cave in Oman, literally "Meeting place of the Jinn". It is one of the world's biggest cave chambers.]]

Jinn (Arabic: جن jinn, singular جني jinnī; variant spelling djinn) or genies are supernatural creatures in Arab folklore and Islamic teachings which occupy a parallel world to that of mankind. Together, jinn, humans and angels make up the three sentient creations of Allah. According to the Qur’ān, there are two creations that have free will: humans and jinn. Religious sources say barely anything about them; however, the Qur’an mentions that jinn are made of smokeless flame or "the fire of a scorching wind". They have the ability to change their shape. Like human beings, the jinn can also be good, evil, or neutrally benevolent.

The jinn are mentioned frequently in the Qur’an, and there is a surah entitled Sūrat al-Jinn in the Quran. Some research by the American Jewish Committee has shown that the belief in jinn has fallen compared to the belief in angels in other Abrahamic traditions.

Etymology and definitions

Jinn is a word of the collective number in Arabic, derived from the Arabic root j-n-n meaning 'to hide' or 'be hidden'. Other words derived from this root are majnūn 'mad' (literally, 'one whose intellect is hidden'), junūn 'madness', and janīn 'embryo, fetus' ('hidden inside the womb').

The Arabic root j-n-n means 'to hide, conceal'. A word for garden or Paradise, جنّة jannah, is a cognate of the Hebrew word גן gan 'garden', derived from the same Semitic root. In arid climates, gardens have to be protected against desertification by walls; this is the same concept as in the word paradise from pairi-daêza, an Avestan word for garden that literally means 'having walls built around'. Thus the protection of a garden behind walls implies its being hidden from the outside. Arabic lexicons such as Edward William Lane's Arabic-English Lexicon define jinn not only as spirits, but also anything concealed through time, status, and even physical darkness.

The word genie in English is derived from Latin genius, which meant a sort of tutelary or guardian spirit thought to be assigned to each person at their birth. English borrowed the French descendant of this word, génie; its earliest written attestation in English, in 1655, is a plural spelled "genyes." The French translators of The Book of One Thousand and One Nights used génie as a translation of jinnī because it was similar to the Arabic word in sound and in meaning. This use was also adopted in English and has since become dominant.

In Arabic, the word jinn is in the collective number, translated in English as plural (e.g., "several genies"); jinnī is in the singulative number, used to refer to one individual, which is translated by the singular in English (e.g., "one genie"). Therefore, the word 'jinn' in English writing is treated as a plural.

Existence and usage of jinn in other cultures

In Guanche mythology from Tenerife in the Canary Islands, there existed the belief in beings that are similar to genies, such as the maxios or dioses paredros ('attendant gods', domestic and nature spirits) and tibicenas (evil genies), as well as the demon Guayota (aboriginal god of evil) that, like the Arabic Iblis, is sometimes identified with a genie.

Jinn in Bible

In Judeo-Christian mythology, the word or concept of jinn as such does not occur in the original Hebrew text of the Bible, but the Arabic word jinn is often used in several old Persian and Arabic translations.

In several verses in those Arabic and Persian translations, the words: Jinn (جن) Jann (الجان) Majnoon (مجنون) and Iblis (ابلیس) are mentioned as translations of familiar spirit or אוב (obe) for Jann and the devil or δαιμόνιον (dahee-mon'-ee-on) for Iblis.

In Van Dyck's Arabic translation of the Bible these words are mentioned in Lev 19:31, Lev 20:6, 1Sa 28:3, 1Sa 28:9, 1Sa 28:7, 1Ch 10:13, Mat 4:1, Mat 12:22, Luk 4:5, Luk 8:12, Joh 8:44 and other verses as well. Also, in the apocryphal book Testament of Solomon, Solomon describes particular demons whom he enslaved to help build the temple, the questions he put to them about their deeds and how they could be thwarted, and their answers, which provide a kind of self-help manual against demonic activity.

Jinn in the pre-Islamic era

Amongst archaeologists dealing with ancient Middle Eastern cultures, any spirit lesser than angels is often referred to as a jinni, especially when describing stone carvings or other forms of art.

Inscriptions found in Northwestern Arabia seem to indicate the worship of jinn, or at least their tributary status. For instance, an inscription from Beth Fasi'el near Palmyra pays tribute to the "Jinnaye", the "good and rewarding gods".

In the following verse, the Qur’an rejects the worship of jinn and stresses that only God should be worshiped:

"Yet they make the jinn equals with Allah, though Allah did create the jinn; and they falsely, having no knowledge, attribute to Him sons and daughters. Praise and glory be to Him! (for He is) above what they attribute to Him!" (Qur’an 6:101)

Types of jinn include the shayṭān, the ghūl, the marīd, the ‘ifrīt, and the jinn. According to the information in the Arabian Nights, ‘ifrits seem to be the strongest form of jinn, followed by marids, and then the rest of the jinn forms.

Jinn in Islam

In Islamic theology jinn are said to be creatures with free will, made from smokeless fire by Allah as humans were made of clay. According to the Qur'an, jinn have free will, and Iblis abused this freedom in front of Allah by refusing to bow to Adam when Allah ordered angels and jinn to do so. For disobeying Allah, he was expelled from Paradise and called "Shayṭān" (Satan). Jinn are frequently mentioned in the Qur'an: Surah 72 (named Sūrat al-Jinn) is named after the jinn, and has a passage about them. Another surah (Sūrat al-Nās) mentions jinn in the last verse. The Qur’an also mentions that Muhammad was sent as a prophet to both "humanity and the jinn," and that prophets and messengers were sent to both communities.

Similar to humans, jinn have free will allowing them to do as they choose (such as follow any religion). They are usually invisible to humans, and humans do not appear clearly to them. Jinn have the power to travel large distances at extreme speeds and are thought to live in remote areas, mountains, seas, trees, and the air, in their own communities. Like humans, jinn will also be judged on the Day of Judgment and will be sent to Paradise or Hell according to their deeds.

Classifications and characteristics

The social organization of the jinn community resembles that of humans; e.g., they have kings, courts of law, weddings, and mourning rituals. A few traditions (hadith), divide jinn into three classes: those who have wings and fly in the air, those who resemble snakes and dogs, and those who travel about ceaselessly. Other reports claim that ‘Abd Allāh ibn Mas‘ūd (d. 652), who was accompanying Muhammad when the jinn came to hear his recitation of the Qur’an, described them as creatures of different forms; some resembling vultures and snakes, others tall men in white garb. They may even appear as dragons, onagers, or a number of other animals. In addition to their animal forms, the jinn occasionally assume human form to mislead and destroy their human victims. Certain hadiths have also claimed that the jinn may subsist on bones, which will grow flesh again as soon as they touch them, and that their animals may live on dung, which will revert to grain or grass for the use of the jinn flocks.

Ibn Taymiyyah believed the jinn were generally "ignorant, untruthful, oppressive and treacherous".

Ibn Taymiyyah believes that the jinn account for much of the "magic" perceived by humans, cooperating with magicians to lift items in the air unseen, delivering hidden truths to fortune tellers, and mimicking the voices of deceased humans during seances. However, the notion of a qarīn is not universally accepted amongst all Muslims. But it is generally accepted that Shayṭān whispers in human minds, and he is assigned to each human being.

Relationship of King Solomon and the genies

:See main article Islamic view of Solomon

According to traditions, the jinn stood behind the learned humans in Solomon's court, who in turn, sat behind the prophets. The jinn remained in the service of Solomon, who had placed them in bondage, and had ordered them to perform a number of tasks.

"...and there were jinn that worked in front of him, by the leave of his Lord," (Qur’an 13:12)

"And before Solomon were marshalled his hosts,- of jinn and men and birds, and they were all kept in order and ranks." (Quran 27:17)

The Qur’an relates that Solomon died while he was leaning on his staff. As he remained upright, propped on his staff, the jinn thought he was still alive and supervising them, so they continued to work. They realized the truth only when God sent a creature to crawl out of the ground and gnaw at Solomon's staff until his body collapsed. The Qur’an then comments that if they had known the unseen, they would not have stayed in the humiliating torment of being enslaved.

"Then, when We decreed (Solomon's) death, nothing showed them his death except a little worm of the earth, which kept (slowly) gnawing away at his staff: so when he fell down, the jinn saw plainly that if they had known the unseen, they would not have tarried in the humiliating Penalty (of their Task)." Qur’an 34:14)

Esoteric theories

In 1998, Pakistani nuclear scientist Sultan Bashiruddin Mahmood proposed in a Wall Street Journal interview that jinn (described in the Qur’ān as beings made of fire) could be tapped to solve the energy crisis. "I think that if we develop our souls, we can develop communication with them. ... Every new idea has its opponents, but there is no reason for this controversy over Islam and science because there is no conflict between Islam and science."

