in a DVD encyclopaedia called Life on Land. In an interview that year, Attenborough was asked to sum up his achievement, and responded:
However, in 2010 Attenborough asserted that his forthcoming First Life — dealing with evolutionary history before Life on Earth — should also be included within the "Life" series. In the documentary Attenborough's Journey he stated, "This series, to a degree which I really didn't fully appreciate until I started working on it, really completes the set."
Attenborough narrated every episode of Wildlife on One, a BBC One wildlife series which ran for nearly more than 250 episodes between 1977 and 2005. At its peak, it drew a weekly audience of eight to ten million, and the 1987 episode "Meerkats United" was voted the best wildlife documentary of all time by BBC viewers. He has also narrated over 50 episodes of Natural World, BBC Two's flagship wildlife series. (Its forerunner, The World About Us, was created by Attenborough in 1969, as a vehicle for colour television.) In 1997, he narrated the BBC Wildlife Specials, each focussing on a charismatic species, and screened to mark the Natural History Unit's 40th anniversary.
As a writer and narrator, he continued to collaborate with the BBC Natural History Unit in the new millennium. Alastair Fothergill, a senior producer with whom Attenborough had worked on The Trials of Life and Life in the Freezer, was making The Blue Planet (2001), the Unit's first comprehensive series on marine life. He decided not to use an on-screen presenter due to difficulties in speaking to camera through diving apparatus, but asked Attenborough to narrate the films. The same team reunited for Planet Earth (2006), the biggest nature documentary ever made for television, and the first BBC wildlife series to be shot in high definition. In 2009, Attenborough wrote and narrated Life, a ten-part series focussing on extraordinary animal behaviour, and narrated Nature's Great Events, which showed how seasonal changes trigger major natural spectacles.
By the turn of the millennium, Attenborough's authored documentaries were adopting a more overtly environmentalist stance. In State of the Planet (2000), he used the latest scientific evidence and interviews with leading scientists and conservationists to assess the impact of man's activities on the natural world. He later turned to the issues of global warming (The Truth about Climate Change, 2006) and human population growth (How Many People Can Live on Planet Earth?, 2009). He also contributed a programme which highlighted the plight of endangered species to the BBC's Saving Planet Earth project in 2007, the 50th anniversary of the Natural History Unit.
Interestingly, although Attenborough's documentaries have attained immense popularity in the United States, several have never been made available on DVD in NTSC format, most notably those that cast doubt upon conservative religious or political positions. These include:
He is writing and presenting Frozen Planet, a major new series for BBC One which examines the impact of a warming climate on the people and wildlife of the polar regions. He also has two projects currently in production for BBC Two. Wild Madagascar is a three-part series giving an overview of Madagascar's unique wildlife. The accompanying documentary Attenborough and the Giant Egg will feature the elephant bird egg which Attenborough discovered on his first filming expedition to the island in the 1960s.
Attenborough is also forging a new partnership with Sky, working on documentaries for the broadcaster's new 3D network, Sky 3D. Their first collaboration is Flying Monsters 3D, a film about pterosaurs which will debut on Christmas Day 2010. A second film, Penguin Island 3D, has also been announced. Both are produced by Atlantic Productions, the company behind Attenborough's 2010 series First Life.
In 1990, he highlighted the case of Mahjoub Sharif as part of the BBC's Prisoners of Conscience series.
In January 2009, the BBC commissioned Attenborough to provide a series of 20 ten-minute monologues covering the history of nature. Entitled David Attenborough's Life Stories, they are broadcast on Radio 4 in the Friday night slot vacated by Alistair Cooke's Letter from America. Part of Radio 4's A Point of View strand, the talks are also available as podcasts.
He appeared in the 2009 Children's Prom at the BBC Promenade Concerts and in the Last Night of the Proms on 12 September 2009, playing a floor polisher in Sir Malcolm Arnold's "A Grand, Grand Overture" (after which he was "shot" by Rory Bremner, who was playing the gun).
Attenborough also serves on the advisory board of BBC Wildlife magazine.
On 13 July 2006, Attenborough, along with his brother Richard, were awarded the titles of Distinguished Honorary Fellows of the University of Leicester "in recognition of a record of continuing distinguished service to the University." David Attenborough was previously awarded an Honorary Doctor of Letters degree by the university in 1970.
In 1993, after discovering that the Mesozoic reptile Plesiosaurus conybeari had not, in fact, been a true plesiosaur, the paleontologist Robert Bakker renamed the species Attenborosaurus conybeari in Attenborough's honour.
Out of four extant species of echidna, one is named after him: Sir David's Long-beaked Echidna, Zaglossus attenboroughi, which inhabits the Cyclops mountains in the Papua province of New Guinea.
In June 2004, Attenborough and Sir Peter Scott were jointly profiled in the second of a three-part BBC Two series, The Way We Went Wild, about television wildlife presenters. Part three also featured Attenborough extensively. The next month, another BBC Two programme, Attenborough the Controller, recalled his time as Director of Programmes for BBC Two.
In November 2005, London's Natural History Museum announced a fundraising campaign to build a communications centre in Attenborough's honour. The museum opened the Attenborough Studio, part of its Darwin Centre phase two development, in September 2009.
An opinion poll of 4,900 Britons conducted by Reader's Digest in 2006, showed Attenborough to be the most trusted celebrity in Britain. In a list compiled by the magazine New Statesman in 2006, he was voted tenth in the list of "Heroes of our time".
It is often suggested that David Attenborough's 50-year career at the BBC making natural history documentaries and travelling extensively throughout the world has probably made him the most travelled person on Earth.
His contribution to broadcasting was recognised by the 60-minute documentary Life on Air, transmitted in 2002, to tie in with the publication of Attenborough's similarly titled autobiography. For the programme, the naturalist was interviewed at his home by his friend Michael Palin. Attenborough's reminiscences are interspersed with memorable clips from his series, with contributions from his brother Richard as well as professional colleagues. Life on Air is available on DVD as part of Attenborough in Paradise and Other Personal Voyages.
In May 2008, the oldest known prehistoric mother — a fossilised fish giving live birth, was given the name Materpiscis attenboroughi. It honoured David Attenborough's role in highlighting the scientific importance of the ancient fossilised Gogo Reef, Western Australia, in his 1979 Life on Earth TV series.
Attenborough received three honorary degrees in 2008; one from the University of Aberdeen on 1 July 2008, another from the University of Exeter on 11 July 2008 and the other on 4 November 2008 from Kingston University.
