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She was feeling 1972
Grooving to a Carole King tune
Is it too late, baby?
Is it too late?
That boy was always up to no good
Smoking pot and playing pool
In the afternoon
Unemployed and high
We're going through the changes
Hoping for a replacement
Until we find a way out of this hole
Spanish girl with the tattoo
Working nights at the drive through
And she asks herself
Could this be all?
Screwing in a motel room
Watching news on channel two
Victoria, tell me
Where is your dream?
We're going through some changes
Hoping for a replacement
Until we find a way out of this
We're going through the changes
Hoping for a replacement
Until we find a way out of this
A way out of this hole
Out of this hole
La mattina in provincia era più fredda
Ma qualcuno sparava in città
Mio padre e mia madre crescevano in fretta
E' una grande responsabilità
Con un paese che cambia
Lo stato che mangia e licenzia
Quel mutuo chi lo pagherà
Per un figlio egoista che piange e che chiede
Il gioco che vede alla pubblicità
Ma una seconda occasione questa notte
E' là fuori per me e te
E' una rivoluzione alle porte
Non è tardi x vedere
E si la scuola è una jungla però lo si scorda
Comunque a sedici anni è una merda
Il futuro è una macchia e manco m'importa
Io vado x inerzia poi in un battito d'ali
Ci siamo trovati di colpo spostati 10 anni più in là
Un amico sparisce uno s'imborghesisce fa figli
E dispensa consigli e ovvietà
Ma una seconda occasione questa notte
E' là fuori x me e te
E' una rivoluzione alle porte
Non è tardi x vedere 1972 1972
Qui niente cambia in meglio
E non mi sento del tutto un uomo
Ma almeno adesso sono sveglio
Quasi come nuovo
Ma una seconda occasione questa notte
E' la fuori x me e te
E' una rivoluzione alle porte non è tardi x vedere
"Moving on from 1972 ain't an easy task," he said
Says he's been sober since she left him for dead
And the old man takes a swig of his non-alcoholic beer
And the tired man proudly takes a drag
It's been nearly 28 years
And it still blows me away how easily time is wasted
And it still blows me away how easily we're kept wounded
Anger is so real
"Didn't mean to say the things I told you," I said
Your interpretation was in your head
I guess you could chock it up to a life experience
Go ahead and live your life while it's full of bitterness
And it still blows me away how easily time is wasted
And it still blows me away how easily we're kept wounded
Anger is so real
And it still blows me away how easily time is wasted
And it still blows me away how easily we're kept wounded
Millennium: | 2nd millennium |
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Centuries: | 19th century – 20th century – 21st century |
Decades: | 1940s 1950s 1960s – 1970s – 1980s 1990s 2000s |
Years: | 1969 1970 1971 – 1972 – 1973 1974 1975 |
1972 by topic: |
Subject |
By country |
Leaders |
Birth and death categories |
Establishments and disestablishments categories |
Works and introductions categories |
Gregorian calendar | 1972 MCMLXXII |
Ab urbe condita | 2725 |
Armenian calendar | 1421 ԹՎ ՌՆԻԱ |
Assyrian calendar | 6722 |
Bahá'í calendar | 128–129 |
Bengali calendar | 1379 |
Berber calendar | 2922 |
British Regnal year | 20 Eliz. 2 – 21 Eliz. 2 |
Buddhist calendar | 2516 |
Burmese calendar | 1334 |
Byzantine calendar | 7480–7481 |
Chinese calendar | 辛亥年十一月十五日 (4608/4668-11-15) — to —
壬子年十一月廿六日(4609/4669-11-26) |
Coptic calendar | 1688–1689 |
Ethiopian calendar | 1964–1965 |
Hebrew calendar | 5732–5733 |
Hindu calendars | |
- Vikram Samvat | 2028–2029 |
- Shaka Samvat | 1894–1895 |
- Kali Yuga | 5073–5074 |
Holocene calendar | 11972 |
Iranian calendar | 1350–1351 |
Islamic calendar | 1391–1392 |
Japanese calendar | Shōwa 47 (昭和47年) |
Julian calendar | Gregorian minus 13 days |
Korean calendar | 4305 |
Minguo calendar | ROC 61 民國61年 |
Thai solar calendar | 2515 |
Unix time | 63072000–94694399 |
Wikimedia Commons has media related to: 1972 |
Year 1972 (MCMLXXII) was a leap year starting on Saturday (link will display the full calendar) of the Gregorian calendar. Within the context of Coordinated Universal Time (UTC) it was the longest year ever, as two leap seconds were added during this 366-day year, an event which has not since been repeated. (If its begin and end are defined using mean solar time (the legal time scale) then its duration was 31622401.141 seconds of Terrestrial Time (or Ephemeris Time), which is slightly shorter than 1908).[1]
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This article uses bare URLs for citations. Please consider adding full citations so that the article remains verifiable. Several templates and the Reflinks tool are available to assist in formatting. (Reflinks documentation) (May 2012) |
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Don McLean | |
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Don McLean performing at Westport in 2009 |
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Background information | |
Birth name | Donald McLean |
Born | (1945-10-02) October 2, 1945 (age 66) |
Genres | Folk, folk rock |
Occupations | Singer-songwriter, musician |
Instruments | Vocals, guitar banjo, piano |
Years active | 1969–present |
Labels | United Artists EMI America |
Website | www.don-mclean.com |
Donald "Don" McLean (born October 2, 1945, New Rochelle, New York) is an American singer-songwriter. He is most famous for the 1971 album American Pie, containing the renowned songs "American Pie" and "Vincent".