See also

Jinn in popular culture

Christian demonology

‘Ifrīt, class of jinn that live in abandoned buildings

Marīd, class of jinn associated with the sea

Notes

References

Al-Ashqar, Dr. Umar Sulaiman (1998). The World of the Jinn and Devils. Boulder, CO: Al-Basheer Company for Publications and Translations.

Barnhart, Robert K. The Barnhart Concise Dictionary of Etymology. 1995.

"Genie”. The Oxford English Dictionary. Second edition, 1989.

Abu al-Futūḥ Rāzī, Tafsīr-e rawḥ al-jenān va rūḥ al-janān IX-XVII (pub. so far), Tehran, 1988.

Moḥammad Ayyūb Ṭabarī, Tuḥfat al-gharā’ib, ed. J. Matīnī, Tehran, 1971.

A. Aarne and S. Thompson, The Types of the Folktale, 2nd rev. ed., Folklore Fellows Communications 184, Helsinky, 1973.

Abu’l-Moayyad Balkhī, Ajā’eb al-donyā, ed. L. P. Smynova, Moscow, 1993.

A. Christensen, Essai sur la Demonologie iranienne, Det. Kgl. Danske Videnskabernes Selskab, Historisk-filologiske Meddelelser, 1941.

R. Dozy, Supplément aux Dictionnaires arabes, 3rd ed., Leyden, 1967.

H. El-Shamy, Folk Traditions of the Arab World: A Guide to Motif Classification, 2 vols., Bloomington, 1995.

Abū Bakr Moṭahhar Jamālī Yazdī, Farrokh-nāma, ed. Ī. Afshār, Tehran, 1967.

Abū Jaʿfar Moḥammad Kolaynī, Ketāb al-kāfī, ed. A. Ghaffārī, 8 vols., Tehran, 1988.

Edward William Lane, An Arabic-English Lexicon, Beirut, 1968.

L. Loeffler, Islam in Practice: Religious Beliefs in a Persian Village, New York, 1988.

U. Marzolph, Typologie des persischen Volksmärchens, Beirut, 1984. Massé, Croyances.

M. Mīhandūst, Padīdahā-ye wahmī-e dīrsāl dar janūb-e Khorāsān, Honar o mordom, 1976, pp. 44–51.

T. Nöldeke "Arabs (Ancient)," in J. Hastings, ed., Encyclopaedia of Religion and Ethics I, Edinburgh, 1913, pp. 659–73.

S. Thompson, Motif-Index of Folk-Literature, rev. ed., 6 vols., Bloomington, 1955.

S. Thompson and W. Roberts, Types of Indic Oral Tales, Folklore Fellows Communications 180, Helsinki, 1960.

Solṭān-Moḥammad ibn Tāj al-Dīn Ḥasan Esterābādī, Toḥfat al-majāles, Tehran,

Moḥammad b. Maḥmūd Ṭūsī, Ajāyeb al-makhlūqāt va gharā’eb al-mawjūdāt, ed. M. Sotūda, Tehran, 1966.

Further reading

Crapanzano, V. (1973) The Hamadsha: a study in Moroccan ethnopsychiatry. Berkeley, CA, University of California Press.

Drijvers, H. J. W. (1976) The Religion of Palmyra. Leiden, Brill.

El-Zein, Amira (2009) Islam, Arabs, and the intelligent world of the Jinn. Contemporary Issues in the Middle East. Syracuse, NY, Syracuse University Press. ISBN 978-0-8156-3200-9

El-Zein, Amira (2006) "Jinn". In: J. F. Meri ed. Medieval Islamic civilization – an encyclopedia. New York and Abingdon, Routledge, pp. 420–421.

Goodman, L.E. (1978) The case of the animals versus man before the king of the Jinn: A tenth–century ecological fable of the pure brethren of Basra. Library of Classical Arabic Literature, vol. 3. Boston, Twayne.

Lebling, Robert (2010) Legends of the Fire Spirits: Jinn and Genies from Arabia to Zanzibar. London, I.B.Tauris.

Maarouf, M. (2007) Jinn eviction as a discourse of power: a multidisciplinary approach to Moroccan magical beliefs and practices. Leiden, Brill.

Zbinden, E. (1953) Die Djinn des Islam und der altorientalische Geisterglaube. Bern, Haupt.

External links

Etymology of genie

Visions of the Jinn – a Muslim scholar’s experience with Jinn

Sūrat al-Jinn from the Qur’ān

What are Jinns and Spirits ?

Category:Arabian legendary creatures Category:Arab mythology Category:Arabic words and phrases Category:Demons in Islam Category:Deities, spirits, and mythic beings Category:Pakistani folklore

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

David Bowie ( ; born David Robert Jones, 8 January 1947) is an English rock musician and singer who has also worked as an actor, record producer and arranger. A major figure for five decades in the world of popular music, Bowie is widely regarded as an innovator, particularly for his work in the 1970s, and is known for his distinctive voice and the intellectual depth of his work.

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.

1962–1968: The Kon-rads to the Riot Squad

Graduating from his plastic saxophone to a real instrument in 1962, Bowie formed his first band at the age of 15. Playing guitar-based rock and roll at local youth gatherings and weddings, the Kon-rads had a varying line-up of between four and eight members, Underwood among them. When Bowie left the technical school the following year, he informed his parents of his intention to become a pop star. His mother promptly arranged his employment as an electrician's mate. Frustrated by his band-mates' limited aspirations, Bowie left the Kon-rads and formed another band, the King Bees. He wrote to the newly successful washing-machine entrepreneur John Bloom inviting him to "do for us what Brian Epstein has done for the Beatles—and make another million." Bloom did not respond to the offer, but his referral to Dick James's partner Leslie Conn led to Bowie's first personal management contract.

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.

1969–1973: Psychedelic folk to glam rock

Space Oddity to Hunky Dory

Because of his lack of commercial success, Bowie was forced to try to earn a living in different ways. He featured in a Lyons Maid ice cream commercial, but was rejected for another by Kit Kat. Intended as a vehicle to promote the singer, a 30-minute film featuring performances from his repertoire, Love You till Tuesday, was made. Although not released until 1984, the filming sessions in January 1969 led to unexpected success when Bowie told the producers, "That film of yours—I've got a new song for it." He then demoed the song that would provide his commercial breakthrough. "Space Oddity" was released later in the year to coincide with the first moon landing. Continuing the divergence from rock and roll and blues begun by his work with Farthingale, Bowie joined forces with Finnigan, Christina Ostrom and Barrie Jackson to run a folk club on Sunday nights at the Three Tuns pub in Beckenham High Street. "Space Oddity" was released on 11 July, five days ahead of the Apollo 11 launch, to become a UK top five hit. Bowie's second album, Space Oddity, followed in November; originally issued in the UK as David Bowie, it caused some confusion with its predecessor of the same name, and the early US release was instead titled Man of Words/Man of Music. Featuring philosophical post-hippie lyrics on peace, love and morality, its acoustic folk rock occasionally fortified by harder rock, the album was not a commercial success at the time of its release. presents David Bowie. Cleveland Press magazine in November 3, 1972. WMMS played a key role in breaking several major acts at the time. It helped break many new rock artists nationally, most notably Bowie, who along with the Spiders from Mars, kicked off his American tour in Cleveland, based on the market's huge sales figures for the Bowie album, primarily due to WMMS airplay.|left]] Bowie met Angela Barnett in April 1969. They would marry within a year. Her impact on him was immediate, and her involvement in his career far-reaching, leaving Pitt with limited influence. Having established himself as a solo artist with "Space Oddity", Bowie now began to sense a lack: "a full-time band for gigs and recording—people he could relate to personally". A band was duly assembled. John Cambridge, a drummer Bowie met at the Arts Lab, was joined by Tony Visconti on bass and Mick Ronson on electric guitar. After a brief and disastrous manifestation as the Hype, the group reverted to a configuration presenting Bowie as a solo artist. Not long after, in a move that would result in years of litigation, at the conclusion of which Bowie would be forced to pay Pitt compensation, the singer fired his manager, replacing him with Tony Defries. During the tour Bowie's observation of two seminal American proto-punk artists led him to develop a concept that would eventually find form in the Ziggy Stardust character: a melding of the persona of Iggy Pop with the music of Lou Reed, producing "the ultimate pop idol". (His parents chose "his kooky name"—he would be known as Zowie for the next 12 years—after the Greek word zoe, life.) Elsewhere, the album explored more serious themes, and found Bowie paying unusually direct homage to his influences with "Song for Bob Dylan", "Andy Warhol", and "Queen Bitch", a Velvet Underground pastiche. It was not a significant commercial success at the time.

