Club Eifel's DJ Blaze performing at the 2009 Air Force Ball.

A disc jockey, also known as DJ, is a person who selects and plays recorded music for an audience. Originally, "disc" (sometimes spelled "disk", although this is now uncommon) referred to phonograph records, not the later Compact Discs. Today, the term includes all forms of music playback, no matter the medium.

There are several types of disc jockeys. Radio DJs or radio personalities introduce and play music that is broadcast on AM, FM, shortwave, digital, or internet radio stations. Club DJs select and play music in bars, nightclubs, or discothèques, or at parties or raves, or even in stadiums. Hip hop disc jockeys select and play music using multiple turntables, often to back up one or more MCs, and they may also do turntable scratching to create percussive sounds. In reggae, the DJ (deejay) is a vocalist who raps, "toasts", or chats over pre-recorded rhythm tracks while the individual choosing and playing them is referred to as a selector.^[1] Mobile DJs travel with portable sound systems and play recorded music at a variety of events.

Equipment and techniques[link]

Technics 1200 MK2, Technics 1210 MK2 & Pioneer DJM-500 shown in a common DJ configuration

A DJ at Sundance Film Festival 2003

Club DJ equipment may consist of:

• Sound recordings in a DJ's preferred medium (for example, vinyl records, Compact Discs, computer media files, etc.);
• A combination of two devices (or only one, if playback is digital) to play sound recordings, for alternating back and forth to create a continuous playback of music (for example, record players, Compact Disc players, computer media players such as an MP3 player, etc.);
• A multiple Sequencer which can mix MIDI tracks with Digital Audio;
• A sound system for amplification or broadcasting of the recordings (for example, portable audio system, PA system) or a radio broadcasting system;
• A DJ mixer, which is an (usually 2- or 4-channel) audio mixer usually equipped with a crossfader used to smoothly go from one song to another, using two or more playback devices;
• Headphones, used to listen to one recording while the other recording is being played to the audience, or to listen to both recordings simultaneously; and
• Optionally, a microphone, so that the DJ can introduce songs and speak to the audiences.

Other equipment could or can be added to the basic DJ setup (above), providing unique sound manipulations. Such devices include, but are not limited to:

• Electronic effects units (delay, reverb, octave, equalizer, chorus, etc.). Some club DJs use a subharmonic synthesizer effect which either doubles low frequencies with energy added an octave lower or synthesizes harmonics such that the impression of a very low bass sound is added to the mix.
• A computerised performance system, which can be used with vinyl emulation software to manipulate digital files on the computer in real time.
• Multi-stylus headshells, which allow a DJ to play different grooves of the same record at the same time.
• Special DJ digital controller hardware can manipulate digital files on a PC or laptop;
• Samplers, sequencers, electronic musical keyboards (synthesizers), or drum machines.
• A Midi Controller used to trigger different aspects of DJ Software, such as Serato Scratch Live, Virtual Dj, and Traktor.

Several techniques are used by DJs as a means to better mix and blend recorded music. These techniques primarily include the cueing, equalization, and audio mixing of two or more sound sources. The complexity and frequency of special techniques depends largely on the setting in which a DJ is working. Radio DJs are less likely to focus on music-mixing procedures than club DJs, who rely on a smooth transition between songs using a range of techniques.

Club DJ turntable techniques include beatmatching, phrasing, and slip-cueing to preserve energy on a dancefloor. Turntablism embodies the art of cutting, beat juggling, scratching, needle drops, phase shifting, back spinning, and more to perform the transitions and overdubs of samples in a more creative manner (although turntablism is often considered a use of the turntable as a musical instrument rather than a tool for blending recorded music). Professional DJs may use harmonic mixing to choose songs that are in compatible musical keys.

History[link]

Parts of this section (those related to The history section of this article needs to be updated, starting with the end of 1999 to the start of 2011.) may no longer be up to date. Please update this section to reflect recent events or newly available information, and remove this template when finished. Please see the talk page for more information. (May 2012)

19th century to 1920s[link]

In 1892, Emile Berliner began commercial production of his gramophone records, the first disc records to be offered to the public. In 1906, Reginald Fessenden transmitted the first audio radio broadcast in history also playing the first record, that of a contralto singing Handel's Largo from Xerxes.^[2]

The world's first radio disc jockey was Ray Newby, of Stockton, California. In 1909, at 16 years of age, Newby began regularly playing records on a small spark transmitter while a student at Herrold College of Engineering and Wireless, located in San Jose, California, under the authority of radio pioneer Charles "Doc" Herrold.^[3][4]

We used popular records at that time, mainly Caruso records, because they were very good and loud; we needed a boost... we started on an experimental basis and then, because this is novel, we stayed on schedule continually without leaving the air at any time from that time on except for a very short time during World War I, when the government required us to remove the antenna... Most of our programming was records, I'll admit, but of course we gave out news as we could obtain it...^[3]

—Ray Newby, I've Got a Secret (1965)

By 1910, regular radio broadcasting had started to use "live" as well as prerecorded sound. In the early radio age, content typically included comedy, drama, news, music, and sports reporting. The on-air announcers and programmers would later be known as disc jockeys. In the 1920s, juke joints became popular as places for dancing and drinking to recorded jukebox music. In 1927, Christopher Stone became the first radio announcer and programmer in the United Kingdom, on the BBC radio station.

1930s–1950s[link]

In 1935, American radio commentator Walter Winchell coined the term "disc jockey" (the combination of disc, referring to the disc records, and jockey, which is an operator of a machine) as a description of radio announcer Martin Block, the first announcer to become a star. While his audience was awaiting developments in the Lindbergh kidnapping, Block played records and created the illusion that he was broadcasting from a ballroom, with the nation’s top dance bands performing live. The show, which he called Make Believe Ballroom, was an instant hit. The term "disc jockey" appeared in print in Variety in 1941.^[5]

Prior to this, most music heard on radio was live; most radio stations had an orchestra or band on the payroll.^[6][7] The Federal Communications Commission also clearly favored live music, providing accelerated license approval to stations promising not to use any recordings for their first three years on the air.^[5] Many noted recording artists tried to keep their recorded works off the air by having their records labeled as not being legal for airplay. It took a Federal court ruling in 1940 to establish that a recording artist had no legal right to control the use of a record after it was sold.^[5]

In 1943, Jimmy Savile launched the world's first DJ dance party by playing jazz records in the upstairs function room of the Loyal Order of Ancient Shepherds in Otley, England. In 1947, he claims to have become the first DJ to use twin turntables for continuous play, and in 1958 became a radio DJ at Radio Luxembourg. Also in 1947, the Whiskey à Go-Go nightclub opened in Paris, France, considered to be the world's first commercial discothèque, or disco (deriving its name from the French word meaning a nightclub where the featured entertainment is recorded music rather than an on-stage band). Regine began playing on twin turntables there in 1953. Discos began appearing across Europe and the United States.