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This biographical section of an article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (June 2011) |
Both McLean's grandfather and father were also named Donald McLean. The Buccis, the family of McLean's mother, Elizabeth, came from Abruzzo in central Italy. They left Italy and settled in Port Chester, New York, at the end of the 19th century. He has other extended family in Los Angeles and Boston.[1]
As a teenager, McLean became interested in folk music, particularly the Weavers' 1955 recording At Carnegie Hall. Childhood asthma meant that McLean missed long periods of school, particularly music lessons, and although he slipped back in his studies, his love of music was allowed to flourish. He often performed shows for family and friends. By age 16 he had bought his first guitar (a Harmony acoustic archtop with a sunburst finish) and begun making contacts in the music business, becoming friends with folk singer Erik Darling, a latter-day member of the Weavers.[1] McLean recorded his first studio sessions (with singer Lisa Kindred) while still in prep school.
McLean graduated from Iona Preparatory School in 1963, and briefly attended Villanova University, dropping out after four months. While at Villanova he became friends with singer/songwriter Jim Croce.
After leaving Villanova, McLean became associated with famed folk music agent Harold Leventhal, and for the next six years performed at venues and events including the Bitter End and the Gaslight Cafe in New York, the Newport Folk Festival, the Cellar Door in Washington, D.C., and the Troubadour in Los Angeles.[1] Concurrently, McLean attended night school at Iona College and received a bachelor's degree in business administration in 1968. He turned down a scholarship to Columbia University Graduate School in favor of becoming resident singer at Caffè Lena in Saratoga Springs, New York.
In 1968, with the help of a grant from the New York State Council on the Arts, McLean began reaching a wider public, with visits to towns up and down the Hudson River.[1] He learned the art of performing from his friend and mentor Pete Seeger. McLean accompanied Seeger on his Clearwater boat trip up the Hudson River in 1969 to raise awareness about environmental pollution in the river. During this time McLean wrote songs that would appear on his first album, Tapestry. McLean co-edited the book Songs and Sketches of the First Clearwater Crew with sketches by Thomas B. Allen for which Pete Seeger wrote the foreword. Seeger and McLean sang "Shenandoah" on the 1974 Clearwater album.
McLean recorded his first album, Tapestry, in 1969 in Berkeley, California during the student riots. After being rejected by 34 labels, the album was released by Mediarts and attracted good reviews but little notice outside the folk community.
McLean's major break came when Mediarts was taken over by United Artists Records thus securing for his second album, American Pie, the promotion of a major label. The album spawned two No. 1 hits in the title song and "Vincent". American Pie's success made McLean an international star and renewed interest in his first album, which charted more than two years after its initial release.
McLean's magnum opus, "American Pie", is a sprawling, impressionistic ballad inspired partly by the deaths of Buddy Holly, Ritchie Valens and J. P. Richardson (The Big Bopper) in a plane crash on 3 February 1959. The song popularized the expression "The Day the Music Died" in reference to this event. WCFL DJ Bob Dearborn unraveled the lyrics and first published his interpretation on 7 January 1972, eight days before the song reached #1 nationally (see "Further reading" under American Pie). Numerous other interpretations, which together largely converged on Dearborn's interpretation, quickly followed. McLean declined to say anything definitive about the lyrics until 1978. Since then McLean has stated that the lyrics are also somewhat autobiographical and present an abstract story of his life from the mid-1950s until the time he wrote the song in the late 1960s.[2]
The song was recorded on 26 May 1971 and a month later received its first radio airplay on New York’s WNEW-FM and WPLJ-FM to mark the closing of The Fillmore East, a famous New York concert hall. "American Pie" reached number one on the U.S. Billboard magazine charts for four weeks in 1972, and remains McLean's most successful single release. The single also topped the Billboard Easy Listening survey. With a running time of 8:36, it is also the longest song to reach No. 1. Some stations played only part one of the original split-sided single release.