Ziggy Stardust

Tour]] With his next venture, Bowie, in the words of biographer David Buckley, "challenged the core belief of the rock music of its day" and "created perhaps the biggest cult in popular culture". The Rise and Fall of Ziggy Stardust and the Spiders from Mars (1972), combining the hard rock elements of The Man Who Sold the World with the lighter experimental rock and pop of Hunky Dory, was released in June. "Starman", issued as an April single ahead of the album, was to cement Bowie's UK breakthrough: both single and album charted rapidly following his July Top of the Pops performance of the song. The album, which would remain in the chart for two years, was soon joined there by the six-month-old Hunky Dory. At the same time the non-album single "John, I’m Only Dancing", and "All the Young Dudes", a song he wrote and produced for Mott the Hoople, became UK hits. The Ziggy Stardust Tour continued to the United States.

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.

1974–1976: Soul, funk and the Thin White Duke

Bowie moved to the United States in 1974, initially staying in New York City before settling in Los Angeles. Diamond Dogs (1974), parts of which found him heading towards soul and funk, was the product of two distinct ideas: a musical based on a wild future in a post-apocalyptic city, and setting George Orwell's 1984 to music. The album went to number one in the UK, spawning the hits "Rebel Rebel" and "Diamond Dogs", and number five in the US. To promote it, Bowie launched the Diamond Dogs Tour, visiting cities in North America between June and December 1974. Choreographed by Toni Basil, and lavishly produced with theatrical special effects, the high-budget stage production was filmed by Alan Yentob. The resulting documentary, Cracked Actor, featured a pasty and emaciated Bowie: the tour coincided with the singer's slide from heavy cocaine use into addiction, producing severe physical debilitation, paranoia and emotional problems. He later commented that the accompanying live album, David Live, ought to have been titled "David Bowie Is Alive and Well and Living Only In Theory". David Live nevertheless solidified Bowie's status as a superstar, charting at number two in the UK and number eight in the US. It also spawned a UK number ten hit in Bowie's cover of "Knock on Wood". After a break in Philadelphia, where Bowie recorded new material, the tour resumed with a new emphasis on soul.

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."

1976–1979: The Berlin era

Bowie moved to Switzerland in 1976, purchasing a chalet in the hills to the north of Lake Geneva. In the new environment, his cocaine use increased; so too did his interest in pursuits outside his musical career. He took up painting, producing a number of post-modernist pieces. When on tour, he took to sketching in a notebook, and photographing scenes for later reference. Visiting galleries in Geneva and the Brücke Museum in Berlin, Bowie became, in the words of biographer Christopher Sandford, "a prolific producer and collector of contemporary art. [...] Not only did he become a well-known patron of expressionist art: locked in Clos des Mésanges he began an intensive self-improvement course in classical music and literature, and started work on an autobiography".

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.

1980–1989: From superstar to megastar

Scary Monsters (and Super Creeps) (1980) produced the number one hit "Ashes to Ashes", featuring the textural work of guitar-synthesist Chuck Hammer and revisiting the character of Major Tom from "Space Oddity". The song gave international exposure to the underground New Romantic movement when Bowie visited the London club "Blitz"—the main New Romantic hangout—to recruit several of the regulars (including Steve Strange of the band Visage) to act in the accompanying video, renowned as one of the most innovative of all time. While Scary Monsters utilised principles established by the Berlin albums, it was considered by critics to be far more direct musically and lyrically. The album's hard rock edge included conspicuous guitar contributions from Fripp, Pete Townshend, Chuck Hammer and Tom Verlaine. As "Ashes to Ashes" hit number one on the UK charts, Bowie opened a three-month run on Broadway on 24 September, starring in The Elephant Man.

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.

1989–1991: Tin Machine

Bowie shelved his solo career in 1989, retreating to the relative anonymity of band membership for the first time since the early 1970s. A hard-rocking quartet, Tin Machine came into being after Bowie began to work experimentally with guitarist Reeves Gabrels. The line-up was completed by Tony and Hunt Sales, known by Bowie since the late 1970s for their contribution, on drums and bass respectively, to Iggy Pop's 1977 album Lust For Life.

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.

1992–1999: Electronica

In April 1992 Bowie appeared at the Freddie Mercury Tribute Concert, following the Queen frontman's death the previous year. As well as performing "Heroes" and "All the Young Dudes", he was joined on "Under Pressure" by Annie Lennox, who took Mercury's vocal part. Four days later, Bowie and Iman were married in Switzerland. Intending to move to Los Angeles, they flew in to search for a suitable property, but found themselves confined to their hotel, under curfew: the 1992 Los Angeles riots began the day they arrived. They settled in New York instead.

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.

1999–present: Neoclassicist Bowie

during the Heathen Tour in 2002.]] Bowie created the soundtrack for , a 1999 computer game in which he and Iman also appeared as characters. Released the same year and containing re-recorded tracks from Omikron, his album 'Hours...' featured a song with lyrics by the winner of his "Cyber Song Contest" Internet competition, Alex Grant. Making extensive use of live instruments, the album was Bowie's exit from heavy electronica. Sessions for the planned album Toy, intended to feature new versions of some of Bowie's earliest pieces as well as three new songs, commenced in 2000, but the album was never released. Bowie and Visconti continued their collaboration, producing a new album of completely original songs instead: the result of the sessions would be the 2002 album Heathen. Alexandria Zahra Jones, Bowie and Iman's daughter, was born on 15 August.

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.

Acting career

Biographer David Buckley writes, "The essence of Bowie's contribution to popular music can be found in his outstanding ability to analyse and select ideas from outside the mainstream—from art, literature, theatre and film—and to bring them inside, so that the currency of pop is constantly being changed." Buckley says "Just one person took glam rock to new rarefied heights and invented character-playing in pop, marrying theatre and popular music in one seamless, powerful whole." Bowie's career has also been punctuated by various roles in film and theatre productions, earning him some acclaim as an actor in his own right.

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.

Sexual orientation

Buckley writes, "If Ziggy confused both his creator and his audience, a big part of that confusion centred on the topic of sexuality." Bowie declared himself bisexual in an interview with Melody Maker in January 1972, a move coinciding with the first shots in his campaign for stardom as Ziggy Stardust. In a 1983 interview with Rolling Stone, Bowie said his public declaration of bisexuality was "the biggest mistake I ever made", and on other occasions he said his interest in homosexual and bisexual culture had been more a product of the times and the situation in which he found himself than his own feelings; as described by Buckley, he said he had been driven more by "a compulsion to flout moral codes than a real biological and psychological state of being".

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.

Musicianship

Voice and instruments

A man of many voices, Bowie, from the time of his earliest recordings in the 1960s, has employed a wide variety of musical styles. His early compositions and performances were strongly influenced not only by rock and rollers like Little Richard and Elvis Presley but also by the wider world of show business. He particularly strove to emulate the British musical theatre singer-songwriter and actor Anthony Newley, whose vocal style he frequently adopted, and made prominent use of for his 1967 debut release, David Bowie (to the disgust of Newley himself, who destroyed the copy he received from Bowie's publisher). Bowie's music hall fascination continued to surface sporadically alongside such diverse styles as hard rock and heavy metal, soul, psychedelic folk and pop. Musicologist James Perone observes Bowie's use of octave switches for different repetitions of the same melody, exemplified in his commercial breakthrough single, "Space Oddity", and later in the song "Heroes", to dramatic effect; Perone notes that "in the lowest part of his vocal register [...] his voice has an almost crooner-like richness."

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.]]

Compositions

Bowie's compositions are suffused with philosophical and literary lyrics. Songs like "The Width of a Circle", "Quicksand" and "The Superman" receive influences of Buddhism, occultism, mysticism and especially the concept of Übermensch by Friedrich Nietzsche. The first of the three alluded to a sexual encounter with God or Devil in Hell, or other supernatural being, according to different interpretations. Indeed, his early compositions were influenced by poetry and writings of Aleister Crowley, William Hughes Mearns and H. P. Lovecraft, and "The Jean Genie" is a reference to Jean Genet.

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.