A species of the Pitcher plant from Palawan Island in the Philippines, discovered in 2007 and dedicated to Attenborough on the occasion of his 80th birthday, but only officially described in 2009 is named Nepenthes attenboroughii in his honour.
In 2006, British television viewers were asked to vote for their Favourite Attenborough Moments from a shortlist of twenty candidates. The results were revealed by UKTV on 7 May, the day before Attenborough's 80th birthday. The poll was won by a clip from The Life of Birds which showed the mimicry skills of the superb lyrebird.
In 2009, the comedians and intellectuals Stewart Lee and Armando Iannuci summed up Attenborough's place in the popular imagination: ""...David Attenburgh's position is unasailable, he *is* the BBC, ...sums it all up, yeah"
However, his closing message from State of the Planet was forthright:
The future of life on earth depends on our ability to take action. Many individuals are doing what they can, but real success can only come if there's a change in our societies and our economics and in our politics. I've been lucky in my lifetime to see some of the greatest spectacles that the natural world has to offer. Surely we have a responsibility to leave for future generations a planet that is healthy, inhabitable by all species.
In the last few years, Attenborough has become increasingly vocal in support of environmental causes. In 2005 and 2006, he backed a BirdLife International project to stop the killing of albatross by longline fishing boats. He gave public support to WWF's campaign to have 220,000 square kilometres of Borneo's rainforest designated a protected area. He also serves as a vice-president of BTCV, Fauna and Flora International, president of Butterfly Conservation and president of Leicestershire and Rutland Wildlife Trust. In 2003 he launched an appeal to create a rainforest reserve in Ecuador in memory of Christopher Parsons OBE, the producer of Life on Earth and a personal friend, who had died the previous year. Attenborough also launched ARKive in May 2003, a global project which had been instigated by Christopher Parsons to gather together natural history media into a digital library, an online Noah's Ark. He later became Patron of the World Land Trust, and an active supporter. He supported Glyndebourne in their successful application to obtain planning permission for wind turbine in an Area of Outstanding Natural Beauty, and gave evidence at the planning inquiry arguing that the public must be prepared to accept the visual effects of something designed to combat climate change.
Attenborough has repeatedly said that he considers human overpopulation to be the root cause of many environmental problems. Both his series The Life of Mammals and the accompanying book end with a plea for humans to curb population growth so that other species will not be crowded out. In 2009, he became a patron of the Optimum Population Trust, a UK charity advocating sustainable human populations.
He has recently written and spoken publicly about the fact that, despite past scepticism, he now believes the Earth's climate is warming in a way that is cause for concern, and that this can likely be attributed to human activity. At the climax of the aforementioned "Climate Chaos" documentaries, the naturalist gives this summing up of his findings:
In the past, we didn't understand the effect of our actions. Unknowingly, we sowed the wind and now, literally, we are reaping the whirlwind. But we no longer have that excuse: now we do recognise the consequences of our behaviour. Now surely, we must act to reform it: individually and collectively; nationally and internationally — or we doom future generations to catastrophe.
In a 2005 interview with BBC Wildlife magazine, Attenborough said he considered George W. Bush to be the era's top "environmental villain". In 2007, he further elaborated on the USA's consumption of energy in relation to its population. When asked if he thought America to be "the villain of the piece", he responded:
I don't think whole populations are villainous, but Americans are just extraordinarily unaware of all kinds of things. If you live in the middle of that vast continent, with apparently everything your heart could wish for just because you were born there, then why worry? [...] If people lose knowledge, sympathy and understanding of the natural world, they're going to mistreat it and will not ask their politicians to care for it.
My response is that when Creationists talk about God creating every individual species as a separate act, they always instance hummingbirds, or orchids, sunflowers and beautiful things. But I tend to think instead of a parasitic worm that is boring through the eye of a boy sitting on the bank of a river in West Africa, [a worm] that's going to make him blind. And [I ask them], 'Are you telling me that the God you believe in, who you also say is an all-merciful God, who cares for each one of us individually, are you saying that God created this worm that can live in no other way than in an innocent child's eyeball? Because that doesn't seem to me to coincide with a God who's full of mercy'.
He has explained that he feels the evidence all over the planet clearly shows evolution to be the best way to explain the diversity of life, and that "as far as I'm concerned, if there is a supreme being then he chose organic evolution as a way of bringing into existence the natural world."
In a BBC Four interview with Mark Lawson, Attenborough was asked if he at any time had any religious faith. He replied simply, "No." He has also said "It never really occurred to me to believe in God".
In 2002, Attenborough joined an effort by leading clerics and scientists to oppose the inclusion of creationism in the curriculum of UK state-funded independent schools which receive private sponsorship, such as the Emmanuel Schools Foundation. In 2009, Attenborough stated that the Book of Genesis, by saying that the world was there for people to dominate, had taught generations that they can "dominate" the environment, and that this has resulted in the devastation of vast areas of the environment. Attenborough further explained to the science journal Nature, "That's why Darwinism, and the fact of evolution, is of great importance, because it is that attitude which has led to the devastation of so much, and we are in the situation that we are in."
Also in early 2009, the BBC broadcast an Attenborough one-hour special, Charles Darwin and the Tree of Life. In reference to the programme, Attenborough stated that "People write to me that evolution is only a theory. Well, it is not a theory. Evolution is as solid a historical fact as you could conceive. Evidence from every quarter. What is a theory is whether natural selection is the mechanism and the only mechanism. That is a theory. But the historical reality that dinosaurs led to birds and mammals produced whales, that's not theory." He strongly opposes creationism and its offshoot "intelligent design", saying that a survey that found a quarter of science teachers in state schools believe that creationism should be taught alongside evolution in science lessons was "really terrible".
PSB, to me, is not about selecting individual programme strands here or there, financing them from some outside source and then foisting them upon commercial networks. Public Service Broadcasting, watched by a healthy number of viewers, with programmes financed in proportion to their intrinsic needs and not the size of the audience, can only effectively operate as a network — a network whose aim is to cater for the broadest possible range of interests, popular as well as less popular, a network that measures its success not only by its audience size but by the range of its schedule.
Public service broadcasting is one of the things that distinguishes this country and makes me want to live here. I have spent all my life in it. I would be very distressed if public service broadcasting was weakened. I have been at the BBC since 1952, and know the BBC is constantly being battered. It is today.