In 2001 "American Pie" was voted No. 5 in a poll of the 365 Songs of the Century compiled by the Recording Industry Association of America and the National Endowment for the Arts. The top five were: "Over the Rainbow" written by Harold Arlen and E.Y. "Yip" Harburg (performed by Judy Garland in the 1939 film The Wizard of Oz), "White Christmas" written by Irving Berlin (best-known performance by Bing Crosby), "This Land Is Your Land" written and performed by Woody Guthrie, "Respect" written by Otis Redding (best-known performance by Aretha Franklin), and "American Pie".
Personnel from the American Pie album sessions were retained for his third album Don McLean, including producer, Ed Freeman, Rob Rothstein on bass and Warren Bernhardt on piano. The song "The Pride Parade" provides an insight into McLean’s immediate reaction to stardom. McLean told Melody Maker magazine in 1973 that Tapestry was an album by someone previously concerned with external situations. American Pie combines externals with internals and the resultant success of that album makes the third one (Don McLean) entirely introspective."
Other songs written by McLean for the album included “Dreidel” (number 21 on the Billboard chart) and “If We Try” (number 58), which was subsequently recorded by Olivia Newton-John.[3] “On the Amazon” from the 1920s musical Mr Cinders was an unusual choice but became an audience favorite in concerts and featured in “Till Tomorrow”, a documentary film about McLean produced by Bob Elfstrom. The film shows McLean in concert at Columbia University as he was interrupted by a bomb scare. He left the stage while the audience stood up and checked under their seats for anything that resembled a bomb. After the all-clear, McLean re-appeared and sang “On the Amazon” from exactly where he had left off. Don Heckman reported the bomb scare in his review for the New York Times entitled “Don McLean Survives Two Obstacles.”[4]
The fourth album, Playin' Favorites was a top-40 hit in the UK in 1973 and included the Irish folk classic, "Mountains of Mourne" and Buddy Holly’s "Everyday", a live rendition of which returned McLean to the UK Singles Chart. McLean said, "The last album (Don McLean) was a study in depression whereas the new one (Playin' Favorites) is almost the quintessence of optimism, with a feeling of "Wow, I just woke up from a bad dream."
The 1974 album Homeless Brother, produced by Joel Dorn, was McLean’s final studio collaboration with United Artists. The album featured fine New York session musicians, including Ralph McDonald on percussion, Hugh McKracken on guitar and a guest appearance by Yusef Lateef on flute. The Persuasions sang the background vocals on “Crying in the Chapel” and Cissy Houston provided a backing vocal on “La La Love You”.
The album’s title song was inspired by Jack Kerouac’s book, The Lonesome Traveller in which Kerouac tells the story of America’s “homeless brothers,” or hobos. The song features background vocals by Pete Seeger.
The song “The Legend of Andrew McCrew” was based on an article published in the New York Times.[1] concerning a black Dallas hobo named Anderson McCrew who was killed when he leapt from a moving train. No one claimed him, so a carnival took his body, mummified it, and toured all over the South with him, calling him the “The Famous Mummy Man.” McLean’s song inspired radio station WGN in Chicago to tell the story and give the song airplay in order to raise money for a headstone for Anderson McCrew’s grave. Their campaign was successful and McCrew’s body was exhumed and buried in the Lincoln Cemetery in Dallas.[5] The tombstone had an inscription with words from the fourth verse of McLean’s song:
What a way to live a life, and what a way to die
Left to live a living death with no one left to cry
A petrified amazement, a wonder beyond worth
A man who found more life in death than life gave him at birth
Joel Dorn later collaborated on the Don McLean career retrospective Rearview Mirror released in 2005 on Dorn’s own label Hyena Records. In 2006, Dorn reflected on working with McLean:[1]
Of the more than 200 studio albums I’ve produced in the past forty plus years, there is a handful; maybe fifteen or so that I can actually listen to from top to bottom. Homeless Brother is one of them. It accomplished everything I set out to do. And it did so because it was a true collaboration. Don brought so much to the project that all I really had to do was capture what he did, and complement it properly when necessary.
Also from the Homeless Brother album, "Wonderful Baby" was a number 1 on the AOR chart in 1975[6] and was later recorded by Fred Astaire. The song had been inspired by Joel Dorn’s son[1] and reflected McLean’s interest in 1930s music.