Legacy

Bowie's innovative songs and stagecraft brought a new dimension to popular music in the early 1970s, strongly influencing both its immediate forms and its subsequent development. A pioneer of glam rock, Bowie, according to music historians Schinder and Schwartz, has joint responsibility with Marc Bolan for creating the genre. At the same time, he inspired the innovators of the punk rock music movement—historiographer Michael Campbell calls him "one of punk's seminal influences". While punk musicians trashed the conventions of pop stardom, Bowie moved on again—into a more abstract style of music making that would in turn become a transforming influence. Biographer David Buckley writes, "At a time when punk rock was noisily reclaiming the three-minute pop song in a show of public defiance, Bowie almost completely abandoned traditional rock instrumentation." Bowie's record company sought to convey his unique status in popular music with the slogan, "There is old wave, there is new wave, and there is Bowie..." Musicologist James Perone credits him with having "brought sophistication to rock music", and critical reviews frequently acknowledge the intellectual depth of his work and influence.

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."

Awards and recognition

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.

Discography

David Bowie (1967)

Space Oddity (1969)

The Man Who Sold the World (1970)

Hunky Dory (1971)

The Rise and Fall of Ziggy Stardust and the Spiders from Mars (1972)

Aladdin Sane (1973)

Pin Ups (1973)

Diamond Dogs (1974)

Young Americans (1975)

Station to Station (1976)

Low (1977)

"Heroes" (1977)

Lodger (1979)

Scary Monsters (and Super Creeps) (1980)

Let's Dance (1983)

Tonight (1984)

Never Let Me Down (1987)

Black Tie White Noise (1993)

The Buddha of Suburbia (1993)

Outside (1995)

Earthling (1997)

'Hours...' (1999)

Heathen (2002)

Reality (2003)

See also

100 Greatest Britons

Best selling music artists

David Bowie filmography

Bowie Bonds

List of artists who reached number one on the Hot 100 (US)

List of artists who reached number one on the US Dance chart

List of David Bowie tours

List of number-one hits (United States)

List of Number 1 Dance Hits (United States)

List of people who have declined a British honour

Low Symphony and Heroes Symphony

Notes

References

Further reading

Seabrook, Thomas Jerome, Bowie in Berlin: A New Career in a New Town, Jawbone Press, 2008.

Spitz, Marc, Bowie: A Biography, Crown Publishers, 2009.

Tremlett, George, David Bowie: Living on the Brink, Carroll and Graf, 1997.

Waldrep, Shelton, "Phenomenology of Performance", The Aesthetics of Self-Invention: Oscar Wilde to David Bowie, University of Minnesota Press, 2004.

Welch, Chris, David Bowie: We Could Be Heroes: The Stories Behind Every David Bowie Song, Da Capo Press, 1999.

Wilcken, Hugo, 33⅓: David Bowie's Low, Continuum, 2005.

External links

Official Myspace page

Official YouTube channel

Bowieart – paintings, printmakings, etc.

Charlie Rose interview (1998)

Category:1947 births Category:Living people Category:1960s singers Category:1970s singers Category:1980s singers Category:1990s singers Category:2000s singers Category:2010s singers Category:Bisexual actors Category:Bisexual musicians Category:BRIT Award winners Category:British expatriates in Switzerland Category:Columbia Records artists Category:Commandeurs of the Ordre des Arts et des Lettres * Category:Daytime Emmy Award winners Category:Decca Records artists Category:English baritones Category:English film actors Category:English male singers Category:English multi-instrumentalists Category:English people of Irish descent Category:English record producers Category:English rock musicians Category:English singer-songwriters Category:Glam rock Category:Grammy Award winners Category:Grammy Lifetime Achievement Award winners Category:Ivor Novello Award winners Category:LGBT musicians from the United Kingdom Category:LGBT people from England Category:Musicians from London Category:Parlophone artists Category:People from Brixton Category:RCA Victor artists Category:Rock and Roll Hall of Fame inductees‎ Category:Rykodisc artists Category:Saturn Award winners Category:Virgin Records artists

Name	Christina Aguilera
Background	solo_singer
Birth name	Christina María Aguilera
Alias	Xtina
Born	December 18, 1980Staten Island, New York United States
Origin	Wexford, Pennsylvania United States
Genre	Pop, R&B;, soul, dance-pop, hip hop
Occupation	Singer-songwriter, record producer, dancer, actress
Instrument	Vocals, piano
Years active	1993–present
Label	RCA
Url

Christina María Aguilera (born December 18, 1980) is an American recording artist and actress. Aguilera first appeared on national television in 1990 as a contestant on the Star Search program, and went on to star in Disney Channel's television series The Mickey Mouse Club from 1993–1994. Aguilera signed to RCA Records after recording "Reflection", the theme song for the animated film Mulan (1998).

In 1999, Aguilera came to prominence following her debut album Christina Aguilera, which was a commercial success spawning three number one singles on the Billboard Hot 100—"Genie in a Bottle", "What a Girl Wants", and "Come On Over Baby (All I Want Is You)." A Latin pop album, Mi Reflejo (2001), and several collaborations followed which garnered Aguilera worldwide success, though she was displeased with her lack of input in her music and image. After parting from her management, Aguilera took creative control over her second studio album, Stripped (2002). The album's second single, "Beautiful," was a commercial success and helped the album's commercial performance amidst controversy over Aguilera's image. Aguilera followed up Stripped with Back to Basics (2006), which was released to positive critical acclaim and included elements of soul, jazz, and blues music. Aguilera's fourth studio album Bionic (2010), which incorporated aspects of R&B;, electropop, and synthpop, was met with mixed reviews and poor sales.

Aside from being known for her vocal ability, music videos and image, musically, she includes themes of dealing with public scrutiny, her childhood, and female empowerment in her music. Apart from her work in music, she has also dedicated much of her time as a philanthropist for charities, human rights and world issues. She made her feature film debut in the musical Burlesque (2010), earning Aguilera a Golden Globe nomination for Best Original Song. Aguilera's work has earned her numerous awards and accolades, including a star on the Hollywood Walk of Fame, four Grammy Awards and a Latin Grammy Award, amongst fifteen and three nominations respectively. Rolling Stone ranked her number fifty-eight on their list of the 100 Greatest Singers of All Time, ranking as the youngest and only artist on the list under the age of thirty. She was ranked the 20th Artist of the 2000–09 decade by Billboard and is the second top selling single artist of the 2000's behind Madonna. Aguilera has sold nearly 50 million albums worldwide making her one of the best-selling music artists of all time.

Life and career

1980–1998: Early life and career beginnings

Aguilera was born in Staten Island, New York, to Fausto Wagner Xavier Aguilera, a sergeant in the US Army at the time, and Shelly Loraine (née Fidler), a teacher of Spanish. Aguilera's father was born in Guayaquil, Ecuador and her mother is of German, Irish, Welsh, and Dutch ancestry. Her father was stationed at Earnest Harmon Air Force Base in Stephenville, Newfoundland and Labrador and Japan. Aguilera lived with both her father and mother, up until their divorce when she was seven years old. Aguilera then lived with her mother, and her younger sister Rachel, at her grandmother's home in Rochester, Pennsylvania, a town outside of Pittsburgh. According to both Aguilera and her mother, her father was very controlling, as well as physically and emotionally abusive. She later sang about her difficult childhood in the songs "I'm OK" on Stripped, and "Oh Mother" on Back to Basics. Although her father has written to Aguilera, she has ruled out any chance of reuniting with him. Since then, her mother has married a paramedic named Jim Kearns, and has changed her name.

As a child, Aguilera aspired to be a singer. She was known locally as "the little girl with the big voice", singing in local talent shows and competitions. She attended Marshall Middle School near Wexford and North Allegheny Intermediate High School until she was later home schooled. On March 15, 1990, she appeared on Star Search singing "A Sunday Kind of Love", but lost the competition at number 2. Soon after losing on Star Search, she returned home and appeared on Pittsburgh's KDKA-TV's Wake Up With Larry Richert to perform the same song. Throughout her youth in Pittsburgh, Aguilera sang "The Star-Spangled Banner" before Pittsburgh Penguins hockey, Pittsburgh Steelers football and Pittsburgh Pirates baseball games, including during the 1992 Stanley Cup Finals. Following her television appearances Aguilera experienced resentment and bullying from her peers including an incident in which her peers slashed the tires on her family's car. Aguilera recalls, "doing what I did and maybe being a little smaller, I was definitely picked on and bullied for the attention that I got. It was definitely unwanted attention and there was a lot of unfairness about it."