If you could demonstrate that the BBC was grossly extravagant there might be a case for saying OK take it away. But in fact the BBC per minute in almost every category is as cheap as you can find anywhere in the world and produces the best quality. If you take the money away, which part of the BBC will you remove? The BBC has gone through swingeing staff cuts. It has been cut to the bone, if you divert licence fee money elsewhere, you cut quality and services. There is always that threat from politicians who will say your licence fee is up for grabs. We will take it. There is a lot of people who want to see the BBC weakened. They talk of this terrible tax of the licence fee. Yet it is the best bargain that is going. Four radio channels and god knows how many TV channels. It is piffling.
Attenborough expressed regret at some of the changes made to the BBC in the 1990s by Director-General John Birt, who introduced an internal market at the corporation, slimmed and even closed some departments and outsourced much of the corporation’s output to private production companies, in line with the Broadcasting Act 1990. He has said:
There is no question but that Birtism . . . has had some terrible results. On the other hand, the BBC had to change. Now it has to produce programmes no one else can do. Otherwise, forget the licence fee.
The Bristol Unit has suffered along with the rest of the BBC from recent staff cuts. Yet it remains confident in the belief that the BBC will maintain it, in spite of the vagaries of fashion, because the Corporation believes that such programmes deserve a place in the schedules of any broadcaster with pretensions of providing a Public Service. In due course, similar specialist Units were also established in London, in order to produce programmes on archaeology and history, on the arts, on music and on science. They too, at one time, had their successes. But they have not survived as well as the Unit in Bristol. The statutory requirement that a certain percentage of programmes must come from independent producers has reduced in-house production and the Units necessarily shrank proportionately in size. As they dwindled, so the critical mass of their production expertise has diminished. The continuity of their archives has been broken, they have lost the close touch they once had worldwide with their subjects and they are no longer regarded internationally as the centres of innovation and expertise that they once were.
When Birt gets up and says the whole of the BBC was a creative mess and it was wasteful, I never saw any evidence of that. I absolutely know it wasn’t so in my time. Producers now spend all their time worrying about money, and the thing has suffered for it.
In 2008, he criticised the BBC’s television schedules:
I have to say that there are moments when I wonder — moments when its two senior networks, first set up as a partnership, schedule simultaneously programmes of identical character, thereby contradicting the very reason that the BBC was given a second network. Then there are times when both BBC One and BBC Two, intoxicated by the sudden popularity of a programme genre, allow that genre to proliferate and run rampant through the schedules. The result is that other kinds of programmes are not placed, simply because of a lack of space. Do we really require so many gardening programmes, make-over programmes or celebrity chefs? Is it not a scandal in this day and age, that there seems to be no place for continuing series of programmes about science or serious music or thoughtful in-depth interviews with people other than politicians?
Attenborough is also an honorary member of BSES Expeditions, a youth development charity that operates challenging scientific research expeditions to remote wilderness environments.
"Time Flies", a sketch by David Ives, features a pair of anthropomorphic mayflies engaging in a courtship ritual, while watching themselves on television in a documentary narrated by David Attenborough.
The character of Nigel Thornberry, a nature documentarian on Nickelodeon's The Wild Thornberrys is strongly influenced by Attenborough.
He has also been parodied by the Australia 1980s sketch show The Comedy Company where Ian McFadyen portrays a character called David Rabbitborough.
Discworld (video game), based on the series of books by Terry Pratchett, parodies his unique delivery to explain different aspects of Discworld Universe, such as L-Space.
Mythbusters host Adam Savage often imitates Attenborough when speaking about his co-host Jamie Hyneman, which Jamie verified in the YouTube Special Episode.
Attenborough is known foremost for writing and presenting the nine Life series, which are presented in chronological order below:
His voice is synonymous with wildlife documentaries for British audiences, and the principal series with which his narration is associated include:
In addition, Attenborough has recorded some of his own works in audiobook form, including Life on Earth, Zoo Quest for a Dragon and his autobiography Life on Air: Memoirs of a Broadcaster.
Category:1926 births Category:Living people Category:Alumni of Clare College, Cambridge Category:Alumni of University College London Category:BBC Two controllers Category:British Book Awards Category:Commanders of the Order of the British Empire Category:Commanders of the Royal Victorian Order Category:English agnostics Category:English conservationists Category:English environmentalists Category:English television personalities Category:Fellows of the Royal Society Category:Fellows of the Society of Antiquaries of London Category:Fellows of the Zoological Society of London Category:Kalinga Prize recipients Category:Knights Bachelor Category:Members of the Linnean Society of London Category:Members of the Order of the Companions of Honour Category:Members of the Order of Merit Category:People associated with the University of Leicester Category:People from Leicester Category:People from London Category:Presenters of the Royal Institution Christmas Lectures
This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
| Name | David Bowie |
|---|---|
| Background | solo_singer |
| Birth name | David Robert Jones |
| Born | January 08, 1947Brixton, London, England |
| Years active | 1964–present |
| Occupation | Musician, actor, record producer, arranger, singer |
| Voice type | Baritone |
| Instrument | Vocals, guitar, saxophone, piano, keyboards, synthesizers, Mellotron, harmonica, Stylophone, xylophone, vibraphone, koto, drums, percussion |
| Genre | Rock, Pop, glam rock, art rock, blue-eyed soul |
| Associated acts | The Riot Squad, Tin Machine |
| Label | Deram, RCA, Rykodisc, Virgin, EMI, ISO, Columbia, BMG, Parlophone, Pye, Hanso |
| Url | Official Website |
Although he released an album (David Bowie) and several singles earlier, Bowie first caught the eye and ear of the public in July 1969, when the song "Space Oddity" reached the top five of the UK Singles Chart. After a three-year period of experimentation he re-emerged in 1972 during the glam rock era with the flamboyant, androgynous alter ego Ziggy Stardust, spearheaded by the hit single "Starman" and the album The Rise and Fall of Ziggy Stardust and the Spiders from Mars. Bowie's impact at that time, as described by biographer David Buckley, "challenged the core belief of the rock music of its day" and "created perhaps the biggest cult in popular culture."