The postwar period coincided with the rise of the radio disc jockey as a celebrity separate from the radio station, also known as a "radio personality". In the days before station-controlled playlists, the DJ often followed their personal tastes in music selection. DJs also played a role in exposing rock and roll artists to large, national audiences. While at WERE (1300 AM) in Cleveland, Ohio, DJ Bill Randle was one of the first to introduce Elvis Presley to radio audiences in the northeastern US.^[8]

Notable US radio disc jockeys of the period include Alan Freed, Wolfman Jack, Kasey Kasem,^[9] and their British counterparts such as the BBC's Brian Matthew, Radio London's John Peel, and later in the 60s, Radio Caroline's Tony Blackburn.^[10]

Freed is commonly referred to as the "father of rock and roll" due to his promotion of the music and his introduction of the phrase "rock and roll" on radio in the early 1950s. Freed also made a practice of presenting music by African-American artists rather than cover versions by white artists on his radio program. Freed's career ended when it was shown that he had accepted payola, a practice that was highly controversial at the time, resulting in his being fired from his job at WABC.^[11]

In the 1950s, American radio DJs would appear live at "sock hops" and "platter parties" and assume the role of a human jukebox. They would usually play 45-rpm records, featuring hit singles on one turntable while talking between songs. In some cases, a live drummer was hired to play beats between songs to maintain the dance floor. In 1955, Bob Casey, a well-known "sock hop" DJ, brought the two-turntable system to the U.S. Throughout the 1950s, payola continued to be a problem and one result of the payola scandal was tighter control of the music by station management. The Top 40 format emerged, where popular songs are played repeatedly.

In the late 1950s, sound systems, a new form of public entertainment, were developed in the ghettos of Kingston, Jamaica. Promoters, who called themselves DJs, would throw large parties in the streets that centered on the disc jockey, called the "selector," who played dance music from large, loud PA systems and bantered over the music with a boastful, rhythmic chanting style called "toasting". These parties quickly became profitable for the promoters, who would sell admission, food, and alcohol, leading to fierce competition between DJs for the biggest sound systems and newest records.

1960s and 1970s[link]

In the mid-1960s, nightclubs and discothèques continued to grow in Europe and the United States. Specialized DJ equipment, such as Rudy Bozak's classic CMA-10-2DL mixer, began to appear on the market. In 1969, American club DJ Francis Grasso popularized beatmatching at New York's Sanctuary nightclub. Beatmatching is the technique of creating seamless transitions between records with matching beats, or tempos. Grasso also developed slip-cuing, the technique of holding a record still while the turntable is revolving underneath, releasing it at the desired moment to create a sudden transition from the previous record. (This technique had long been used in radio.)

By 1968, the number of dance clubs started to decline; most American clubs either closed or were transformed into clubs featuring live bands. Neighborhood block parties that were modelled after Jamaican sound systems gained popularity in Europe and in the boroughs of New York City.

In 1973, Jamaican-born DJ Kool Herc, widely regarded as the "father of hip-hop culture," performed at block parties in his Bronx neighborhood and developed a technique of mixing back and forth between two identical records to extend the rhythmic instrumental segment, or break. Turntablism, the art of using turntables not only to play music but to manipulate sound and create original music, began to develop.

In 1974, Technics released the first SL-1200 turntable, which evolved into the SL-1200 MK2 in 1979—which, as of the early-2010s, remains an industry standard for DJing. In 1974, German electronic music band Kraftwerk released the 22-minute song "Autobahn," which takes up the entire first side of that LP. Years later, Kraftwerk would become a significant influence on hip-hop artists such as Afrika Bambaataa and house music pioneer Frankie Knuckles. During the mid-1970s, Hip-hop music and culture began to emerge, originating among urban African Americans and Latinos in New York City. The four main elements of Hip Hop culture are graffiti, DJing, breakdancing, and MCing (rapping).

In the mid-1970s, the soul-funk blend of dance pop known as disco took off in the mainstream pop charts in the United States and Europe, causing discothèques to experience a rebirth. Unlike many late-1960s clubs, which featured live bands, discothèques used the DJ's selection and mixing of records as the entertainment. In 1975, record pools began, providing disc jockeys access to newer music from the industry in an efficient method.

In 1975,^[12] hip-hop DJ Grand Wizard Theodore invented the scratching technique by accident. In 1976, American DJ, editor, and producer Walter Gibbons remixed "Ten Percent" by Double Exposure, one of the earliest commercially released 12″ singles (aka "maxi-single"). In 1979, the Sugar Hill Gang released "Rapper's Delight", the first hip-hop record to become a hit. It was also the first real breakthrough for sampling, as the bassline of Chic's "Good Times" laid the foundation for the song.

In 1977, Saratoga Springs, NY disc jockey Tom L. Lewis introduced the Disco Bible (later renamed Disco Beats), which published hit disco songs listed by beats per minute (tempo), as well as by either artist or song title. Billboard ran an article on the new publication, and it went national relatively quickly. The list made it easier for beginning DJs to learn how to create seamless transitions between songs without dancers having to change their rhythm on the dance floor. Today, DJs can find the beats per minute of songs in the BPM List.

1980s[link]

In 1981, the cable television network MTV was launched, originally devoted to music videos, especially popular rock music. The term "video jockey", or VJ, was used to describe the fresh-faced youth who introduced the music videos. In 1982, the demise of disco in the mainstream by the summer of 1982 forced many nightclubs to either close or change entertainment styles, such as by providing MTV-style video dancing or live bands. Released in 1982, the song "Planet Rock" by DJ Afrika Bambaataa was the first hip-hop song to feature synthesizers. The song melded electro hip-hop beats influenced by Yellow Magic Orchestra with the melody from Kraftwerk's "Trans-Europe Express." In 1982, the Compact Disc reached the public market in Asia, and early the following year in other markets. This event is often seen as the "Big Bang" of the digital audio revolution.

In the early 1980s, NYC disco DJ Larry Levan, known for his eclectic mixes, gained a cult following, and the Paradise Garage, the nightclub at which he spun, became the prototype for the modern dance club where the music and the DJ were showcased. Around the same time, the disco-influenced electronic style of dance music called house music emerged in Chicago. The name was derived from the Warehouse Club in Chicago, where resident DJ Frankie Knuckles mixed old disco classics and Eurosynth pop. House music is essentially disco music with electronic drum machine beats. The common element of most house music is a 4/4 beat generated by a drum machine or other electronic means (such as a sampler), together with a solid (usually also electronically generated) synth bassline. In 1983, Jesse Saunders released what some consider the first house music track, "On & On." The mid-1980s also saw the emergence of New York Garage, a house music hybrid that was inspired by Levan's style and sometimes eschewed the accentuated high-hats of the Chicago house sound.

During the mid-1980s, techno music emerged from the Detroit club scene. Being geographically located between Chicago and New York, Detroit techno artists combined elements of Chicago house and New York garage along with European imports. Techno distanced itself from disco's roots by becoming almost purely electronic with synthesized beats. In 1985, the Winter Music Conference started in Fort Lauderdale Florida and became the premier electronic music conference for dance music disc jockeys.