In 1991 Aguilera auditioned for a role on The Mickey Mouse Club, however, she did not meet the age requirements. Two years later, she joined the cast performing musical numbers and sketch comedy, until the show's cancellation in 1994. Her co-stars included Justin Timberlake, Britney Spears, Ryan Gosling and Keri Russell where they nicknamed her "the Diva" for her performance style and voice. At the age of fourteen, Aguilera recorded her first song, "All I Wanna Do", a hit duet with Japanese singer Keizo Nakanishi. In 1997, she represented the United States at the international Golden Stag Festival with a two-song set. Aguilera entered talent contests on "teen night" at the Pegasus Lounge, a gay and lesbian nightclub in Pittsburgh and later at Lilith Fair. In 1998, Aguilera sent in a demo of her singing Whitney Houston's "Run to You" to Disney who were looking for a singer to record the song "Reflection" for their animated feature film Mulan (1998). The demo caught the attention of producer and label executive Ron Fair who would later mentor her throughout her career and led to Aguilera earning a contract with RCA Records the same week. The album is also included in the Top 100 Albums of All Time list of The Recording Industry Association of America (RIAA) based on US sales. Released during the teen pop era of 1999 the album was well received by several critics, Stephen Thomas Erlewine of AllMusic writes that Aguilera's debut "remains firmly within the teen-oriented dance-pop genre, but done right." Concluding that the album is "lightweight in the best possible sense -- breezy, fun, engaging, and enjoyable on each repeated listen. Out of the deluge of teen-pop albums in 1999, this feels like the best of the lot." Her debut single, "Genie in a Bottle" was an instant hit reaching #1 on the Billboard Hot 100 and in several countries worldwide. Her follow-up singles "What a Girl Wants" and "Come On Over Baby (All I Want Is You)" topped the Hot 100 as well during 1999 and 2000 while "I Turn to You" reached number three. She is one of the few artists to have multiple #1 singles from a debut album in Billboard's history. She made a cameo appearance on an episode of Beverly Hills, 90210, performed on MTV's New Year's Special as MTV's first artist of the millennium, and the Super Bowl XXXIV halftime show. At the 42nd Grammy Awards Aguilera received a Best Female Pop Vocal Performance Grammy nomination for "Genie in a Bottle" and despite earlier predictions, she won the award Grammy Award for Best New Artist.

In 2000, Aguilera began recording her first Spanish-language album with producer Rudy Pérez in Miami. Later in 2000, Aguilera, first emphasized her Latin heritage by releasing her first Spanish album, Mi Reflejo on September 12, 2000. This album contained Spanish versions of songs from her English debut as well as new Spanish tracks. Though some criticized Aguilera for trying to cash in on the Latin music boom at the time. According to Pérez, Aguilera was only semi-fluent, while recording. She understood the language, because she has grown up with her father, who is a native of Ecuador. He added "Her Latin roots are undeniable".

in 2000.]] Aguilera's first concert tour, (also known as "Christina Aguilera: In Concert") began in the summer of 2000 in the US and ended early 2001 where she toured South America and Asia. A concert special aired on ABC titled My Reflection and was released to DVD and certified Gold in the US. Aguilera was rumored to have dated MTV VJ Carson Daly. Rumors of their relationship were fueled after the release of Eminem's song, "The Real Slim Shady" in which he also insinuated a romance between her and rocker Fred Durst. Aguilera responded saying the lyrics were "disgusting, offensive and, above all, not true." Their feud ended two years later backstage at the Video Music Awards after Aguilera presented the rapper an award onstage. She dated Puerto Rican dancer Jorge Santos. Santos appeared on her tour and music videos throughout 2000. They dated for nearly two years until the relationship ended on September 11, 2001. He remained her dancer well into 2002.

Ricky Martin asked Aguilera to duet with him on the track "Nobody Wants to Be Lonely" from his album Sound Loaded; released in 2001 as the album's second single. The single reached number one on the World Chart and top ten in several countries. In 2001, Aguilera, Lil' Kim, Mýa, and Pink were chosen to remake Labelle's 1975 single "Lady Marmalade" for the film Moulin Rouge! and its soundtrack. The song peaked at number-one on the Billboard Hot 100 for five weeks and was the most successful airplay-only single in history. It also reached number one in eleven other countries and earned all four performers a Grammy Award for Best Pop Collaboration with Vocals. Aguilera's appearance in the music video was compared to that of Twisted Sister frontman Dee Snider. The video won two MTV Video Music Awards including Video of the Year in 2001, where Aguilera accepted the award saying, "I guess the big hair paid off."

That same year, the single "Just Be Free" emerged into record stores which was one of the demos Aguilera recorded when she was around fifteen years old. When RCA Records discovered the single, they advised fans not to purchase it. Months later, Warlock Records was set to release Just Be Free, an album which contains the demo tracks. Aguilera filed a breach of contract and unfair competition suit against Warlock and the album's producers to block the release. Instead, the two parties came to a settlement to release the album. Aguilera lent out her name, likeness and image for an unspecified amount of damages. Many of the details of the lawsuit remain confidential. When the album was released in August 2001, it had a photograph of Aguilera when she was fifteen years old.

Although Aguilera's debut album was commercially successful, she was dissatisfied with the music and image her management had created for her. Aguilera was marketed as a bubblegum pop singer because of the genre's upward financial trend. She mentioned plans of her next album to have much more depth, both musically and lyrically. Aguilera's views of Steve Kurtz's influence in matters of the singer's creative direction, the role of being her exclusive personal manager and overscheduling had in part caused her to seek legal means of terminating their management contract. In October 2000, Aguilera filed a breach of fiduciary duty lawsuit against her manager Kurtz for improper, undue and inappropriate influence over her professional activities, as well as fraud. According to legal documents, Kurtz did not protect her rights and interests. Instead, he took action that was for his own interest, at the cost of hers. The lawsuit came about when Aguilera discovered Kurtz used more of her commissionable income than he was allotted, and had paid other managers to assist him. She also petitioned the California State Labor Commission to nullify the contract. She revealed while recording her then upcoming album, "I was being overworked. You find out that someone you thought was a friend is stealing money behind your back, and it's heartbreaking. I put faith in the people around me, and unfortunately, it bit me in the butt." Kurtz was terminated as her manager. After terminating Kurtz's services, Irving Azoff was hired as her new manager.

2002–04: New image, Stripped and musical hiatus

On October 29, 2002, Aguilera's second English studio album, Stripped, was released. The album sold more than 330,000 copies in the first week and peaked at number two on the Billboard 200. Unlike her previous work, the album showcased Aguilera's raunchier side. The majority of Stripped was co-written by Aguilera (who had recently signed a global music publishing contract with BMG Music Publishing), and was influenced by many different subjects and music styles, including contemporary R&B;, gospel, soul, balladry, pop rock, and hip hop. The majority of the album was produced by Scott Storch and singer-songwriter Linda Perry who produced her more personal records. Rockwilder and singer Alicia Keys also contributed a track each. Upon initial release, the album was very well-received by critics, although Aguilera's vocals were overlooked as she began to cultivate a more sexually provocative image. After the release of the album, she took part in photoshoots for magazines, many of these photographs featured her nude or semi-nude. Her cover for Rolling Stone, featured the singer only wearing boots and a well-placed electric guitar. It was during this time Aguilera referred to herself as "Xtina", even getting a tattoo of her nickname on the back of her neck and several piercings.

in 2003.]] Initially, the raunchy image had a negative effect on Aguilera in the U.S., especially after the release of her controversial "Dirrty" music video. It appeared at number ten on Billboard's year-end album chart and she was Billboard's top female artist for 2003. Kelly Clarkson's second single "Miss Independent" was co-written by Aguilera, having been half-finished for Stripped.

Aguilera joined Justin Timberlake that June on the final leg of his international Justified tour, held in the U.S. This portion of the tour became a co-headliner called the Justified/Stripped Tour. In August, an overhead lighting grid collapsed from the ceiling of the Boardwalk Hall in Atlantic City, New Jersey, causing major damage to the sound and video equipment below. Because the collapse occurred hours before the show, only a few stagehands were injured, but a few shows were cancelled or postponed. In the fourth quarter of that year, Aguilera continued to tour internationally without Timberlake, and changed the name of the tour to the Stripped World Tour. She also dyed her hair black. It was one of the top-grossing tours of that year, and sold out most of its venues. Rolling Stone readers named it the best tour of the year. That same year she hosted the 2003 MTV Europe Music Awards and was a special guest performer with the Pussycat Dolls' dance troupe performing at the Roxy Theatre and Viper Room in Los Angeles. She also appeared on a Maxim spread alongside them, her second Maxim cover that year set record sales for the issue making it the top selling issue to date. By the end of the year she topped the annual Hot 100 list later saying, "We had fun working with certain clothes, or the lack thereof."

Aguilera's first DVD live-recording from a concert tour, Stripped Live in the U.K., was released in November 2004. In light of the tour's success, another U.S. tour was scheduled to begin in mid-2004 with a new theme. The tour however was scrapped because of the vocal cord injuries Aguilera suffered shortly before the tour's opening date. In a tribute to Madonna's performance at the inaugural MTV Video Music Awards, Aguilera performed a kiss with the singer-actress at the 2003 edition of the ceremony in August. The incident occurred during the opening performance of Madonna's songs "Like a Virgin" and "Hollywood" with fellow popstar Britney Spears.