The family moved in 1953 to nearby suburb, Bromley, where, two years later, Bowie progressed to Burnt Ash Junior School. His singing voice was considered "adequate" by the school choir, and his recorder playing judged to demonstrate above-average musical ability. At the age of nine, his dancing during the newly introduced music and movement classes was strikingly imaginative: teachers called his interpretations "vividly artistic" and his poise "astonishing" for a child. Presley's impact on him was likewise emphatic: "I saw a cousin of mine dance to ... 'Hound Dog' and I had never seen her get up and be moved so much by anything. It really impressed me, the power of the music. I started getting records immediately after that." By the end of the following year he had taken up the ukelele and tea-chest bass and begun to participate in skiffle sessions with friends, and had started to play the piano; meanwhile his stage presentation of numbers by both Presley and Chuck Berry—complete with gyrations in tribute to the original artists—to his local Wolf Cub group was described as He received a serious injury at school in 1962 when his friend George Underwood, wearing a ring on his finger, punched him in the left eye during a fight over a girl. Doctors feared he would lose the sight of the eye, and he was forced to stay out of school for a series of operations during a four-month hospitalisation. The damage could not be fully repaired, leaving him with faulty depth perception and a permanently dilated pupil (the latter producing Bowie's appearance of having different coloured eyes, though each iris has the same blue colour). Despite their fisticuffs, Underwood and Bowie remained good friends, and Underwood went on to create the artwork for Bowie's early albums.
Conn quickly began to promote Bowie. The singer's debut single, "Liza Jane", credited to Davie Jones and the King Bees, had no commercial success. Dissatisfied with the King Bees and their repertoire of Howlin' Wolf and Willie Dixon blues numbers, Bowie quit the band less than a month later to join the Manish Boys, another blues outfit, who incorporated folk and soul—"I used to dream of being their Mick Jagger", Bowie was to recall.
Dissatisfied with his stage name as Davy (and Davie) Jones, which in the mid-1960s invited confusion with Davy Jones of The Monkees, Bowie re-named himself after the 19th century American frontiersman Jim Bowie and the knife he had popularised. His April 1967 solo single, "The Laughing Gnome", utilising sped-up Chipmunk-style vocals, failed to chart. Released six weeks later, his album debut, David Bowie, an amalgam of pop, psychedelia, and music hall, met the same fate. It would be his last release for two years. Kemp, for his part, recalled, "I didn't really teach him to be a mime artiste but to be more of himself on the outside, ... I enabled him to free the angel and demon that he is on the inside." After Kemp cast Bowie with Hermione Farthingale for a poetic minuet, the pair began dating; they soon moved into a London flat together. Playing acoustic guitar, she formed a group with Bowie and bassist John Hutchinson; between September 1968 and early 1969, when Bowie and Farthingale broke up, the trio gave a small number of concerts combining folk, Merseybeat, poetry and mime.
Bowie contributed backing vocals to Reed's 1972 solo breakthrough Transformer, co-producing the album with Ronson. His own Aladdin Sane (1973) topped the UK chart, his first number one album. Described by Bowie as "Ziggy goes to America", it contained songs he wrote while travelling to and across the United States during the earlier part of the Ziggy tour, which now continued to Japan to promote the new album. Aladdin Sane spawned the UK top five singles "The Jean Genie" and "Drive-In Saturday".
Bowie's love of acting led his total immersion in the characters he created for his music. "Offstage I'm a robot. Onstage I achieve emotion. It's probably why I prefer dressing up as Ziggy to being David." With satisfaction came severe personal difficulties: acting the same role over an extended period, it became impossible for him to separate Ziggy Stardust—and, later, the Thin White Duke—from his own character offstage. Ziggy, Bowie said, "wouldn't leave me alone for years. That was when it all started to go sour ... My whole personality was affected. It became very dangerous. I really did have doubts about my sanity." His later Ziggy shows, which included songs from both Ziggy Stardust and Aladdin Sane, were ultra-theatrical affairs filled with shocking stage moments, such as Bowie stripping down to a sumo wrestling loincloth or simulating oral sex with Ronson's guitar. Bowie toured and gave press conferences as Ziggy before a dramatic and abrupt on-stage "retirement" at London's Hammersmith Odeon on 3 July 1973. Footage from the final show was released in 1983 for the film Ziggy Stardust and the Spiders from Mars.
After breaking up the Spiders from Mars, Bowie attempted to move on from his Ziggy persona. His back catalogue was now highly sought: The Man Who Sold the World had been re-released in 1972 along with Space Oddity. "Life on Mars?", from Hunky Dory, was released in June 1973 and made number three in the UK singles chart. Entering the same chart in September, Bowie's novelty record from 1967, "The Laughing Gnome", would reach number four. Pin Ups, a collection of covers of his 1960s favourites, followed in October, producing a UK number three hit in "Sorrow" and itself peaking at number one, making David Bowie the best-selling act of 1973 in the UK. It brought the total number of Bowie albums currently in the UK chart to six.
The fruit of the Philadelphia recording sessions was Young Americans (1975). Biographer Christopher Sandford writes, "Over the years, most British rockers had tried, one way or another, to become black-by-extension. Few had succeeded as Bowie did now." The album's sound, which the singer identified as "plastic soul", constituted a radical shift in style that initially alienated many of his UK devotees. Young Americans yielded Bowie's first US number one, "Fame", co-written with John Lennon, who contributed backing vocals, and Carlos Alomar. Earning the distinction of being one of the first white artists to appear on the US variety show Soul Train, Bowie mimed "Fame", as well as "Golden Years", his October single. Young Americans was a commercial success in both the US and the UK, and a re-issue of the 1969 single "Space Oddity" became Bowie's first number one hit in the UK a few months after "Fame" achieved the same in the US.
Despite his by now well established superstardom, Bowie, in the words of biographer Christopher Sandford, "for all his record sales (over a million copies of Ziggy Stardust alone), existed essentially on loose change." In 1975, in a move echoing Pitt's acrimonious dismissal 15 years earlier, Bowie fired his manager. At the culmination of the ensuing months-long legal dispute, he watched, as described by Sandford, "millions of dollars of his future earnings being surrendered" in what were "uniquely generous terms for Defries", then "shut himself up in West 20th Street, where for a week his howls could be heard through the locked attic door."
at the O'Keefe center, Toronto 1976]] Station to Station (1976) introduced a new Bowie persona, the "Thin White Duke" of its title track. Visually, the character was an extension of Thomas Jerome Newton, the extraterrestrial being he portrayed in the film The Man Who Fell to Earth the same year. Developing the funk and soul of Young Americans, Station to Station also prefigured the Krautrock and synthesiser music of his next releases. The extent to which drug addiction was now affecting Bowie was made public when Russell Harty interviewed the singer for his London Weekend Television talk show in anticipation of the album's supporting tour. Shortly before the satellite-linked interview was scheduled to commence, the death of the Spanish dictator General Franco was announced. Bowie was asked to relinquish the satellite booking, to allow the Spanish Government to put out a live newsfeed. This he refused to do, and his interview went ahead. In the ensuing conversation with Harty, as described by biographer David Buckley, "the singer made hardly any sense at all throughout what was quite an extensive interview. [...] Bowie looked completely disconnected and was hardly able to utter a coherent sentence." His sanity—by his own later admission—had become twisted from cocaine; he overdosed several times during the year, and was withering physically to an alarming degree. Matters came to a head in London in May in what became known as the "Victoria Station incident". Arriving in an open-top Mercedes convertible, the singer waved to the crowd in a gesture that some alleged was a Nazi salute, which was captured on camera and published in NME. Bowie said the photographer simply caught him in mid-wave. He later blamed his pro-Fascism comments and his behaviour during the period on his addictions and the character of the Thin White Duke. "I was out of my mind, totally crazed. The main thing I was functioning on was mythology ... that whole thing about Hitler and Rightism ... I'd discovered King Arthur ...". According to playwright Alan Franks, writing later in The Times, "he was indeed 'deranged'. He had some very bad experiences with hard drugs."