In 1985, TRAX Dance Music Guide was launched by American Record Pool in Beverly Hills. It was the first national DJ-published music magazine, created on the Macintosh computer using extensive music market research and early desktop publishing tools. In 1986, "Walk This Way", a rap/rock collaboration by Run DMC and Aerosmith, became the first hip-hop song to reach the Top 10 on the Billboard Hot 100. This song was the first exposure of hip-hop music, as well as the concept of the disc jockey as band member and artist, to many mainstream audiences. In 1988, DJ Times magazine was first published. It was the first US-based magazine specifically geared toward the professional mobile and club DJ.

Starting in the mid-1980s, the wedding and banquet business changed dramatically with the introduction of DJ music, replacing the bands that had been the norm. Bandleaders, like Jerry Perell and others, started DJ companies, such as NY Rhythm DJ Entertainers. Using their knowledge of audience participation, MC charisma, and "crowd-pleasing" repertory selection, the wedding music industry became almost all DJ while combining the class and elegance of the traditional band presentation. New DJs as well as bandleaders with years of experience and professionalism transformed the entire industry.

1990s[link]

During the early 1990s, the rave scene built on the acid house scene. The rave scene changed dance music, the image of DJs, and the nature of promoting. The innovative marketing surrounding the rave scene created the first superstar DJs who established marketable "brands" around their names and sound. Some of these celebrity DJs toured around the world and were able to branch out into other music-related activities. During the early 1990s, the Compact Disc surpassed the gramophone record in popularity, but gramophone records continued to be made (although in very limited quantities) into the 21st century—particularly for club DJs and for local acts recording on small regional labels. During the mid-1990s, trance music, having run rampant in the German underground for several years, emerged as a major force in dance music throughout Europe and the UK. It became one of the world's most dominant forms of dance music by the end of the 1990s, thanks to a trend away from its repetitive, hypnotic roots, and towards commercialized song structure.

In 1991, Mobile Beat magazine, geared specifically toward mobile DJs, began publishing. In 1992, MPEG which stands for the Moving Picture Experts Group, released The MPEG-1 standard, designed to produce reasonable sound at low bit rates. The lossy compression scheme MPEG-1 Layer-3, popularly known as MP3, later revolutionized the digital music domain. In 1993, the first internet "radio station", Internet Talk Radio, was developed by Carl Malamud. Because the audio was relayed over the internet, it was possible to access internet radio stations from anywhere in the world. This made it a popular service for both amateur and professional disc jockeys operating from a personal computer.

In 1998, the first MP3 digital audio player was released, the Eiger Labs MPMan F10. Final Scratch debuted at the BE Developer Conference, marking the first digital DJ system to allow DJs control of MP3 files through special time-coded vinyl records or CDs. While it would take sometime for this novel concept to catch on with the "die hard Vinyl DJs", This would soon become the first step in the new Digital DJ revolution. Manufacturers joined with computer DJing pioneers to offer professional endorsements, the first being Professor Jam (aka William P. Rader), who went on to develop the industry's first dedicated computer DJ convention and learning program, the "CPS (Computerized Performance System) DJ Summit", to help spread the word about the advantages of this emerging technology.

In 1999, Shawn Fanning released Napster, the first of the massively popular peer-to-peer file sharing systems. During this period, the AVLA (Audio Video Licensing Agency) of Canada announced an MP3 DJing license, administered by the Canadian Recording Industry Association. This meant that DJs could apply for a license giving them the right to perform publicly using music stored on a hard drive, instead of having to cart their whole CD collections around to their gigs.

Photo gallery[link]

• 

  Club Sevillas's DJ 2CAN performing in a local club in the Inland Empire of California.

• 

  Romina Cohn @ Sobremonte (Mar del Plata, Argentina)

• JasonJollinsPachaBsAs.jpg

  Jason Jollins performing at Pacha, Buenos Aires

• 

  Jeff Mills, live with 3 CD and a Roland TR-909 drum machine, 2007

• 

  Trance DJ Ferry Corsten in Canada

• 

  DJ Hazel

• 

  Dj Markus radio Dj (exDFM)

See also[link]

• Computer DJ
• Digital DJ licensing
• Disc or disk (spelling)
• Live PA
• Mixset
• Record collecting
• Seoul World DJ Festival

Notes[link]

References[link]

• Assef, Claudia (2000). Todo DJ Já Sambou: A História do Disc-Jóquei no Brasil. São Paulo: Conrad Editora do Brasil. ISBN 85-87193-94-5.
• Brewster, Bill, and Frank Broughton (2000). Last Night a DJ Saved My Life: The History of the Disc Jockey. New York: Grove Press. ISBN 0-8021-3688-5 (North American edition). London: Headline. ISBN 0-7472-6230-6 (UK edition).
• Broughton, Frank, and Bill Brewster. How to DJ Right: The Art and Science of Playing Records. New York: Grove Press, 2003.
• Graudins, Charles A. How to Be a DJ. Boston: Course Technology PTR, 2004.
• Lawrence, Tim (2004). Love Saves the Day: A History of American Dance Music Culture, 1970–1979 . Duke University Press. ISBN 0-8223-3198-5.
• Miller, Paul D. aka DJ Spooky, Sound Unbound: Writings on DJ Culture and Electronic Music, MIT Press 2008. ISBN 0-262-63363-9 ISBN 978-0-262-63363-5.
• Poschardt, Ulf (1998). DJ Culture. London: Quartet Books. ISBN 0-7043-8098-6.
• Corrado Rizza, Marco Trani, "I love the nightlife"' Wax Production (Roma), 2010
• Zemon, Stacy. The Mobile DJ Handbook: How to Start & Run a Profitable Mobile Disc Jockey Service, Second Edition. St. Louis: Focal Press, 2002

External links[link]

Wikiquote has a collection of quotations related to: Disc jockey

Wikimedia Commons has media related to: Disc jockey

• DJs at the Open Directory Project

DJ Fresh
Background information
Birth name	Daniel Stein
Also known as	DJ Fresh, Fresh, Mosquito, Absolute Zero
Origin	England
Genres	Drum and bass, Dubstep
Occupations	Record producer, DJ, Musician
Years active	1996–present
Labels	Breakbeat Kaos, Data Records, Ram Records, V Records, Valve Recordings
Associated acts	Bad Company UK, Pendulum, Tenor Fly, $pyda, Adam F, Andy C, Deekline & Wizard, Ivory, Soundweapon, Stamina MC, Koko, Ce'Cile, Sigma, DJ Shadow, DJ Hype, Darrison, Mary Byker, Baron, Swift, Valkyrie, Sian Evans, Rita Ora, Dizzee Rascal.
Website	http://www.thedjfresh.com/

DJ Fresh (born as Daniel Stein) is an English Drum & Bass and Dubstep producer and DJ. He was one of the principal members of drum & bass supergroup, Bad Company,^[1] alongside Darren White (dBridge), Jason Maldini, and Michael Wojcicki (Vegas). He also owns and runs the pioneering drum & bass label Breakbeat Kaos with Adam F.