1977 saw a brief liaison with Arista Records that yielded the Prime Time album and, in October 1978, the single "It Doesn’t Matter Anymore". This was a track from the Chain Lightning album that should have been the second of four with Arista.[1] McLean had started recording in Nashville, with Elvis Presley’s backing singers, The Jordanaires, and many of Elvis’s musicians. However the Arista deal broke down following artistic disagreements between McLean and the Arista chief, Clive Davis. Consequently McLean was left without a record contract in the USA, but through continuing deals the Chain Lightning album was released by EMI in Europe and by Festival Records in Australia. In April 1980, the track "Crying” from the album began picking up airplay on Dutch radio stations and McLean was called to Europe to appear on several important musical variety shows to plug the song and support its release as a single by EMI. The song achieved number 1 status in Holland first, followed by the UK and then Australia.
Don’s number 1 successes in Europe and Australia led to a new deal in the USA with Millennium Records. They issued the Chain Lightning album two and a half years after it had been recorded in Nashville, and two years after its release in Europe. It charted on February 14th, 1981 and reached number 28 while "Crying" climbed to number 5 on the pop singles chart.
The early 1980s saw further chart successes in the US with "Since I Don't Have You", a new recording of "Castles in the Air" and "It's Just the Sun".
In 1987, the release of the country-based Love Tracks album gave rise to the hit singles "Love in My Heart" (a top-10 in Australia), "Can't Blame the Wreck on the Train" (US country No. 49), and "Eventually". The latter two songs were written by Houston native Terri Sharp.
In 1991, EMI reissued the "American Pie" single in the United Kingdom and McLean performed on Top of the Pops.
In 1992, previously unreleased songs became available on Favorites and Rarities while Don McLean Classics featured new studio recordings of "Vincent" and "American Pie".
Don McLean has continued to record new material including River of Love in 1995 on Curb Records and, more recently, the albums You've Got to Share, Don McLean Sings Marty Robbins and The Western Album on his own Don McLean Music label.
A new album, Addicted to Black, was released in May 2009 and is available for purchase at his North American concert performances and is available on his website. In addition, McLean is expecting to tour in Europe and Australia in 2010.[7]
McLean's other well-known songs include:
The American Pie album features a version of Psalm 137, entitled "Babylon". The song is based on a canon by Philip Hayes[12] and was arranged by McLean and Lee Hays (of The Weavers).[13] Boney M had a number one hit in the UK with a similar song in 1978 under the title Rivers of Babylon, which was not based on this one, although using the same text from Psalm 137.
In 1980, McLean had an international number one hit with a cover of the Roy Orbison classic, "Crying". It was only after the record became a success overseas that it was released in the U.S.[citation needed] The single hit #5 on the Billboard Hot 100 in 1981.[10] Orbison himself once described McLean as "the voice of the century",[citation needed] and a subsequent re-recording of the song saw Orbison incorporate elements of McLean's version.
For the 1982 animated cult-movie The Flight of Dragons produced by Jules Bass and Arthur Rankin, Jr., McLean sang the opening theme. Unfortunately, no soundtrack has ever been released.
Another hit song associated with McLean (though never recorded by him) is "Killing Me Softly with His Song", which was written about McLean after Lori Lieberman, also a singer/songwriter, saw him singing his composition "Empty Chairs" in concert.[14] Afterwards, Lieberman wrote a poem about the experience and shared it with Norman Gimbel, who had long been searching for a way to use a phrase he had copied from a novel badly translated from Spanish to English, "killing me softly with his blues".[15] Gimbel and Charles Fox reworked the poem and the phrase into the song "Killing Me Softly with His Song",[16] recorded by Roberta Flack (and later covered by The Fugees).
McLean’s subsequent albums did not match the commercial success of American Pie but he became a major concert attraction in the US and overseas. His repertoire included old concert hall numbers and the catalogues of singers such as Buddy Holly, and another McLean influence, Frank Sinatra. The years spent playing gigs in small clubs and coffee houses in the 1960s transformed into well-paced performances. McLean's first concerts at Carnegie Hall in New York and the Albert Hall in London in 1972 were critically acclaimed.
In the 1970s, McLean usually toured solo but from 1981 to 1996 was accompanied by John Platania on guitar. He now tours with his own band of Nashville musicians: Tony Migliore, Jerry Kroon, Ralph Childs and Carl "VIP" Viperman.