Before the end of 1976, Bowie's interest in the burgeoning German music scene, as well as his drug addiction, prompted him to move to West Berlin to clean up and revitalise his career. Working with Brian Eno while sharing an apartment in Schöneberg with Iggy Pop, he began to focus on minimalist, ambient music for the first of three albums, co-produced with Tony Visconti, that would become known as his Berlin Trilogy. During the same period, Pop, with Bowie as a co-writer and musician, completed his solo album debut, The Idiot, and its follow-up, Lust for Life, touring the UK, Europe, and the US in March and April 1977. Low (1977), partly influenced by the Krautrock sound of Kraftwerk and Neu!, evidenced a move away from narration in Bowie's songwriting to a more abstract musical form in which lyrics were sporadic and optional. It received considerable negative criticism upon its release—a release which RCA, anxious to maintain the established commercial momentum, did not welcome, and which Bowie's ex-manager, Tony Defries, who still maintained a significant financial interest in the singer's affairs, tried to prevent. Despite these forebodings, Low yielded the UK number three single "Sound and Vision", and its own performance surpassed that of Station to Station in the UK chart, where it reached number two. Leading contemporary composer Philip Glass described Low as "a work of genius" in 1992, when he used it as the basis for his Symphony No. 1 "Low"; subsequently, Glass used Bowie's next album as the basis for his 1996 Symphony No. 4 "Heroes". Glass has praised Bowie's gift for creating "fairly complex pieces of music, masquerading as simple pieces".
Echoing Lows minimalist, instrumental approach, the second of the trilogy, "Heroes" (1977), incorporated pop and rock to a greater extent, seeing Bowie joined by guitarist Robert Fripp. Like Low, "Heroes" evinced the zeitgeist of the Cold War, symbolised by the divided city of Berlin. Incorporating ambient sounds from a variety of sources including white noise generators, synthesizers and koto, the album was another hit, reaching number three in the UK. Its title track, though only reaching number 24 in the UK singles chart, gained lasting popularity, and within months had been released in both German and French. Towards the end of the year, Bowie performed the song for Marc Bolan's television show Marc, and again two days later for Bing Crosby's televised Christmas special, when he joined Crosby in "Peace on Earth/Little Drummer Boy", a version of "The Little Drummer Boy" with a new, contrapuntal verse. Five years later, the duet would prove a worldwide seasonal hit, charting in the UK at number three on Christmas Day, 1982.
After completing Low and "Heroes", Bowie spent much of 1978 on the Isolar II world tour, bringing the music of the first two Berlin Trilogy albums to almost a million people during 70 concerts in 12 countries. By now he had broken his drug addiction; biographer David Buckley writes that Isolar II was "Bowie's first tour for five years in which he had probably not anaesthetised himself with copious quantities of cocaine before taking the stage. [...] Without the oblivion that drugs had brought, he was now in a healthy enough mental condition to want to make friends." Recordings from the tour made up the live album Stage, released the same year.
The final piece in what Bowie called his "triptych", Lodger (1979), eschewed the minimalist, ambient nature of the other two, making a partial return to the drum- and guitar-based rock and pop of his pre-Berlin era. The result was a complex mixture of New Wave and World Music, in places incorporating Hejaz non-Western scales. Some tracks were composed using Eno and Peter Schmidt's Oblique Strategies cards: "Boys Keep Swinging" entailed band members swapping instruments, "Move On" used the chords from Bowie's early composition "All the Young Dudes" played backwards, and "Red Money" took backing tracks from "Sister Midnight", a piece previously composed with Iggy Pop. The album was recorded in Switzerland. Ahead of its release, RCA's Mel Ilberman stated, "It would be fair to call it Bowie's Sergeant Pepper [...] a concept album that portrays the Lodger as a homeless wanderer, shunned and victimized by life's pressures and technology." As described by biographer Christopher Sandford, "The record dashed such high hopes with dubious choices, and production that spelt the end—for fifteen years—of Bowie's partnership with Eno." Lodger reached number 4 in the UK and number 20 in the US, and yielded the UK hit singles "Boys Keep Swinging" and "DJ". Towards the end of the year, Bowie and Angela initiated divorce proceedings, and after months of court battles the marriage was ended in early 1980.
Bowie paired with Queen in 1981 for a one-off single release, "Under Pressure". The duet was a hit, becoming Bowie's third UK number one single. The same year, he made a cameo appearance in the German movie Christiane F., a real-life story of teenage drug addiction in 1970s Berlin. The soundtrack, in which Bowie's music featured prominently, was released as Christiane F. a few months later. Bowie was given the lead role in the BBC's 1981 televised adaptation of Bertolt Brecht's play Baal. Coinciding with its transmission, a five-track EP of songs from the play, recorded earlier in Berlin, was released as David Bowie in Bertolt Brecht's Baal. In March 1982, the month before Paul Schrader's film Cat People came out, Bowie's title song, "Cat People (Putting Out Fire)", was released as a single, becoming a minor US hit and entering the UK top 30.
Bowie reached a new peak of popularity and commercial success in 1983 with Let's Dance. Co-produced by Chic's Nile Rodgers, the album went platinum in both the UK and the US. Its three singles became top twenty hits in both countries, where its title track reached number one. "Modern Love" and "China Girl" made number two in the UK, accompanied by a pair of acclaimed promotional videos that, as described by biographer David Buckley, "were totally absorbing and activated key archetypes in the pop world. 'Let's Dance', with its little narrative surrounding the young Aborigine couple, targeted 'youth', and 'China Girl', with its bare-bummed (and later partially-censored) beach lovemaking scene (a homage to the film From Here to Eternity), was sufficiently sexually provocative to guarantee heavy rotation on MTV. By 1983, Bowie had emerged as one of the most important video artists of the day. Let's Dance was followed by the Serious Moonlight world tour, during which Bowie was accompanied by guitarist Earl Slick and backing vocalists Frank and George Simms. The tour lasted six months and was extremely popular.