Career[link]

Early success and 'Escape from Planet Monday' (1998 - 2008)[link]

The cover for Escape From Planet Monday

Along with the three other members of Bad Company, Fresh founded the record label BC Recordings, as well as the website Dogs On Acid.^[2] Bad Company are heralded as one of the finest drum & bass acts ever, having produced numerous genre-defining tracks. Undoubtedly their most renowned track is "The Nine", a track released in 1998 when Fresh was just 21 years old. "The Nine" was later voted the greatest drum & bass track of all time by readers of Knowledge Magazine^[3]

Resuming his solo career in 2002, Fresh founded Breakbeat Punk, which merged with Adam F's Kaos Recordings to become Breakbeat Kaos in 2003.^[4] In 2004 Dogs on Acid was given its own imprint.

Fresh has worked with artists ranging from Pet Shop Boys, DJ Shadow, Apollo 440 to Andy C and Grooverider, and has also held a working relationship with the drum and bass trio Pendulum, whom he signed to Breakbeat Kaos in 2005.^[5]

Fresh has had his own tracks included on a number of remix CDs, including the 2006 release Jungle Sound: The Bassline Strikes Back!, Andy C's Nightlife series, DJ Hype's Drum and Bass Warfare, and Goldie's Drum and Bass Classics.

In 2006, Fresh released his first studio album, Escape from Planet Monday, featuring "The Immortal", "X Project", "Nervous" and "All that Jazz" on Breakbeat Kaos.

A 100% Pure Mix of X Project was featured in the video games Wipeout Pulse (2007) and Wipeout HD (2008).

'Kryptonite' and commercial success (2009 - 2011)[link]

The cover for Kryptonite

In 2009 Fresh released a 12" of "Heavyweight" (with Fantasia on the B side) on the Digital Soundboy label. "Heavyweight" had a different style from Fresh's usual output, and gained positive reviews and a general positive response through the underground scene and within various radio stations.^[6] Fresh subsequently released "Hypercaine" (including a remix from Nero) in September 2009,^[7] and made BBC Radio 1's daytime playlist.

On the 1 August 2010, he re-released his song Gold Dust Featuring vocals from Ce'Cile, Where it peaked 24 in the UK and 39 in Ireland, it marked his first Top 40 hit in both countries. On 16 August, he released his second studio album, "Kryptonite" where it peaked 4 on the UK Dance Chart.

He then released his follow-up single, called "Lassitude" with Sigma and Vocals from Koko. It managed to peak 98 on the UK Singles Chart and 11 on the UK Dance Chart.

Third album, tour and continued commercial success (2011)[link]

The first single from his Third Album, "Louder" was released on July 3, 2011. The song was used as part of a Lucozade Lite advertising campaign in the UK and Ireland. The song features vocals from Welsh singer Sian Evans from the band Kosheen, it peaked number 4 on the Irish Singles Chart and was the first ever Dubstep Number 1 on the UK Singles Chart.

On February 12, 2012 the second single "Hot Right Now" featuring British/Albanian singer Rita Ora which became his second number one in the UK, and the first Drum & Bass song to chart at Number 1 in the UK. The third single from the album, "The Power",features Dizzee Rascal is due to be officially released on June 3rd 2012.

His third album is due for release in September 2012.

FRESH/LIVE[link]

The poster for the FRESH/LIVE tour.

In late 2011, DJ Fresh began a new aspect of his career by launching 'FRESH/LIVE'. This live show incorporates a drummer, guitarist, vocalist, an MC and Fresh himself on keys to perform identical renditions of his studio-produced hits in live settings.

Fresh handpicked the musicians that made up the band, calling on people he had encountered at various stages of his career. On the drums was Kodish, a man with over ten years experience as a drummer in the drum & bass scene, having performed with such eminent acts as Moving Fusion, Bad Company, and Pendulum. Guitarist Richard de Rosa founded the Ska/Swing band Scubaroots, with whom he has performed to thousands of people at countless festivals. Seemingly a master of all trades, he also produced the band's album, was nominated for producer of the year at the 2011 South West Music Awards, and had previously performed on BBC Radio 1's Live Lounge with Example and Fresh. Vocalist Fleur exploded onto the scene after performing on X Factor to 9 million TV viewers in 2005 and had also previously performed with Fresh on Live Lounge, and with Ms Dynamite on 1Xtra. The MC comes in the form of Drum and Bass' rising star Messy MC, who has previously performed and toured extensively with Pendulum, The EZ Rollers, Nero, Camo and Crooked and the Hospital Records tour nights Hospitality. He also received the Award for Best Newcomer MC in 2010 at the DNBA Awards and was then subsequently nominated in 2011 for Best MC.

The UK-wide tour completely sold out, taking in seven prestigious venues: The Arches in Glasgow, Alexandra Palace in London, The Big Reunion in Skegness, Manchester Club Academy, Waterfront in Norwich, Concorde 2 in Brighton, and the Student Union in Leeds. FRESH/LIVE is set to return in Spring 2012.

Discography[link]

• Escape from Planet Monday (2006)
• Kryptonite (2010)
• Third Studio Album (2012)

See also[link]

• Breakbeat Kaos
• Drum and bass
• Dogs On Acid
• Dubstep
• Jungle
• Pendulum

References[link]

External links[link]

• DJ Fresh on Myspace
• DJ Fresh discography at Discogs
• DJ Fresh at rolldabeats

Robbie Williams
Williams performing as part of the Progress Live tour in May 2011
Background information
Birth name	Robert Peter Williams
Born	(1974-02-13) 13 February 1974 (age 38) Stoke-on-Trent, Staffordshire, England
Genres	Pop rock, soft rock, dance
Occupations	Singer-songwriter, musician, vocal coach, record producer, actor
Instruments	Vocals, guitar, bass guitar, synthesiser, drums, piano, violin, harmonica, marimba
Years active	1990–present
Labels	Universal (2011–present) Virgin (2009–2010) Chrysalis (1996-2008)
Associated acts	Take That
Website	robbiewilliams.com

Robert Peter "Robbie" Williams^[1] (born 13 February 1974) is an English singer-songwriter, vocal coach and occasional actor. He is a member of the pop group Take That.

Williams rose to fame in the band's first run in the early- to mid-1990s. After many disagreements with the management and certain group members, Williams left the group in 1995 to launch his solo career. On 15 July 2010, it was announced he had rejoined Take That and that the group intended to release a new album in November 2010^[2][3] which became the second fastest-selling album of all-time in UK chart history^[4] and the fastest-selling record of the century.^[5]

Williams has sold over 70 million records worldwide, which ranks him among the best-selling music artists worldwide.^[6] He is the best-selling British solo artist in the United Kingdom and the best selling non-Latino artist in Latin America. Six of his albums are among the top 100 biggest-selling albums in the United Kingdom. He has also been honoured with seventeen BRIT Awards—more than any other artist—and seven ECHO Awards. In 2004, he was inducted into the UK Music Hall of Fame after being voted as the "Greatest Artist of the 1990s."