Aguilera later decided to embrace a more mature image; this move was met with more praise than criticism, with articles using punch lines such as "From Crass to Class." She eventually dyed her hair cherry blonde and recorded a jingle, "Hello", for a Mercedes-Benz ad. Shortly after, she dyed her hair flaxen blonde and cut it short, and took on a Marilyn Monroe look; she is one of the main proponents (along with Dita Von Teese, Gwen Stefani, and Ashley Judd) in bringing back the 1920s–1940s Hollywood glamour look. In late summer 2004, Aguilera released two singles. The first, "Car Wash", was a remake of the Rose Royce disco song recorded as a collaboration with rapper Missy Elliott for the soundtrack to the film Shark Tale. She voiced a small singing part in the film playing a Rastafarian jellyfish in the film's closing musical number. The second song was also a collaboration, but this time as a second single from one of Nelly's double-release albums, Sweat'', titled "Tilt Ya Head Back". Both singles failed commercially in the U.S., but did considerably better in other parts of the world.

2005–07: Marriage, Back to Basics and motherhood

Aguilera began dating music marketing executive Jordan Bratman in 2002. Their engagement was announced in February 2005, and they married on November 19, 2005, in a Napa Valley estate. Aguilera collaborated with jazz artist Herbie Hancock on a cover of Leon Russell's "A Song for You" recorded for Hancock's album Possibilities, released in August 2005. Aguilera and Hancock were later nominated for the Grammy Award for Best Pop Collaboration with Vocals. She helped open the 50th Anniversary for Disneyland performing "When You Wish upon a Star", and she also collaborated with Andrea Bocelli on the song "Somos Novios" for his album Amore.

Story festival in 2006.]] Aguilera's third English studio album, Back to Basics was released August 15, 2006. The album debuted at #1 in the US, the UK and eleven other countries. Aguilera described the double CD as "a throwback to the 20s, 30s, and 40s-style jazz, blues, and feel-good soul music, but with a modern twist." The album received generally positive reviews, although many critics commented on the album's length saying, "At one disc, this would have been nothing short of masterful." A review in AllMusic adds, "Back to Basics also makes clear that Stripped was a necessary artistic move for Christina: she needed to get that out of her system in order to create her own style, one that is self-consciously stylized, stylish, and sexy." The critically acclaimed lead single "Ain't No Other Man" was a substantial success, reaching #2 on the World Chart, #6 in the U.S., and #2 in the UK. Producers on the album included DJ Premier, Kwamé, Linda Perry, and Mark Ronson. The follow-up singles did very well in different regions, "Hurt" in Europe and "Candyman" in the Pacific. She co-directed both music videos, the former with Floria Sigismondi who directed her "Fighter" video, and the latter, "Candyman", with director/photographer Matthew Rolston which was inspired by The Andrews Sisters. Back to Basics'' has sold 4.5 million units worldwide, with over 1.7 million sold in the US.

In late 2006 Aguilera collaborated with Sean "Diddy" Combs on a track, titled "Tell Me", from his album Press Play. She also began the Back to Basics Tour in Europe followed by a 41-date North American tour in early 2007. After this, she toured Asia and Australia, where it was supposed to end on August 3, however she canceled her dates in Melbourne and her final two in Auckland due to an illness. Her extravagant arena tour included cabaret, three-ring circus and juke joint sets and 10 piece costumes designed by Roberto Cavalli. She released her concert DVD the following year. The tour grossed nearly 50 million by the end of the year in North America and an additional 40 million worldwide in her Europe and Australia dates, grossing almost 90 million by the end of the tour. It was the most successful US tour by a female in 2007.

At the 49th Grammy Awards, Aguilera again won the Best Female Pop Vocal Performance for "Ain't No Other Man". She made a noteworthy performance at the ceremony paying tribute to James Brown with her rendition of his song "It's a Man's Man's Man's World". In January 2007, she was named the 19th richest woman in entertainment by Forbes, with a net worth of US$60 million. Aguilera performed "Steppin' Out With My Baby" with Tony Bennett on his NBC special Tony Bennett: An American Classic and on Saturday Night Live. They performed at the 59th Primetime Emmy Awards where both specials received Emmys. "Steppin' Out" was nominated for Best Pop Collaboration with Vocals at the 50th Annual Grammy Awards.

Aguilera confirmed she was pregnant on November 4, 2007, though Paris Hilton accidentally revealed her pregnancy several weeks prior during a party Aguilera hosted. She gave birth to her son, Max Liron Bratman, in Los Angeles, California early the following year and held a bris for Max Liron with Bratman, who is of Jewish descent, where he was circumcised in accordance with Jewish ritual. Aguilera was reportedly paid $1.5 million by People magazine for her baby pictures, which according to Forbes places fifth on the list of the most expensive celebrity baby photos.

2008–10: Greatest hits album, Bionic and Burlesque

In 2008 Aguilera appeared in the Martin Scorsese documentary Shine a Light which chronicles a two day Rolling Stones concert in New York City's Beacon Theatre. The film features Aguilera performing "Live With Me" alongside Mick Jagger. Shine a Light premiered at the Berlin Film Festival and was released worldwide on April 4, 2008. She also had brief cameo in the comedy film Get Him to the Greek, and appeared as a guest judge on the sixth season of Project Runway on Lifetime Television. She and designer Bob Mackie were the inspiration for the challenge in which they had to design a stage outfit for Aguilera.

To commemorate Aguilera's ten years in the music industry, RCA Records released, on November 11, 2008 exclusively at Target stores in the U.S. The greatest hits included her first three number one singles, and other songs released from her previous three albums. "Lady Marmalade" and several Spanish singles from Mi Reflejo were included in the worldwide releases. The album's only single, "Keeps Gettin' Better", was premiered at the 2008 MTV Video Music Awards, and debuted and peaked at #7 on the Billboard Hot 100, her highest debut on the chart. Aguilera was one of Billboard's Top 20 Artists of the Decade in their year-end charts.

Aguilera's fourth English studio album, Bionic, was released on June 8, 2010. The album's producers included Tricky Stewart, Samuel Dixon, Polow da Don, Le Tigre, Switch, Ester Dean, songwriters Sam Endicott, Sia Furler, Claude Kelly, Linda Perry and collaborations with M.I.A., Santigold, Nicki Minaj, and Peaches. The album's only two singles, "Not Myself Tonight" and "You Lost Me" peaked at #1 on the Billboard Hot Dance Club Play Charts but were unsuccessful elsewhere. Bionic's material consisted of many mainstream and pop records along with electronic and dance music. The album was released to mixed reviews from music critics, with Jon Pareles of The New York Times writing that the singer's new music direction "makes her sound as peer-pressured as a pop singer can be." Allison Stewart of The Washington Post described the album as being "noisy, robotic and overstuffed" and felt that one of the disc's "greatest disappointments" is its "virtual abandonment" of Aguilera's voice. She concluded that Aguilera attempts "to do it all," which was to try to "revel in her newfound domesticity, to wrest her crown from Gaga and to reestablish her sex kitten bona fides," but overall thought that the plan backfired on Bionic. The album has sold 260,000 units in the US to date. Shortly after the album's release, further promotion ended and a scheduled summer tour for the album was cancelled due to "inadequate rehearsal time". "You Lost Me" was her first single to not chart the Hot 100 while Bionic was her first English studio album not to receive a Grammy nomination. Aguilera responded to the album's performance in an interview saying, "I was really proud of that record. I think there was a lot of promotion issues, coming from a standpoint of how everything resulted. Nothing is ever a setback. If anything, it just motivates you for what’s next."

Aguilera confirmed news reports that she and Bratman had separated, saying in a statement, "Although Jordan and I are separated, our commitment to our son Max remains as strong as ever." Aguilera filed for divorce from Bratman on October 14, 2010, seeking joint legal and physical custody of their son, and specifying September 11, 2010 as the date of separation. The following month she appeared as herself on the Entourage season seven finale as a client/friend of Ari Gold. On November 15, 2010, Aguilera received a Star on the Hollywood Walk of Fame.