Tonight (1984), another dance-oriented album, found Bowie collaborating with Tina Turner and, once again, Iggy Pop. It included a number of cover songs, among them the 1966 Beach Boys hit "God Only Knows". The album bore the transatlantic top ten hit "Blue Jean", itself the inspiration for a short film that won Bowie a Grammy Award for Best Short Form Music Video, "Jazzin' for Blue Jean". Bowie performed at Wembley in 1985 for Live Aid, a multi-venue benefit concert for Ethiopian famine relief. During the event, the video for a fundraising single was premièred, Bowie's duet with Jagger. "Dancing in the Street" quickly went to number one on release. The same year, Bowie worked with the Pat Metheny Group to record "This Is Not America" for the soundtrack of The Falcon and the Snowman. Released as a single, the song became a top 40 hit in the UK and US.
Bowie was given a role in the 1986 film Absolute Beginners. The movie was poorly received by critics, but Bowie's theme song rose to number two in the UK charts. He also appeared as Jareth, the Goblin King, in the 1986 Jim Henson film Labyrinth, for which he wrote five songs. His final solo album of the decade was 1987's Never Let Me Down, where he ditched the light sound of his previous two albums, instead offering harder rock with an industrial/techno dance edge. Peaking at number six in the UK, the album yielded the hits "Day-In, Day-Out" (his 60th single), "Time Will Crawl", and "Never Let Me Down". Bowie later described it as his "nadir", calling it "an awful album". Supporting Never Let Me Down, and preceded by nine promotional press shows, the 86-concert Glass Spider Tour commenced on 30 May. Bowie's backing band included Peter Frampton on lead guitar. Critics maligned the tour as overproduced, saying it pandered to the current stadium rock trends in its special effects and dancing.
Though he intended Tin Machine to operate as a democracy, Bowie dominated, both in songwriting and in decision-making. The band's album debut, Tin Machine (1989), was initially popular, though its politicised lyrics did not find universal approval: Bowie described one song as "a simplistic, naive, radical, laying-it-down about the emergence of neo-Nazis"; in the view of biographer Christopher Sandford, "It took nerve to denounce drugs, fascism and TV [...] in terms that reached the literary level of a comic book." EMI complained of "lyrics that preach" as well as "repetitive tunes" and "minimalist or no production". The album nevertheless reached number three in the UK. A series of Tin Machine singles failed to chart, and Bowie, after a disagreement with EMI, left the label. Like his audience and his critics, Bowie himself became increasingly disaffected with his role as just one member of a band. Tin Machine began work on a second album, but Bowie put the venture on hold and made a return to solo work. Performing his early hits during the seven-month Sound+Vision Tour, he found commercial success and acclaim once again.
In October 1990, a decade after his divorce from Angela, Bowie and Somali-born supermodel Iman were introduced by a mutual friend. Bowie recalled, "I was naming the children the night we met ... it was absolutely immediate." They would marry in 1992. Tin Machine resumed work the same month, but their audience and critics, ultimately left disappointed by the first album, showed little interest in a second. Tin Machine IIs arrival was marked by a widely publicised and ill-timed conflict over the cover art: after production had begun, the new record label, Victory, deemed the depiction of the four nude band members in statuesque pose, judged by Bowie to be "in exquisite taste", "a show of wrong, obscene images", requiring air-brushing and patching to render the figures sexless. Tin Machine toured again, but after the live album failed commercially, the band drifted apart, and Bowie, though he continued to collaborate with Gabrels, resumed his solo career.
1993 saw the release of Bowie's first solo offering since his Tin Machine departure, the soul, jazz and hip-hop influenced Black Tie White Noise. Making prominent use of electronic instruments, the album, which reunited Bowie with Let's Dance producer Nile Rodgers, confirmed Bowie's return to popularity, hitting the number one spot on the UK charts and spawning three top 40 hits, including the top 10 song "Jump They Say". Bowie explored new directions on The Buddha of Suburbia (1993), a soundtrack album of incidental music composed for the TV series adaptation of Hanif Kureishi's novel. It contained some of the new elements introduced in Black Tie White Noise, and also signalled a move towards alternative rock. The album was a critical success but received a low-key release and only made number 87 in the UK charts.
Reuniting Bowie with Eno, the quasi-industrial Outside (1995) was originally conceived as the first volume in a non-linear narrative of art and murder. Featuring characters from a short story written by Bowie, the album achieved US and UK chart success, and yielded three top 40 UK singles. In a move that provoked mixed reaction from both fans and critics, Bowie chose Nine Inch Nails as his tour partner for the Outside Tour. Visiting cities in Europe and North America between September 1995 and February the following year, the tour saw the return of Gabrels as Bowie's guitarist.
Bowie was inducted into the Rock and Roll Hall of Fame on 17 January 1996. Incorporating experiments in British jungle and drum 'n' bass, Earthling (1997) was a critical and commercial success in the UK and the US, and two singles from the album became UK top 40 hits. Bowie's song "I'm Afraid of Americans" from the Paul Verhoeven film Showgirls was re-recorded for the album, and remixed by Trent Reznor for a single release. The heavy rotation of the accompanying video, also featuring Reznor, contributed to the song's 16-week stay in the US Billboard Hot 100. The Earthling Tour took in Europe and North America between June and November 1997. Bowie reunited with Visconti in 1998 to record "(Safe in This) Sky Life" for The Rugrats Movie. Although the track was edited out of the final cut, it would later be re-recorded and released as "Safe" on the B-side of Bowie's 2002 single "Everyone Says 'Hi'". The reunion led to other collaborations including a limited-edition single release version of Placebo's track "Without You I'm Nothing", co-produced by Visconti, with Bowie's harmonised vocal added to the original recording.. In 1998, Bowie recorded "A Foggy Day (In London Town)" with Angelo Badalamenti for the Red Hot Organization’s compilation album Red Hot + Rhapsody a tribute to George Gershwin which raised money for various charities devoted to increasing AIDS awareness and fighting the disease.