Life and career[link]

1974–89: Early life[link]

Williams was born to Peter and Janet Williams in Stoke-on-Trent on 13 February 1974. His parents ran a pub called the Red Lion in the town of Burslem, before his father became the licensee at the Port Vale F.C. Social Club - this led to Williams' lifelong affinity for the team.^[7] Williams attended Mill Hill Primary School in Stoke-on-Trent^[8] then St Margaret Ward Roman Catholic School in Tunstall,^[9] and also attended dance school UKDDF in Tunstall.^{[citation needed]} He participated in several school plays, and his biggest role was that of the Artful Dodger in a production of Oliver!.

1990–95: Take That[link]

In 1990, the sixteen year old Williams was the youngest member to join Take That. According to the documentary Take That: For the Record, his mother read an advertisement seeking members for a new boy band and suggested that he try out for the group. He met fellow member Mark Owen on the day of his audition/interview with Nigel Martin-Smith. During the heights of the band's popularity, Williams was known as the extrovert and practical joker of the band. Although the majority of the band's material was written and performed by Gary Barlow, Williams did perform lead vocals on their first Top Ten hit "Could It Be Magic", "I Found Heaven", and "Everything Changes". However, he had conflicts with Martin-Smith over the restrictive rules for Take That members, and he began drinking more alcohol and dabbling in cocaine.

In July 1995, Williams's drug abuse had escalated to the point of his having a near drug overdose the night before the group was scheduled to perform at the MTV Europe Music Awards. According to the documentary For the Record, he stated that he was unhappy with his musical ideas not being taken seriously by lead singer Barlow and Nigel Martin-Smith, because his desire to explore hip hop and rap conflicted with the band's usual ballads. Barlow explained in interviews that Williams had given up trying to offer creative input and merely did as he was told. As well as Williams's friction with the management of the band, Jason Orange had problems with his increasingly belligerent behaviour, his lack of interest in performing, and his frequent habit of missing the band's rehearsals.

Both Orange and Barlow confronted Martin-Smith about the internal conflict, because they did not want him dropping out while touring and before any possible future touring of America, which never took place. During one of the last rehearsals before the tour commenced, the group confronted Williams about his attitude and stated they wanted to do the tour without him. He agreed to quit the band and left; it would be the last time for twelve years that they were all together. Despite the departure of Williams, Take That completed their Nobody Else Tour as a four-piece band. They later disbanded on 13 February 1996, Williams's 22nd birthday.

Shortly afterwards, Williams was photographed by the press partying with the members of Oasis at Glastonbury Festival. Following his departure, he became the subject of talk shows and newspapers as he acknowledged his plans to become a solo singer, and he was spotted partying with George Michael in France. However, a clause in his Take That contract prohibited him from releasing any material until after the group was officially dissolved, and he was later sued by Martin-Smith and forced to pay $200,000 in commission. After various legal battles over his right to a solo career, Williams was victorious in getting released from his contract with BMG. On 27 June 1996, Williams formally announced that he had signed with Chrysalis Records.

[edit] 1996–98: Life Thru a Lens and I've Been Expecting You

After leaving Take That, Williams launched his solo career starting off in 1996 by covering George Michael's "Freedom", the single reached number two in the UK Singles Chart.^[10]

Recordings for Williams's first album began at London's Maison Rouge studios in March 1996. Shortly after his introduction to Guy Chambers, Williams released "Old Before I Die" which would be the first single taken from his début album. The single reached number two on the UK Charts;^[10] however, it was largely ignored on international charts.

His debut album, Life Thru a Lens, was released in September 1997. The album launched with his first live solo gig at the Élysée Montmartre theatre in Paris, France. The album debuted at number eleven of the UK Album Charts.

Williams released what would be the fourth single taken from his album. "Angels" became Williams' best-seller in the United Kingdom.^[11] The song, apart from becoming a hit around Europe and Latin America, caused sales of his album to skyrocket. The album remained inside the British top ten for forty weeks and spent 218 weeks there altogether, making it the 58th best selling album in UK history with sales of over 2.4 million.^[12] The album eventually managed to sell over three million copies in Europe.^[13]

Williams and Chambers started writing the second album in Jamaica in early 1998. The first single, "Millennium", became Williams' first solo number one single in the United Kingdom.^[14] It also became a top twenty hit in many European countries, Latin America and Australia.^[15]

When the album I've Been Expecting You was released in late October 1998, it débuted at number one in the UK Albums Chart.^[14] The album received more attention outside the United Kingdom, leaving its mark in the European and Latin American markets with hits such as "No Regrets", a collaboration with The Pet Shop Boys' singer Neil Tennant and The Divine Comedy's Neil Hannon.

A cover of a track from World Party's album, Egyptology, became Williams' second number one hit in the UK.^[14] Williams finished the year with a European Tour late in 1999.

The album I've Been Expecting You sold almost 3 million copies in the UK and was certified 10x Platinum by the BPI.^[16] In Europe, the album sold over 4 million copies.^[17]

[edit] 1999–2001: Sing When You're Winning and Swing When You're Winning

In 1999, Williams was signed to Capitol Records in the United States, a part of EMI. He embarked on a US promotional tour and released his first U.S. and Canadian single, "Millennium". The album The Ego Has Landed was released in July 1999 in the United States and Canada.

Williams in London in 2000, gesturing to a paparazzo photographer.

In the middle of promotion and the tours in 1999, Williams began work on his third studio album. This time he had finally found his inner confidence.^[18]

The first single taken from the album was "Rock DJ", a song inspired by Williams's UNICEF mentor, the late Ian Dury. The video showed Williams in an attempt to get noticed by a group of females, first stripping and then tearing chunks of skin and muscle from his body, and caused controversy in the United Kingdom and many other countries. The video was edited by Top of the Pops for its graphic content and many other channels followed suit.^[19] The song became an instant hit, reaching number one in the UK (becoming his third number one single as a solo artist) and New Zealand. The song went on to win "Best Song of 2000" at the MTV Europe Music Awards, "Best Single of the Year" at the BRIT Awards and an MTV Video Music Award for Best Special Effects.

When the album, Sing When You're Winning was released in August 2000, it topped the charts in many different countries.^[20] In the UK the album was certified 2x Platinum on its first week of release.^[21]

After the success of his third album, Williams wanted to take another musical direction. He took two weeks off from his tour to record what would be his fourth studio album, a big band album.^[22] Born from his life-long love for Frank Sinatra – combined with the success of the track "Have You Met Miss Jones?" that he recorded for the film Bridget Jones' Diary in early 2001 – the album was recorded at Capitol Studios in Los Angeles.

Williams took the chance to duet with his long-time friend Jonathan Wilkes, Little Voice star Jane Horrocks, Saturday Night Live star Jon Lovitz, Rupert Everett and actress Nicole Kidman. The first single released from the album was a duet with Kidman, on "Somethin' Stupid". Originally a hit for Frank and Nancy Sinatra, the song became Williams' fifth number one hit in the UK.^[23] It eventually went on to become one of the biggest hits of 2001.^[24]

When the album Swing When You're Winning (in reference to his 2000 studio album Sing When You're Winning) was released in late 2001, it became an instant hit in the UK, Ireland, New Zealand, Austria, Germany and Switzerland.^[25]

"Beyond the Sea" was featured over the credits of the film Finding Nemo in 2003 and was also released on the film's soundtrack CD.