It was confirmed in 2009 that Aguilera would appear in her first feature film, the musical Burlesque, released in November 2010. She portrayed a small town girl, Ali Rose, who finds love and success in a Los Angeles neo-burlesque club. Aguilera performed eight of the ten tracks on the film's soundtrack released on November 22, 2010. Aguilera co-wrote a number of the tracks working with producers and writers including Tricky Stewart, Sia Furler, Samuel Dixon, Linda Perry, Claude Kelly, Danja, and Ron Fair. The remaining two tracks were sung by Cher, who co-starred in the film. The film, distributed by Screen Gems, was directed by actor and director Steve Antin who also wrote the script. Antin wrote the role of Ali specifically for Aguilera. The film also featured Cam Gigandet as her love interest, Eric Dane, Kristen Bell and Stanley Tucci. Several critics praised Aguilera's performance. A review in TIME states, "Aguilera might not be to your taste, or mine, but in terms of sheer power, she's impressive. If Ali were real, she'd have already been discovered on American Idol." While Variety wrote, "Aguilera, while undeniably entertaining when her character is onstage, cannot spin the slight backstory into anything resembling a full-blooded person." Though Burlesque was released to mixed reviews from critics, the film received a Golden Globe nomination for Best Picture - Musical or Comedy and earned Aguilera, alongside co-writer Sia Furler and producer Samuel Dixon, a nomination for Best Original Song for the track "Bound to You".

2011-present: Current projects

Aguilera collaborated with rapper T.I. on the track, "Castle Walls" which is included on his album No Mercy. There are currently no plans or a tenative release date for Aguilera's fifth English studio album. She will perform the national anthem during the Super Bowl XLV.

Artistry

Vocal ability

in 2006.]] Aguilera has been referred to as the "voice of her generation" and a blue eyed soul singer. Aguilera also topped COVE's list of the 100 Best Pop Vocalists with a score of 50/50 and came fifth in MTV's 22 Greatest Voices in Music. Her rendition of "It's A Man's Man's Man's World" at the 49th Grammy Awards ranked third in the Grammy's Greatest Moments List behind Celine Dion's performance of "My Heart Will Go On" and Green Day's performance of "American Idiot". In an interview, Dion described Aguilera as "probably the best vocalist in the world." Rolling Stone ranked Aguilera at 58 on their list of the 100 Greatest Singers of All Time, the youngest singer on the list. Los Angeles Times writer Margaret Wappler adds Aguilera can deliver "a well-executed legato."

Since her debut in 1999 Aguilera has been compared to the likes of Mariah Carey and Whitney Houston. David Browne of The New York Times writes, "Aguilera has been one of the foremost practitioners of the overpowering, Category 5 vocal style known as melisma. Ms. Carey, Ms. Houston and Ms. Aguilera, to name its three main champions, are most associated with the period from the late ’80s through the late ’90s." A review in the Los Angeles Times compared Aguilera's vocal stylings to Barbra Streisand, Gladys Knight, and Aretha Franklin adding, "Aguilera's Streisand-esque tendencies are a good thing; they're helping her figure out how to become the "great singer" she's been dubbed since she released her first single, the wise-beyond-its-years "Genie in a Bottle", at 18." Although praised for her vocals, Aguilera has been labeled for oversinging in her songs and concerts. Longtime producer and writer, Linda Perry, commented on working on the record, "Beautiful", saying, "I tried to keep it straight. I told her to get rid of the finger waves. Every time she'd start going into "hoo-ha", I'd stop the tape. I'm like, 'You're doing it again.'" Perry ended up using the first take saying, "She had a hard time accepting that as the final track. It's not a perfect vocal – it's very raw. She knows her voice really well, and she knows what's going on. She can hear things that nobody else would catch."

Themes and musical style

" in her Back To Basics Tour in 2006.]] The constant theme in Aguilera's music and lyrics is love, although she has written on other subjects including spirituality, female empowerment, and grief. Aguilera has also written about her childhood in two of her records which dealt with domestic abuse. In an interview Aguilera admitted she feels responsible to reveal her most vulnerable feelings and to share the darker sides of her life adding "People that can relate might not feel as alone in the circumstance." She has been noted to constantly changing her sound in her music and lyrical content. Originally marketed as a bubblegum pop singer during the late 90's pop scene, she quickly departed into a broad range of musical genres for her follow-up album Stripped. A review states, "Clearly afflicted with Premature Serious Artist Syndrome, Aguilera wants to demonstrate the range of her interests – vampy soul, quasi-metal, piano-bar intimacy, quiet-storm R&B;, bounce-bounce hip-hop, and semi-exotic rock, all of it dutifully accomplished."

The majority of the songs are characterized by Aguilera's loud vocals, though she has used breathy and soft vocals. Her 2006 release, Back to Basics included producer DJ Premier. The New York Times exclaims, "Her decision to work with the low-key DJ Premier was also a decision to snub some of the big-name producers on whom pop stars often rely." Aguilera has often cited that she prefers working with producers that aren't in popular demand, saying "I don't necessarily go to the main people that are the No. 1 chart-toppers in music." The album included live instrumentation and samples of past jazz and soul records. Some tracks on the album included non-traditional forms of pop music such as swing jazz and big band, drawing comparisons to Madonna's I'm Breathless and the musical film Cabaret. Her first feature film, Burlesque, influenced by Cabaret, featured mainstream producers Tricky Stewart and Danja on the soundtrack where several established songs were updated and worked into dance numbers, a style similar to 2001's Moulin Rouge! "Diamonds Are a Girl's Best Friend" was performed by Aguilera in the film, a musical number also performed by Nicole Kidman in Moulin Rouge!

Influences

One of Aguilera's major influences and idol is blues singer Etta James, whose classic song "At Last" has been covered by Aguilera throughout her career. Aguilera says, "Etta is my all-time favorite singer. I've said it for the last seven years — since I had my first debut record out — in every interview. I mean, all of Etta's old songs, countless songs I could name, I grew up listening to." The majority of her album, Back to Basics, pays tribute to James and other pop standard singers who many originated from the 1950s. In her early years she listened to vintage jazz, blues, and soul music. The album included an unreleased song, "Slow Down Baby", which sampled a Gladys Knight & the Pips song. A review in The Guardian declared, "Practically everything recorded before Aguilera was born blurs into one amorphous genre, which she categorises, somewhat inadequately, as "fun music". Aguilera has also named Madonna and Janet Jackson as two of her biggest influences "for being re-inventive and being brave as strong females, to explore whatever, even if they do get bad press. It's just like they were fearless." Her other musical influences include Aretha Franklin, Whitney Houston, and Nina Simone.

Aguilera cites the musical The Sound of Music and its lead actress, Julie Andrews as an early inspiration for singing and performing. She mentioned the "Golden age of Hollywood" as another inspiration in which she says, "I'm referencing Marlene Dietrich, Marilyn Monroe, Carole Lombard, Greta Garbo, Veronica Lake". In her music video for "Ain't No Other Man" she plays her alter ego, "Baby Jane" in reference to the film Whatever Happened to Baby Jane?. The film's stars included actresses Bette Davis and Joan Crawford. The third single off Back to Basics, "Candyman" was inspired by the 1941 song, "Boogie Woogie Bugle Boy" by The Andrews Sisters which was played during World War II. She was also inspired by pin-up girls and several paintings by Alberto Vargas. Aguilera has expressed interest in cultural icons Nico, Blondie and artists Roy Lichtenstein and Andy Warhol. She has often worked with photographer and close friend, David LaChapelle who once worked with Warhol. Chapelle has shot many of Aguilera's music videos, magazine shoots and advertisements. She is also a fan of graffiti artist Banksy. In 2006 she purchased three of Banksy's works during a private art exhibition, one of them included a pornographic picture of Queen Victoria in a lesbian pose with a prostitute. She has mentioned in several interviews that she is a fan of actress Angelina Jolie, and her Burlesque co-star, Cher.

Other ventures

In 2000, Aguilera was the face for make-up line Fetish where she worked in choosing colors and packaging for the line. She ended her contract the following year. Throughout her career Aguilera has endorsed several brands, including Skechers, Mercedes-Benz, Verizon Wireless, and soft drink giants Coca-Cola in 2001, and Pepsi in 2006. She became the muse and model for fashion house Versace appearing in a campaign for the 2003 fall line. In 2004 Aguilera earned £200,000GBP (about $300,000USD) for opening the summer sale at London's Harrods store which took in record breaking profits during the four week period. In 2005 she was reportedly paid $3.6 million to sing a three song set for Russian billionare Andrey Melnichenko's wedding. Aguilera signed a contract with European cell phone operator Orange to promote the new Sony Ericsson Walkman phone during the 2006 World Cup.

In 2008 jewelry designer Stephen Webster and close friend of Aguilera released "Shattered", a collection of sterling silver pieces, through Neiman Marcus and Bergdorf Goodman. Aguilera, who inspired the collection, was featured as a Hitchcock heroine saying, "Working together on this campaign and collection has been an incredible experience. I am honored to be a part of it all." They reprised their work together for Webster's 2009 spring line.