In 1997, McLean performed "American Pie" with Garth Brooks at Brooks' free concert in Central Park in New York City. CNN reported that "Brooks was joined on stage by two surprise guest stars, Billy Joel and Don McLean, who brought down the house with an acoustic rendition of 'American Pie'."[citation needed]
Two years later, Brooks repaid the favor by appearing as a special guest (with Nanci Griffith) on McLean's first American TV special, broadcast as the PBS special Starry Starry Night. A month later, McLean wound up the 20th century by performing "American Pie" at the Lincoln Memorial Gala in Washington D.C. Brooks again played "American Pie" during We Are One: The Obama Inaugural Celebration at the Lincoln Memorial on January 18, 2009.
In 2007 Don McLean signed with the Asgard Agency in London giving them responsibility for booking concert tours outside North America. Since then McLean has performed tours of the UK (2007, 2008 (one appearance), 2010, 2011), Ireland (2007, 2010, 2011), mainland Europe (2008, 2010), Australia and New Zealand (2008, 2011) and South East Asia (2011). On June 26, 2011, Don McLean performed on the Pyramid Stage at the Glastonbury Festival of Contemporary Performing Arts.
McLean had a series of conflicts with Saturday Night Live writer Andy Breckman, starting when Breckman opened for McLean on tour in 1980.[17] Breckman and McLean have penned competing renditions of the origins of this feud, both of which are available online.[18]
In 1991, Don McLean returned to the UK top 20 with a re-issue of "American Pie".
Iona College conferred an honorary doctorate on McLean in 2001.[citation needed]
In February 2002, "American Pie" was inducted into the Grammy Hall of Fame.
In 2004, McLean was inaugurated into the Songwriters Hall of Fame. Garth Brooks presented the award and said "Don McLean: his work, like the man himself, is very deep and very compassionate. His pop anthem 'American Pie' is a cultural phenomenon".[citation needed]
In 2007, the biography The Don McLean Story: Killing Us Softly With His Songs was published. Biographer Alan Howard conducted extensive interviews for this, the only book-length biography of the often reclusive McLean to date.
In 2008, New York City radio station Q104.3 FM WAXQ named Don McLean's "American Pie" number 37 in their 2008 Top 1,043 Songs Of All Time listener-generated countdown.
In February 2012 McLean won the BBC Radio 2 Folk Awards Life Time Achievement award[19]
In March 2012 the PBS network broadcast a feature length documentary about the life and music of Don McLean called "American Troubadour" produced by 4-time Emmy Award winning film maker Jim Brown.
Year | Album | Chart Positions | |
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US | CAN | ||
1970 | Tapestry | 111 | — |
1971 | American Pie | 1 | 1 |
1972 | Don McLean | 23 | 15 |
1973 | Playin' Favorites | — | — |
1974 | Homeless Brother | 120 | — |
1976 | Solo (LIVE) | — | — |
1977 | Prime Time | — | — |
1978 | Chain LightningA | 28 | 25 |
1981 | Believers | 156 | — |
1982 | Dominion (LIVE) | — | — |
1987 | Love Tracks | — | — |
1989 | For the Memories Vols I & II | — | — |
And I Love You So (UK Release) | — | — | |
1990 | Headroom | — | — |
1991 | Christmas | — | — |
1995 | The River of Love | — | — |
1997 | Christmas Dreams | — | — |
2001 | Sings Marty Robbins | — | — |
Starry Starry Night (LIVE) | — | — | |
2003 | You've Got to Share: Songs for Children | — | — |
The Western Album | — | — | |
2004 | Christmastime! | — | — |
2005 | Rearview Mirror: An American Musical Journey | — | — |
2009 | Addicted to Black | — | — |
Year | Album |
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1980 | The Very Best of Don McLean |
1987 | Don McLean's Greatest Hits · Then & Now |
1991 | The Best of Don McLean |
1992 | Favorites and Rarities |
2003 | Legendary Songs of Don McLean |
2007 | The Legendary Don McLean |
2008 | American Pie & Other Hits |
Year | Single | Peak chart positions[20][21] | Album | ||||||
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US | US AC | US Country | CAN | CAN AC | CAN Country | UK | |||
1971 | "Castles in the Air" | — | 40 | — | — | — | — | — | Tapestry |
"American Pie" | 1 | 1 | — | 1 | 1 | — | 2 | American Pie | |
1972 | "Vincent" | 12 | 2 | — | 3 | 13 | — | 1 | |
1973 | "Dreidel" | 21 | 7 | — | 16 | 5 | — | — | Don McLean |
"If We Try" | 58 | 12 | — | 82 | 22 | — | — | ||