A DVD called Robbie Williams Live at the Albert Hall was released in December of that year. So far, it has become one of the best selling music DVDs in Europe, being certified 6x Platinum in the United Kingdom^[26] and 2x Platinum in Germany.^[27]

[edit] 2002–05: Escapology and Intensive Care

In 2002, Williams signed a record-breaking £80 million contract with EMI.^[28] The contract included a number of provisos, including the label ceding greater creative control to the artist and a commitment to breaking Williams into the US market. So far it is the biggest music deal in British history. The deal was brokered by Ingenious Media, a leading UK corporate finance advisory business.^[29]

Williams began working on what would be his fifth studio album, spending a year in the recording studio. The album heralded a new era for Williams. He had taken a more active role in the making of this album, giving an indication of his growing confidence in the studio. "One Fine Day", "Nan's Song", and "Come Undone" were the first songs that Williams wrote without the input of Guy Chambers. Most of the songs were recorded in Los Angeles.^[29]

The album's first single, "Feel", written by Williams and Chambers, was recorded as a demo. When they started working on the album and were trying to re-record the vocals, Williams felt unsatisfied with it, so he decided to include the demo version and then release it as the first single.^[30] When the single was released in late 2002, it became Williams' biggest international hit, going number one in countries like The Netherlands and Italy, as well as reaching the top ten in almost every single European country.^[31]

When Williams' fifth studio album, Escapology, was released in late 2002, it hit number one in at least 10 countries around the world. In the United States, however, it failed to make such an impact.

Due to the controversial video for the album's second single, "Come Undone", it was heavily censored by MTV Networks Europe for depicting a debauched (but fully clothed) Williams having three-way sex with two women. The video was about some young people having a party and it showed footage of fights, drug taking and alcohol abuse. It also showed unsettling images of insects and reptiles. The uncensored version of the video was released on DVD single in Europe and was also included on the Enhanced CD Single.^[32] BBC Radio 2 also banned the song for its explicit content.^[33] At that time, it was confirmed that Williams and Guy Chambers were to officially split up.^[32]

Escapology sold almost 2 million copies by the end of 2003 in the United Kingdom.^[34]

In October 2003, Williams released his first live album, Live at Knebworth.

In October 2004, Williams released, Greatest Hits, a retrospective of his career, and also, to reveal the new tracks he had been working on with the then-new collaborator, Stephen Duffy.^[35] "Radio", the compilation's first single, debuted at number one in the UK Singles Chart^[14] (becoming Williams' sixth number-one hit). When the compilation was later released it debuted at number one in the UK^[14] and was the best selling album of the year in the UK^[36] and Europe.^[37]

Eight years after the release of "Angels", in February 2005 the British public voted it as the "Best Single of the Past Twenty-Five Years" at the 2005 BRIT Awards.^[38]

After touring Latin America in late 2004 for the promotion Greatest Hits, Williams started working on his sixth studio album. Recorded at his house in the Hollywood Hills, the album was co-written by Stephen Duffy over the course of 24 months.^[39]

The track "Ghosts" was inspired by the Human League's "Louise", about a man who breaks off a relationship with his partner and realises he still has strong feelings for her.^[39]

The album Intensive Care was launched in Berlin on 9 October. It became a smash hit around the world.

In November 2005, Williams took home the MTV Europe Music Award for 'Best Male', but also, entered in The Guinness Book of World Records when he announced his World Tour for 2006, selling 1.6 million tickets in one single day.^[40] But after the success, Gary Barlow, Mark Owen, Jason Orange, and Howard Donald had agreed to reunite in Notting Hill, west London, for a preview screening of a documentary about Take That. The documentary screened on ITV1 on 16 November 2005. Unfortunately, according to a source quoted by The Sunday Mirror, "Robbie announced he wasn't coming. The rest of the band were gutted but felt the show had to go on."^[41]

Williams kicked off his Close Encounters World Tour in South Africa in April 2006, when he finished his European leg of the tour. 2.5 million people had seen the show,^[42] and after touring Latin America and Australia the numbers went up to 3 million.

[edit] 2006–09: Rudebox and Reality Killed the Video Star

Robbie Williams in concert in Hamburg, Germany in 2006

Williams released his much anticipated dance/electro album, Rudebox, on 23 October 2006. It featured collaborations with the Pet Shop Boys, William Orbit, Soul Mekanik, Joey Negro, Mark Ronson, Chris Grierson, The Orr Boys. It received mixed reviews: Allmusic gave it a four star rating, the NME 8 out of 10, and Music Week and MOJO were equally positive,^[43] but it received much weaker reviews from some of the British press.

The first single, "Rudebox", was premièred on radio by Scott Mills on his show on BBC Radio 1. The event caused some controversy, as the record label's embargo date was broken, although Williams himself later backed the presenter for doing so. More controversy followed due to the first single's radical change of direction when compared to his older releases. British newspaper The Sun named the song "The Worst Song Ever".^[44] However, Victoria Newton stated that there were sure-fire hits on the album.^[45]

Robbie Williams at a concert in Vienna, Austria in 2006.

The album sold 2x Platinum in Europe with sales of over 2 million making it the fastest platinum-selling album of 2006.^[46] The album finished at number eighteen in the list of 2006's best selling albums worldwide. Neil Tennant claimed the album had sold 4.5 million copies by early 2007.^[47]

To promote his album, Williams commissioned a series of short films.^[48] Goodbye to the Normals was directed by Jim Field Smith and features "Burslem Normals" by Robbie Williams.

On 4 October 2007, Williams made a guest appearance at Mark Ronson's concert in Los Angeles, performing The Charlatans' "The Only One I Know", which features on Ronson's album Version.

Rumours of a new studio album co-written with Guy Chambers surfaced in early 2007, along with known commitments required by Williams to his EMI contract. British singer-songwriter Laura Critchley commented that she had sung vocals for three songs, and said that it would not be released until 2009.^[49]

On 16 January 2008 UK tabloid The Sun announced that Williams had been working on some songs with The Blockheads member Chaz Jankel. The article went on to state that the reunion with Chambers hadn't worked out and that the material that Williams is working on with Jankel will form the basis of his next studio album.^[50] However, although it had been confirmed on the Blockheads' official site that Jankel was writing with Williams, the rumour that Chambers was no longer working with him was not official. In late August 2008, Williams' friend Callum Blue commented that he was still working on the album.^[51]

Williams performing at ARIA Music Awards of 2009 in Sydney, Australia.