Aguilera released two fragrances throughout Europe, the first one Xpose, was released in late 2004 and sold relatively well. Through Procter and Gamble Aguilera released her signature fragrance, Simply Christina in 2007. In Christmas 2007, the fragrance became the number one perfume in the UK, and later in 2009 it became the 4th best selling perfume in the UK, and Germany where it topped sales for the year. The perfume won as the people's choice for favorite celebrity fragrance at the annual UK Fifi Awards 2008. She released her third fragrance, Inspire, accompanied with a body care collection, on September 1, 2008. The perfume hit shelves in the US, Canada, Latin America, Asia and Northern and Eastern Europe. It is Aguilera's first fragrance released outside of Europe. Her worldwide ad campaign included a television ad shot by David LaChapelle and was released in the US through Macy's department stores. The release coincided with Macy's 150th anniversary which featured Aguilera in commemorative photos. She released her fourth fragrance By Night in October, which became the third best selling fragrance in the UK in 2009. During her 2007 tour she unknowingly wore a fur stole during the beginning of her tour, which designer Roberto Cavalli provided without informing Aguilera. After receiving a video from PETA Vice President Dan Mathews on the treatment of foxes, she replaced the stole with faux fur for the remainder of her tour. Aguilera was reportedly upset adding, "I only ever wear fake fur". In 2010 Aguilera auctioned off tickets for her upcoming tour for Christie's A Bid to Save the Earth. Proceeds benefit nonprofit environmental groups Conservation International, Oceana, Natural Resources Defense Council, and The Central Park Conservancy. Aguilera also supports Defenders of Wildlife, Missing Kids, National Alliance of Breast Cancer Organizations, Women's Cancer Research Fund, and Cedars-Sinai Women's Cancer Research Institute. She has also worked alongside nonprofit organization Do Something saying, "Every individual has the power to inspire young people across the country." In 2010 she was nominated for a VH1 Do Something Award for her work with the organization and her efforts in the response to the 2010 Haiti earthquake. She was featured in the campaign for photographer, Brie Childers with the goal of helping women of all ages, races and lifestyles feel beautiful and confident about themselves and the body and skin they were born with. Proceeds from benefit several women's charities nationwide.

Aguilera is still a major contributor in her hometown of Pittsburgh contributing regularly to the Women's Center & Shelter of Greater Pittsburgh. According to her official website, she toured the center and donated $200,000 to the shelter. She also has auctioned off front row seats and back stage passes for the Pittsburgh-based charity. She has continued her donations and visits to the shelter, and plans to open an additional one. She also supports the National Coalition Against Domestic Violence and Refuge UK.

Aguilera is a supporter of the LGBT community and is considered a gay icon by many. She was honored at the GLAAD Awards for using gay and transgender images in her music video for "Beautiful". When accepting the award Aguilera said, "My video captures the reality that gay and transgender people are beautiful, even though prejudice and discrimination against them still exists." In 2005 she appeared on a compilation album titled, Love Rocks, proceeds benefit the Human Rights Campaign, an organization dedicated to fighting for equal rights for gay, lesbian, bisexual and transgendered people. In 2008 she publicly spoke out against California's Proposition 8 which eliminates same-sex marriage in California saying, "Why you would put so much money behind something [aimed at] stopping from people loving each other and bonding together? I just don't understand it. It's hard for me to grasp. But I would've been out there with my rally sign as well."

Aguilera contributes in the fight against AIDS, by participating in AIDS Project Los Angeles' Artists Against AIDS "What's Going On?" cover project. In 2004, Aguilera became the new face for cosmetic company M·A·C and spokesperson for M·A·C AIDS Fund. Aguilera appeared in advertisements of the M·A·C's Viva Glam V lipstick and lipgloss, and was featured on Vanity Fair in recognition of her campaign work. In addition, Aguilera contributed to YouthAIDS by posing for a joint YouthAIDS and Aldo Shoes campaign for "Empowerment Tags" in Canada, the U.S. and the UK. She was featured with one of three ubiquitous slogans, "Speak No Evil?" and stated, "HIV is something that people don’t want to talk about, hear about, or face." Singer Elton John featured Aguilera in his charity book titled "Four Inches" benefiting the Elton John AIDS Foundation. Elton also hand-picked Aguilera, for his annual "Fashion Rocks" charity concert which accompanies music and fashion to benefit the fight against AIDS/HIV.

.]] In the run-up to the 2004 United States presidential election, Aguilera was featured on billboards for the "Only You Can Silence Yourself" online voter registration drive run by the nonpartisan, non-profit campaign "Declare Yourself". In these political advertisements, shot by David LaChapelle, Aguilera was shown with her mouth sewn shut, to symbolize the effects of not voting. She appeared on The Oprah Winfrey Show to discuss the importance of voting. In late 2007 Aguilera became the spokesperson for "Rock the Vote" where she urged young people to vote in the 2008 presidential election. In partnership with "Rock the Vote", she appeared in a public service announcement which aired in summer 2008. The advert showed Aguilera with her son, Max Bratman, wrapped in an American flag, while singing "America the Beautiful".

In November 2005, all of her wedding gifts were submitted to various charities around the nation in support of Hurricane Katrina victims. That year she also performed at "Unite of the Stars" concert in aid of Unite Against Hunger in Johannesburg, South Africa and at the Nelson Mandela Children's Fund at the Coca-Cola Dome. In March 2007 Aguilera took part in a charity album (remaking Lennon's "Mother"), proceeds benefit Amnesty International's efforts to end genocide in Darfur. The album titled, , was released June 12, 2007 and featured various artists. In 2008 she headlined London's Africa Rising charity concert at Royal Albert Hall which raises awareness for finding substantial issues facing the continent. Later that year she appeared on the Turkish version of Deal or No Deal "Var mısın? Yok musun?" , where she won $180,000. Proceeds were donated to a charity program for orphans.

In 2009 Aguilera became the global spokesperson for World Hunger Relief appearing in advertisements, online campaigns and a public service announcement. Aguilera and her husband traveled to Guatemala with the World Food Programme to bring awareness to issues such as the high malnutrition rate in that country. She met with families of the villages and some of the beneficiaries of WFP's nutrition programs. Aguilera adds, "The people of WFP do such a great job helping hungry children and mothers. I'm thankful for the opportunity to be part of such a wonderful project." Since becoming a global spokeswoman Aguilera has helped raise over $22 million which helped provide over 90 million meals. She was honored at Variety's annual "Power of Women" luncheon in late 2009 alongside other women in entertainment for her contribution to philanthropic and charitable causes. In response to the 2010 Haiti earthquake, Aguilera donated a signed Chrysler 300 which was auctioned for relief efforts. She was one of the many artists who appeared on the telethon on January 22, 2010, donations directly benefited Oxfam America, Partners In Health, Red Cross and UNICEF. She later appeared on a second public service announcement alongside sports icon Muhammad Ali to raise funds for the World Food Programme's efforts to bring food to survivors of the earthquake. Later that year Aguilera made her first visit to Haiti as an ambassador against hunger where she visited two schools in the town of Léogâne. During her time there she assisted in the ongoing efforts to help the badly damaged town where she served meals and highlighted reconstruction efforts in the country.

Filmography

{| class="wikitable sortable" |+Films ! Year ! Title ! Role ! class="unsortable" | Notes |- | 2004 || Shark Tale || Herself || Voice role |- | 2008 || Shine a Light || Herself || Cameo appearance |- | 2010 || Get Him to the Greek || Herself || Cameo appearance |- | 2010 || Burlesque || Ali Rose || Nominated — Golden Globe for Best Original Song |- |}

{| class="wikitable sortable" |+Television ! Year ! Title ! Role ! class="unsortable" | Notes |- | 1993–1995 || The Mickey Mouse Club || Herself || 3 episodes |- | 1999 || Beverly Hills, 90210 || Herself || "Let's Eat Cake" |- | 2000–2006 || Saturday Night Live || Herself || Host, musical guest, 4 episodes |- | 2009 || Project Runway || Herself || Guest Judge, "Sequins, Feathers and Fur, Oh My!" |- | 2010 || Entourage || Herself || "Lose Yourself" |}

Discography

Christina Aguilera (1999)

Mi Reflejo (2000)

My Kind of Christmas (2000)

Stripped (2002)

Back to Basics (2006)

Bionic (2010)

See also

List of Christina Aguilera tours

List of best-selling music artists

List of awards and nominations received by Christina Aguilera

Honorific nicknames in popular music

References

External links

ChristinaAguilera.com — Christina Aguilera official website

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