"Everyday" | — | — | — | — | — | — | 38 | Playin' Favorites | |
1974 | "Fool's Paradise" | 107 | 25 | — | — | 90 | — | — | |
1975 | "Wonderful Baby" | 93 | 1 | — | — | — | — | — | Homeless Brother |
1980 | "Crying" | 5 | 2 | 6 | 7 | — | 1 | 1 | Chain Lightning |
1981 | "Since I Don't Have You" | 23 | 6 | 68 | 45 | 2 | — | — | |
"It's Just the Sun" | 83 | 20 | — | — | 12 | — | — | ||
"Castles in the Air"A | 36 | 7 | — | — | 2 | — | 47 | Believers | |
1987 | "He's Got You" | — | — | 73 | — | — | — | — | Greatest Hits Then & Now |
"You Can't Blame the Train" | — | — | 49 | — | — | — | — | Love Tracks | |
1988 | "Love in My Heart" | — | — | 65 | — | — | — | — | |
1991 | "American Pie" (reissue) | — | — | — | — | — | — | 12 | The Best of Don McLean |
Year | Title | Additional information |
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1982 | "The Flight of Dragons" | This song was recorded for the film The Flight of Dragons in the early 1980s. |
1994 | "Vincent" (live version) | Grammy's Greatest Moments Volume III[22] |
Persondata | |
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Name | Maclean, Don |
Alternative names | |
Short description | |
Date of birth | 2 October 1945 |
Place of birth | |
Date of death | |
Place of death |
Donny Osmond | |
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Background information | |
Birth name | Donald Clark Osmond |
Born | (1957-12-09) December 9, 1957 (age 54) |
Origin | Ogden, Utah, U.S. |
Genres | Vocal, pop, rock, R&B, bubblegum, blue-eyed soul, comedy, musical theatre |
Occupations | Singer, songwriter, musician, actor, television host, dancer, radio personality, author |
Years active | 1961–present |
Labels | Universal |
Associated acts | Marie Osmond, The Osmonds, Dweezil Zappa |
Website | Official website |
Donald Clark "Donny" Osmond (born December 9, 1957) is an American singer, musician, actor, dancer, radio personality, and former teen idol. Osmond has also been a talk and game show host, record producer and author. In the mid 1960s, he and four of his elder brothers gained fame as the Osmond Brothers on the long running variety program, The Andy Williams Show. Donny went solo in the early 1970s covering such hits as "Go Away Little Girl" and "Puppy Love".
For over thirty-five years, he and younger sister Marie have gained fame as Donny & Marie, partly due to the success of their 1976–79 self-titled variety series, which aired on ABC. The duo also did a 1998–2000 talk show and have been headlining in Las Vegas since 2008. Between a highly successful teen career in the 1970s, and his rebirth in the 1990s, Osmond's career was stymied during the 1980s by what some have perceived as his "boy scout" image. Osmond stated on the May 1, 2009 Larry King Live show that longtime friend Michael Jackson suggested he change his name to boost his image. Osmond's agent even suggested that spreading false rumors about drug arrest charges might recharge his career. Osmond felt such allegations would have familial ramifications, and couldn't reconcile how lying to create a nefarious drug image could be explained to his children, nieces and nephews. In 1989, Osmond had two big-selling recordings, the first of which, "Soldier of Love", was initially credited to a "mystery artist" by some radio stations.
Starting in July 1992, Osmond played Joseph at the Elgin Theatre's Toronto production of Joseph and the Amazing Technicolor Dreamcoat. The musical then toured North America until 1998. Creator Andrew Lloyd Webber, impressed by Osmond's talents and the show's successful six year run, chose him for the 1999 film version.
In 2009, Osmond won the ninth season of Dancing with the Stars.
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Osmond was born in Ogden, Utah, the seventh son of Olive May Osmond (née Davis) and George Virl Osmond. He is the brother of Alan, Jay, Jimmy, Merrill, Wayne, Marie, Tom, and Virl Osmond. Alan, Jay, Merrill, Wayne, and Donny were members of the popular singing group The Osmonds (also known as The Osmond Brothers, which later included tracks with youngest brother Jimmy as well). Donny was raised as a Mormon in Utah along with his siblings. Osmond later traced his family ancestry back to Merthyr Tydfil in Wales; his journey was documented in a BBC Wales program, Donny Osmond Coming Home.[1] On the BBC's The One Show a plaque was unveiled in the town commemorating 'the ancestors of Donny Osmond'.