In February 2009, it was confirmed that Williams had written material with Guy Chambers and Mark Ronson. A spokesman said that Williams was planning to begin the recording sessions in March and that the new album would be released in late 2009. This will probably be the last Williams album released by EMI.^[52] On his official website, Williams confirmed that he was working with producer Trevor Horn on his new album, which would eventually be titled Reality Killed the Video Star,^[53] a reference to the song "Video Killed the Radio Star" by Horn's former band The Buggles. The album was released on 9 November 2009 in the United Kingdom.^[54]

On 11 October 2009 Williams published a 12-track compilation album, titled Songbook, as a free CD for the newspaper The Mail on Sunday. The CD is a one-off album of some of his biggest hits - including several rare live performances.^[55] That same evening, Williams made his "comeback" on The X Factor results show, performing his new single "Bodies" for the first time live.^[56]

On 20 October 2009 Williams opened the BBC Electric Proms at the London RoundHouse.^[57] It was his first live concert for 3 years^[58] and was broadcast across 200 cinemas worldwide.^[59] Accompanied by a string section, horn section, full band and producer Trevor Horn, Williams performed several new tracks from Reality Killed the Video Star and older tracks.

Reality Killed the Video Star was previewed in the UK on the Spotify music streaming service on 6 November 2009, and official released on 9 November.^[60] In a high profile chart battle, Williams' album was pitted against X Factor 2008 runners-up JLS who released their debut album the same day. JLS beat Williams to the number one spot by 1500 sales. The album was also released in the United States (Williams' first album to be released there since 2002's Escapology).

In late November 2009, Williams traveled to Australia to perform at the ARIA Music Awards of 2009.

[edit] 2010–2011: In and Out of Consciousness and reunion with Take That

In October 2010 Williams released his second greatest hits album, In and Out of Consciousness: The Greatest Hits 1990–2010, to celebrate 20 years as a performing artist.^[61] A single, "Shame", was also released, which was written and sung by Williams and Barlow.^[61]

On 15 July 2010, Williams announced he was returning to Take That. A joint statement between Williams and the group said "The rumours are true... Take That: the original lineup, have written and recorded a new album, to be called, Progress for release later this year," read the band's statement. "Following months of speculation Gary Barlow, Howard Donald, Jason Orange, Mark Owen and Robbie Williams confirmed they have been recording a new studio album as a five-piece, which they will release in November."^[62]

On 26 August 2010, it was announced Williams would become a guest vocal coach on the ninth series of German reality television show Popstars: Girls forever to teach candidates for a girl group.^[63]

On 20 September 2010, Williams released his second book called "You Know Me" in collaboration with Chris Heath. The book features a collection of photographs of Williams from the past 20 years of his career and discussion of them by Williams as transcribed by Heath.^[64]

In October, Media Control named Williams the most successful album-artist of the millennium due to the fact that he had spent No. 1 on the German Albums Chart for 38 weeks since 2000. He also reached that chart's Top Ten 135 times.^[65]

2011-present: Move to Universal and ninth studio album[link]

In June 2011 Robbie Williams revealed that he has been working with Gary Barlow on a new solo album, that will be produced by Barlow.^[66] Williams confirmed on his official site that he will be doing a new duet.^{[67][citation needed]}

Williams launched a radio show titled Radio Rudebox on 6 October 2011 where he played music and interviewed Gary Barlow.^[68]

On 21 October 2011 Williams announced that he had signed with Universal Music, following his departure from his previous record label EMI in 2010. He said in a statement, "I'm really thrilled to be joining the Universal family at what I think is the most exciting time in my career." The singer's forthcoming ninth studio album is set to be released during the autumn of 2012.^[69]

Other projects[link]

Reunion of Take That[link]

Williams announced in December 2008 that he was planning to relocate to the UK prior to releasing his eighth studio album in late-2009, and a possible reunion with Take That. Photos also showed Williams with his new tattoo of the Take That logo on his right arm, in tribute to his former bandmates.^[70] Williams bought a £7 million home in the village of Compton Bassett, Wiltshire.

On 27 March 2009, Williams stated he felt ready to re-join Take That. He said: "I'm in regular contact with them, even Gaz, and it's looking more likely by the week. The lads all seem up for it and some people think it's a done deal. I think it would be fun."^[71] Williams was eager to re-join the band on their The Circus Live tour, but these plans never materialised. In September 2009, Williams was reported to be working in New York with Take That, however these rumours were never confirmed.^[72]

While it was rumoured that Williams would reunite with Take That on 12 November 2009 for a Children In Need charity concert at The Royal Albert Hall, they merely greeted each other warmly on stage between performances. However, both did join with the other acts in the final song of the evening, with Williams putting his arm around Gary Barlow and singing "Hey Jude". Williams subsequently implied in an interview that a proper reunion was still a distinct possibility. On 15 February 2010, The Sun printed an interview with Williams, stating that he and Take That had been sighted going to an Los Angeles studio together.^[73]

It was announced on 15 July that Williams had rejoined Take That. In November 2010 the Take That album Progress was released, becoming the fastest selling album since 2000 and the second fastest selling album in UK history. Williams explained that the long-standing friction between himself and Gary has been resolved, and how close they now were.^[74]

The band also announced the Progress Live tour which would travel across the UK, including a record breaking 8 nights at Wembley Stadium in London,^[75] then continue across Europe. The tour was the fastest selling in UK history with ticket hotlines and websites crashing under the demand.^[75]

Collaborations[link]

One of his most famous collaborations was on the song "Kids", a duet with Australian pop star Kylie Minogue. The single peaked at number 2 on the UK singles charts in 2000. Williams also collaborated with Australian film star Nicole Kidman on a cover of Frank and Nancy Sinatra's "Somethin' Stupid". The single reached number 1 on the UK singles chart in 2001. His single "No Regrets" featured Neil Tennant, and Neil Hannon on backing vocals.

In 2002, Williams appeared on the track "My Culture" on the 1 Giant Leap album, alongside rapper Maxi Jazz (which features lyrics from the hidden track "Hello Sir" from Life Thru a Lens). Williams also features on a double CD titled Concrete which was released on the same day as Rudebox. The CD features a concert recorded for the BBC featuring the Pet Shop Boys and Williams singing their classic hit "Jealousy". Their joint effort, "She's Madonna", was released as a single in March 2007. On 13 August 2007, a Dean Martin duets album was released, on which Williams sings "Please Don't Talk About Me When I'm Gone". Most recently it was announced that Williams has recorded what is going to be Mexican singer Thalía's first single from her upcoming English-language album.

In 2010 he announced that he was to release "Shame", a duet with Take That lead singer songwriter Gary Barlow as the first single from his greatest hits collection In and Out of Consciousness: The Greatest Hits 1990–2010 which was certified silver in the UK and charted in 19 countries worldwide.

Video game[link]

Williams features in his own karaoke video game, We Sing Robbie Williams which was released on 12 November 2010 by Nordic Games.