In October 2001, Bowie opened The Concert for New York City, a charity event to benefit the victims of the September 11 attacks, with a minimalist performance of Simon & Garfunkel's "America", followed by a full band performance of "Heroes". 2002 saw the release of Heathen, and, during the second half of the year, the Heathen Tour. Taking in Europe and North America, the tour opened at London's annual Meltdown festival, for which Bowie was that year appointed artistic director. Among the acts he selected for the festival were Philip Glass, Television and The Polyphonic Spree. As well as songs from the new album, the tour featured material from Bowie's Low era. Reality (2003) followed, and then a world tour. Covering Europe, the United States, Canada, New Zealand, Australia and Japan, 'A Reality Tour', with an estimated attendance of 722,000, grossed more than any other tour in 2004. Onstage in Oslo, Norway, on 18 June, Bowie was hit in the eye with a lollipop thrown by a fan; a week later he suffered chest pain while performing at the Hurricane Festival in Scheeßel, Germany. Originally thought to be a pinched nerve in his shoulder, the pain was later diagnosed as an acutely blocked artery, requiring an emergency angioplasty in Hamburg. The remaining 14 dates of the tour were cancelled.
at the premiere of Jones' directorial debut Moon]] Recuperating from the heart surgery, Bowie reduced his musical output for the first time in several years, making only one-off appearances on stage and in the studio. He sang in a duet of his 1972 song "Changes" with Butterfly Boucher for the 2004 animated film Shrek 2. During a relatively quiet 2005, he recorded the vocals for the song "(She Can) Do That", co-written with Brian Transeau, for the movie Stealth. He returned to the stage on 8 September 2005, appearing with Arcade Fire for the US nationally televised event Fashion Rocks, and performed with the Canadian band for the second time a week later during the CMJ Music Marathon. He contributed back-up vocals on TV on the Radio's song "Province" for their album Return to Cookie Mountain, made a commercial with Snoop Dogg for XM Satellite Radio, and joined with Lou Reed on Danish alt-rockers Kashmir's 2005 album No Balance Palace. Bowie was awarded the Grammy Lifetime Achievement Award on 8 February 2006. In April, he announced, "I’m taking a year off—no touring, no albums." He made a surprise guest appearance at David Gilmour's 29 May concert at the Royal Albert Hall in London. The event was recorded, and a selection of songs on which he had contributed joint vocals were subsequently released. He performed again in November, alongside Alicia Keys, at the Black Ball, a New York benefit event for Keep a Child Alive.
Bowie was chosen to curate the 2007 High Line Festival, selecting musicians and artists for the Manhattan event, and performed on Scarlett Johansson's 2008 album of Tom Waits covers, Anywhere I Lay My Head. On the 40th anniversary of the July 1969 moon landing—and Bowie's accompanying commercial breakthrough with "Space Oddity"—EMI released the individual tracks from the original eight-track studio recording of the song, in a 2009 contest inviting members of the public to create a remix. A Reality Tour, a double album of live material from the 2003 concert tour, was released in January 2010.
The beginnings of his acting career predate his commercial breakthrough as a musician. Studying avant-garde theatre and mime under Lindsay Kemp, he was given the role of Cloud in Kemp's 1967 theatrical production Pierrot in Turquoise (later made into the 1970 TV movie The Looking Glass Murders). In the black and white short film The Image (1969), he played a ghostly boy who emerges from a troubled artist's painting to haunt him. The same year, the film of Leslie Thomas's 1966 comic novel The Virgin Soldiers saw Bowie make a brief appearance as an extra. Bowie starred in The Hunger (1983), a revisionist vampire movie, with Catherine Deneuve and Susan Sarandon. In Nagisa Oshima's film the same year, Merry Christmas, Mr. Lawrence, based on Laurens van der Post's novel The Seed and the Sower, Bowie played Major Jack Celliers, a prisoner of war in a Japanese internment camp. Another musician, Ryuichi Sakamoto, played the camp commandant who begins to be undermined by Celliers' bizarre behaviour. Bowie had a cameo in Yellowbeard, a 1983 pirate comedy created by Monty Python members, and a small part as Colin, the hitman in the 1985 film Into the Night. He declined to play the villain Max Zorin in the James Bond film A View to a Kill (1985).
Absolute Beginners (1986), a rock musical based on Colin MacInnes's 1959 novel about London life, featured Bowie's music and presented him with a minor acting role. The same year, Jim Henson's dark fantasy Labyrinth found him with the part of Jareth, the king of the goblins. Two years later he played Pontius Pilate in Martin Scorsese's 1988 film The Last Temptation of Christ. Bowie portrayed a disgruntled restaurant employee opposite Rosanna Arquette in The Linguini Incident (1991), and the mysterious FBI agent Phillip Jeffries in David Lynch's (1992). He took a small but pivotal role as Andy Warhol in Basquiat, artist/director Julian Schnabel's 1996 biopic of Jean-Michel Basquiat, and co-starred in Giovanni Veronesi's spaghetti western Il Mio West (1998, released as Gunslinger's Revenge in the US in 2005) as the most feared gunfighter in the region. He played the aging gangster Bernie in Andrew Goth's Everybody Loves Sunshine (1999), and appeared in the TV horror serial of The Hunger. In Mr. Rice's Secret (2000), he played the title role as the neighbour of a terminally ill twelve-year-old, and the following year appeared as himself in Zoolander.
Bowie portrayed Nikola Tesla, the physicist who pioneered AC electricity, co-starring with Christian Bale and Hugh Jackman in The Prestige (2006), Christopher Nolan's film of Christopher Priest's epistolary novel about the bitter rivalry between two magicians in the early 20th century. He voice-acted in the animated movie Arthur and the Invisibles as the powerful villain Maltazard, and lent his voice to the character Lord Royal Highness in the SpongeBob's Atlantis SquarePantis TV movie. In the 2008 film August, directed by Austin Chick, he played a supporting role as Ogilvie, alongside Josh Hartnett and Rip Torn, with whom he had worked in 1976 for The Man Who Fell to Earth.
Asked in 2002 by Blender whether he still believed his public declaration was the biggest mistake he ever made, he replied:
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Buckley's view of the period is that Bowie, "a taboo-breaker and a dabbler ... mined sexual intrigue for its ability to shock", and that "it is probably true that Bowie was never gay, nor even consistently actively bisexual ... he did, from time to time, experiment, even if only out of a sense of curiosity and a genuine allegiance with the 'transgressional'." Biographer Christopher Sandford says that according to Mary Finnigan, with whom Bowie had an affair in 1969, the singer and his first wife Angie "lived in a fantasy world [...] and they created their bisexual fantasy." Sandford tells how, during the marriage, Bowie "made a positive fetish of repeating the quip that he and his wife had met while 'fucking the same bloke' [...] Gay sex was always an anecdotal and laughing matter. That Bowie's actual tastes swung the other way is clear from even a partial tally of his affairs with women." but biographer also reinforces that his public statements on sex had no other purpose but to do marketing and draw attention to his "transgressional" work.