The father of Andy Williams saw the Osmond Brothers (Alan, Wayne, Merrill and Jay) perform on a Disneyland televised special as a barbershop quartet. In short order, the group was invited to audition for The Andy Williams Show. They soon became regulars on the show and gained popularity quickly. Donny made his debut on the show at the age of 5 singing "You Are My Sunshine". The brothers continued to perform on the show throughout the 1960s along with a few visits from their sister Marie. In the early 1970s, the Osmonds, via recording and virtually constant touring, sold over 80 million records in a single 12-month period, making the most successful, and fatigued, of the early Seventies touring groups.
Donny became a teen idol in the early 1970s as a solo singer, while continuing to sing with his older brothers. He, Bobby Sherman, and David Cassidy were the biggest "Cover Boy" pop stars for Tiger Beat magazine in the early 1970s.[2] He had his first solo hit with "Sweet and Innocent", which peaked at No. 7 in the U.S. in 1971. His solo songs "Go Away Little Girl" (1971) (#1 in the U.S.), "Puppy Love" (U.S. #3), and "Hey Girl/I Knew You When" (U.S. #9) (1972) vaulted him into international fame. The fame was further advanced by his appearance on the Here's Lucy show, where he sang "Too Young" to Lucille Ball's niece, played by Eve Plumb, and sang with Lucie Arnaz ("I'll Never Fall in Love Again").
In the 1980s, Osmond re-invented himself as a solo vocal artist and abandoned the earlier television show image crafted to appeal to young viewers. He made an unlikely appearance as one of several celebrities and unknowns auditioning to sing for guitarist Jeff Beck in the video for Beck's 1985 single "Ambitious", followed in 1986 by an equally unlikely cameo in the animated Luis Cardenas music video "Runaway".[3] He spent several years as a performer, before hiring the services of music and entertainment guru Steven Machat, who got Osmond together with Peter Gabriel to see whether Machat and Gabriel could turn the TV Osmond's image into a contemporary young pop act. They succeeded with the hit song Soldier of Love, returning Osmond to the US charts in 1989 with the Billboard Hot 100 No. 2 song "Soldier of Love" and its top twenty follow-up "Sacred Emotion". The campaign to market "Soldier Of Love" received considerable airplay with the singer being presented as a "mystery artist", before his identity was later revealed.[4] Launching an extensive tour in support of the Eyes Don't Lie record, he enlisted Earth Wind & Fire and Kenny Loggins guitarist Dick Smith along with keyboardist Marc Jackson.
Donny was often reluctant to perform his earliest songs, in particular "Go Away Little Girl", but was convinced to sing the song live for KLOS-FM's Mark & Brian Christmas Show on December 21, 1990.
Osmond was the guest vocalist on Dweezil Zappa's star-studded version of the Bee Gees' "Stayin' Alive" which appeared on Zappa's 1991 album Confessions. The song also included guitar solos from Zakk Wylde, Steve Lukather, Warren DeMartini, Nuno Bettencourt, and Tim Pierce. Osmond sang "No One Has To Be Alone", but the song was heard at the end of the film The Land Before Time IX: Journey to Big Water. He also sang "I'll Make a Man Out of You" for Disney's Mulan[5]
In the 2000s, he released a Christmas album, an album of his favorite Broadway songs, and a compilation of popular love songs. In 2004, he returned to the UK Top 10 for the first time as a solo artist since 1973, with the George Benson-sampling "Breeze On By", co-written with former teen idol Gary Barlow, from the 1990s UK boy band Take That, reaching number 8.
In early 2011 he is scheduled to record a new album with legendary producer Todd Rundgren.
Following Marie's stint on Dancing with the Stars in 2007, the pair teamed up for a limited engagement in Las Vegas at the MGM Grand Las Vegas. Beginning September 2008, Donny and Marie began playing the 750-seat showroom at the Flamingo Hotel. "Donny & Marie" is a 90-minute show. The singing siblings are backed by eight dancers and a nine piece band. Donny and Marie sing together at the beginning and end of the show, and have solo segments in between.
In the mid 1970s, he and Marie co-hosted The Mike Douglas Show for a week, and were later offered a show of their own, The Donny & Marie Show, a television variety series which aired on ABC between 1976 and 1979.
Donny and Marie also co-hosted a talk show together 20 years later. Though ratings were high[citation needed] and they were nominated for an award[citation needed] as best talk show, the series was canceled. In a 1999 episode featuring Jefferson Starship promoting their album Windows of Heaven, the hosts performed a rendition of "Volunteers" live with the band.
Osmond went on to host Pyramid, a syndicated version of the Dick Clark-hosted television game show that ran two seasons in the US from 2002–2004, and a British version of Pyramid on Challenge in 2007.