Achievements[link]

It has been claimed that Williams has sold more albums in the UK than any other British solo artist in history and has won more BRIT Awards than any other artist to date.^[76] His album sales stands at over 57 million worldwide.^[77][78][79] Williams was entered in The Guinness Book of World Records when, after he announced his World Tour for 2006, 1.6 million tickets were sold in one single day.^[80]

He has been presented many awards, including seventeen BRIT^[81] and seven ECHO awards.^[82] In 2004, he was inducted into the UK Music Hall of Fame, after being voted as the Greatest artist of the 1990s.^[83]

Williams appears in the list of the all-time Top 100 biggest selling albums in the United Kingdom six times.^[36]

In October 2009 it was announced that he would receive the Outstanding Contribution To British Music award at the 2010 BRIT Awards.^[84]

In September 2010 Williams switched on the Blackpool illuminations, stating that it was one of the greatest honours he'd ever achieved.^[85]

Personal life[link]

Since 2006, Williams has spent most of his time in Los Angeles, California.^[86] Williams moved back to the UK in 2009 when he bought an £8.5 million mansion in Compton Bassett, Wiltshire, nearby to close friend Jonathan Wilkes who lives in Swindon. Williams sold the mansion a year later to move back to Los Angeles.^{[citation needed]}

Williams has reportedly battled mental illness, obesity, self-esteem issues, alcoholism, and substance abuse throughout his life.^[87][88] He once discussed how his friend Elton John booked him into a clinic to cope with his drug use that emerged from the depression he was experiencing while still in Take That.^[88] He entered a rehabilitation centre in Tucson for his addiction to the prescription pills Xanax, Seroxat/Paxil, Vicodin, and the energy drink Lucozade in February 2007^[89] Williams used to smoke up to 60 cigarettes a day; he gave up in 2009 for his girlfriend Ayda Field.

Williams has a strong interest in UFOs and related paranormal phenomena, and has pursued this interest during his 2007–08 sabbatical.^[90] His interest in the subject led to him taking part in a documentary for BBC Radio 4 with Jon Ronson. The documentary followed them to a UFO convention in Nevada. During an interview with Joss Stone on The Jeremy Kyle Show in 2008, Williams revealed that while out of his head on dispirin he has seen UFOs three times.^[91] Williams said his first UFO sighting was when he was a child in Britain while he spotted his second in Beverly Hills, and added that the third sighting was just after he had written a song about alien contact.^[91]

On 30 November 2009, Williams' hairdresser Aaron Vickers was found dead in woodland near to Williams' then home in Wiltshire. Vickers first met Williams in Los Angeles after being introduced by their mutual friend Jonathan Wilkes. When Williams bought the £8.5 million mansion in early 2009, Vickers lived at the estate for some months but had recently moved back in with his mother who lives nearby. Vickers was last seen by his boyfriend at 1am on 30 November, and his body was found hanged in the woods the following morning.^[92][93]

Relationships[link]

Since May 2006, Williams has been in a relationship with the Turkish American actress Ayda Field.^[94] They have reportedly been together for almost five years.^[95] Despite several break up stories in the press^[96][97][98] Williams and Field have been spotted together many times.^{[99][100][101]} On 29 January 2008 they were pictured on vacation together at Mammoth Ski Resort in California, accompanied by Max Beesley.^{[102][103][104]} She was featured in a UFO documentary that Williams did for BBC Radio 4 in April^[105] and took part in a field investigation he did in Trout Lake, Washington in August 2008.^[106]

On 8 November 2008, Williams was spotted with Field at football match at the Emirates Stadium home of Arsenal, where he was also seen with Gary Barlow accompanied by his two oldest children, and Williams's longtime friend Jonathan Wilkes.^[107] The couple has been living together in a mansion in Wiltshire since the beginning of 2009 according to The Sun.^[108] In October 2009, Field appeared in the video of Williams comeback single Bodies. Williams has been referring to Field as his "wife" in recent interviews.^[109]

In November 2009, Williams announced to Jonathan Ross that he was 'in love' with Field.^[110] On 26 November 2009, Williams proposed to Ayda Field live on the Australian radio channel 2dayfm in an interview on the Kyle and Jackie O Show.^[111] However, it was later revealed by Williams' manager that it was "done as a joke following suggestions it was a stunt which was set up prior to the radio show." His spokesman confirmed: 'He did say it, but he did it in a jocular manner. They are not engaged.'^[112] A few days later Williams himself denied the engagement, using his official blog to say "Hey all. We are not engaged. Rob.".^[113][114] On 7 August 2010, Williams and Field married at his home in Los Angeles.^[115] On 30 March 2012 Williams announced that he and his wife, Ayda, would become parents for the first time.^[116]

Sexuality[link]

Williams won a libel case against MGN and Northern & Shell in December 2005 relating to articles which had reported he was a closet homosexual.^[117] In the libel action that resulted from this, Williams accepted substantial damages, and the publishers accepted that the stories were untrue. His counsel, Tom Shields QC, told the court, "Mr Williams is not, and has never been, homosexual." Gay rights campaigner Peter Tatchell called for any damages paid out from the libel case to be donated to gay charities, claiming Williams' legal actions had created the impression that it is "bad to be gay."^[118] Williams responded that he was not bothered about being labelled as a gay man, and he would have taken the same action had it been regarding a heterosexual relationship. In 2008, Williams's friend, actor Max Beesley, rejected claims that Williams was gay. Beesley said, "Some of the stuff written about him is enough to make me mad, the rumours about him being gay, for example. Not true. I've never met anybody less gay in my life!"^[119]

Wealth[link]

In 2009, the Sunday Times Rich List claimed he was worth over £130 million.^[120] In 2011 his wealth was estimated at £90 million.^[121]

Williams is a lifelong supporter of Port Vale, based in his home town of Stoke-on-Trent. In February 2006 he bought £240,000 worth of shares in the club, making him the majority shareholder.^[122] He also has a restaurant at Vale Park named in his honour.^[123]

Health[link]

He revealed in 2011 he had been battling a lethargy caused by a type of hormone imbalance called a Andropause for a number of years and thought at first it was a return of his depression.^[124][125]

Charity[link]

Williams warming up for the 2006 edition of Soccer Aid

Williams has set up a charity in his home town entitled Give It Sum, its goal being to "improve local conditions and strengthen community life by giving money to those who are disadvantaged."^[87][126]

Williams, with the help of friend Jonathan Wilkes, has organised charity football matches called Soccer Aid to raise money for UNICEF UK. A mixture of celebrities and professional football players have played Soccer Aid matches in 2006, 2008 and 2010 at Old Trafford in Manchester and Wembley Stadium in London.^[127]

Williams has been the Patron of the children's charity the Donna Louise Trust based in his home town of Stoke-on-Trent, for the last 8 years. The charity offers respite and palliative care to terminally ill and life-limited children who are not expected to live past the age of 16.^[128]

Awards[link]

Williams has won various awards with some of his more recognised accolades being the BRIT awards. He has won 17 BRIT awards which also include the BRITs he won with Take That making him the most successful artist in BRIT history. He has also won 8 Echo Awards from the German music industry.^[82][129]

Discography[link]

Tours[link]

• The Show Off Must Go On (October–November 1997)
• The Ego Has Landed (May–June 1998)
• One More for the Rogue Tour / For a Few Dollars More... Tour (1998–99)
• Robbie Williams North American Tours (1999)
• The Sermon on the Mount Tour (2000–01)
• Weddings, Barmitzvahs & Stadiums Tour / Sing When You're Pacific Rimming Tour (2001)
• Weekends of Mass Distraction Tour / Cock of Justice/Aussie Typo Tour (2003)
• Close Encounters Tour (2006)

References[link]