Voice instructor Jo Thompson describes Bowie's vocal vibrato technique as "particularly deliberate and distinctive". Schinder and Schwartz call him "a vocalist of extraordinary technical ability, able to pitch his singing to particular effect." Here, too, as in his stagecraft and songwriting, the singer's chamaeleon-like nature is evident: historiographer Michael Campbell says that Bowie's lyrics "arrest our ear, without question. But Bowie continually shifts from person to person as he delivers them [...] His voice changes dramatically from section to section."
Bowie plays many instruments, among them electric, acoustic, and twelve-string guitar, alto, tenor and baritone saxophone, keyboards including piano, synthesizers and Mellotron, harmonica, Stylophone, xylophone, vibraphone, koto, drums and percussion, and string instruments including viola and cello. , 1974.]]
With these influences Bowie created a new world through his music. "Oh! You Pretty Things" from Hunky Dory (1971) is a fine example of this and has been considered a sci-fi song about 'homo superior' concepts in a "teasing, unquestionably gay tinged manner." The Rise and Fall of Ziggy Stardust and the Spiders from Mars is another example; an album around a fictional sci-fi story created by Bowie himself. Track "Five Years", for example, desperately says that the world will end to five years, and is one of many examples of his artistic endeavors with the collapse of society. Diamond Dogs also presents a vision of a post-apocalyptic world. Later, in Outside, he returned to the idea of a concept album based on stories he wrote and characters he had created. And Heathen reflected his impressions on the Attacks of September 11, 2001, with lyrics focused on humanity degradation. To conclude, Reality reflects on his career and in the title track he sings: "I've been right and I've been wrong"/ "I look for sense but I get next to nothing" / "Hey boy welcome to reality" on a hard song moved with three guitars, syncopated drums and bass such as the rock songs of his past phases.
Buckley writes that, in an early 1970s pop world that was "Bloated, self-important, leather-clad, self-satisfied, [...] Bowie challenged the core belief of the rock music of its day." As described by John Peel, "The one distinguishing feature about early-70s progressive rock was that it didn't progress. Before Bowie came along, people didn't want too much change." Buckley says that Bowie "subverted the whole notion of what it was to be a rock star", with the result that "After Bowie there has been no other pop icon of his stature, because the pop world that produces these rock gods doesn't exist any more. [...] The fierce partisanship of the cult of Bowie was also unique—its influence lasted longer and has been more creative than perhaps almost any other force within pop fandom." Buckley concludes that "Bowie is both star and icon. The vast body of work he has produced [...] has created perhaps the biggest cult in popular culture. [...] His influence has been unique in popular culture—he has permeated and altered more lives than any comparable figure."
Bowie was inducted into the Rock and Roll Hall of Fame in 1996.
David Bowie's influence remains immense, musically and socially. According to many authors, for example, incorporating androgynous characters like Ziggy Stardust and Aladdin Sane in his 1970 glam era that communicate through sexual languages Bowie re-create a independent adolescent class at the time and also helped movements such as the gay liberation. In this era he also helped to create new fashions around the rock and music scenes that still appeals people nowadays.
Musically, his albums were also very influential. The Man Who Sold the World (1970), for example, has been cited as influencing the goth rock, darkwave and science fiction elements of work by artists such as Siouxsie and the Banshees, The Cure, Gary Numan, John Foxx and Nine Inch Nails. In his journal, Kurt Cobain of Nirvana listed this album at number 45 in his top 50 favourite albums. In 1993, the band re-recorded its title-track in their MTV Unplugged in New York. After the glam era Bowie produced works such as Diamond Dogs (1974) which its elements of raw guitar style and visions of urban chaos, scavenging children and nihilistic lovers have been credited with anticipating the punk revolution of bands like The Germs and Sex Pistols, that would take place in the following years. 1976 saw the appraised album Station to Station, that has also been described as "enormously influential on post-punk" and influenced band Magazine. On the following year, "Heroes" (1977) of 'Berlin Trilogy' influenced Double Fantasy (1980) by John Lennon and Yoko Ono.
His work in the 80's, especially "Ashes to Ashes" song and its video showing a creative Bowie's music and image, provided the basis for a new musical movement of the time, called New Romantic, influencing acts such as Blitz Kids, Keanan Duffty, and Steve Strange. In fact, critics have written that this song was considered the anthem for the New Romantic movement musicians. Pixies also began in 1986 with Joey Santiago introducing Black Francis to the Bowie's music and punk rock, then the pair began to jam together.
David Bowie's influence continues nowadays, even among artists and acts of diverse genres and countries. Examples include Marilyn Manson (in fact, Bowie is their biggest influence), Boy George, Groove Armada (especially album Black Light), Spacehog, Neïmo, Arckid, Stacey Q, Buck-Tick, Lady Gaga, All the Pretty Horses (a Minnesota's transgender rock band), and many others. On November 2010, Bono Vox of U2 compared Bowie to Elvis Presley and said he was very influential on Britain and also in his generation and band. As biographer Thomas Forget adds, "Because he has succeeded in so many different styles of music, it is almost impossible to find a popular artist today that has not been influenced by David Bowie."
Bowie's 1969 commercial breakthrough, the song "Space Oddity", won him an Ivor Novello Special Award For Originality. For his performance in the 1976 science fiction film The Man Who Fell to Earth, he won a Saturn Award for Best Actor. In the ensuing decades he has been honoured with numerous awards for his music and its accompanying videos, receiving, among others, two Grammy Awards and two BRIT Awards.
In 1999, Bowie was made a Commander of the Ordre des Arts et des Lettres by the French government. He received an honorary doctorate from Berklee College of Music the same year. He declined the British honour Commander of the British Empire in 2000, and a knighthood in 2003, stating: "I would never have any intention of accepting anything like that. I seriously don't know what it's for. It's not what I spent my life working for."
Throughout his career he has sold an estimated 136 million albums. In the BBC's 2002 poll of the 100 Greatest Britons, he was ranked 29. In 2004, Rolling Stone magazine ranked him 39th on their list of the 100 Greatest Rock Artists of All Time and the 23rd best singer of all time.
Bowie was inducted into the Rock and Roll Hall of Fame on 17 January 1996.
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