Osmond returned to ABC as host of The Great American Dream Vote, a prime-time reality/game show that debuted in March 2007. After earning lackluster ratings in its first two episodes, the program was cancelled.[6]
Osmond hosted the British version of the game show Identity on BBC Two during the daytime.
On April 11, 2008, Osmond also hosted the 2008 Miss USA pageant along with his sister Marie from Las Vegas.
Osmond appeared on Entertainment Tonight as a commentator covering the ABC show Dancing with the Stars during his sister Marie's run as a contestant on the 5th season of the American version of the popular show in Fall of 2007. He was seen at week 7 of the competition in tears in the audience watching Marie do a rumba after his and Marie's father died.
This biographical section of an article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (January 2012) |
In January 2010 it was announced that Osmond would host his own syndicated radio show in a deal with McVay Syndication and Citadel Media. Versions of The Donny Osmond Show now air across America, Canada, Australia and the UK.
The show is already rating No. 1 in numerous markets and is currently one of the fastest growing radio propositions.
The UK edition of the show is co-produced by London-based radio production & syndication company Blue Revolution. Through this partnership the first UK network to carry The Donny Osmond Show is Celador-owned The Breeze, which has outlets in Portsmouth, Southampton, Isle of Wight, Winchester, Bridgwater & West Somerset, Bristol, Bath and Warminster. As of January 2012, The Donny Osmond Show is no longer broadcasting on The Breeze.
Smooth Radio is now carrying The Donny Osmond Show, the show is broadcast 20.00 – Midnight on Sunday evenings.
Osmond's name was used in the lyrics of Alice Coopers song "Department of Youth" near the end. Cooper asks the kids doing the background vocals "who gave them the power", where the kids reply "Donny Osmond".
His first foray into Broadway musical theatre was the lead role in a revival of the 1904 George M. Cohan show Little Johnny Jones. Osmond replaced another former teen idol, David Cassidy, who left the show while it was on its pre-Broadway tour.[7] After 29 previews and only 1 performance, the show closed on March 21, 1982.[8]
Osmond found success in musical theatre through much of the 1990s when he starred in Joseph and the Amazing Technicolor Dreamcoat for over 2,000 performances. During his performances for the musical, he suffered from Social Anxiety Disorder, which caused him to feel light-headed and extremely nervous during his performances.[9] In 1997, Osmond left his starring role in the tour to participate with his family in the cast of the Hill Cumorah Pageant.[10][11]
He returned to Broadway on September 19, 2006, in the role of Gaston in Disney's Beauty and the Beast. He was scheduled to perform for nine weeks but due to popular demand he extended his run through December 24. Liz Smith of the New York Post wrote "I am here to tell you he is charmingly campy, good-looking and grand as the villain "Gaston", patterned after our old friend Elvis and noting "Donny is divine". On July 29, 2007, Osmond played Gaston again for the final performance of Beauty and the Beast.[12]
Donny and his sister Marie recently starred in a new holiday production called Donny & Marie – A Broadway Christmas, which was originally scheduled to play on Broadway at the Marquis Theatre from December 9–19, 2010. The show was then extended till December 30, 2010 and again till January 2, 2011.[13][14][15] Donny & Marie-Christmas in Chicago is scheduled to play the Ford Center/Oriental Theatre in Chicago, Illinois from December 6, 2011 – December 24, 2011. It will be similar to the 2010 Broadway shows.
In the animated television series Johnny Bravo, Osmond voiced himself as a recurring character. He has also done guest spots on numerous other television shows such as Friends, Diagnosis: Murder, and Hannah Montana. He also appeared in a Pepsi Twist commercial during the Super Bowl with his sister, Marie, and Ozzy and Sharon Osbourne. In 1982, he co-starred with Priscilla Barnes and Joan Collins in the television movie The Wild Women of Chastity Gulch for Aaron Spelling.
In 1998, Donny Osmond was chosen to be the singing voice of Shang in Walt Disney's Mulan. He sang "I'll Make a Man Out of You".
Also in 1999, he starred in the movie version of Joseph and the Amazing Technicolor Dreamcoat by Andrew Lloyd Webber's request who said, "to me there is no better selection". In addition to playing the role of Joseph.
Osmond remarked in an interview recently that with his movie appearance on College Road Trip and upcoming appearances on two Disney Channel shows that he would coming about full circle since he and his family were discovered by Walt Disney.
Osmond appears in the music video of "Weird Al" Yankovic's song "White & Nerdy". The song is a parody of Chamillionaire's "Ridin'"; Osmond's role is analogous to that of Krayzie Bone's role in the original video. Yankovic asked Osmond to appear because "if you have to have a white and nerdy icon in your video, like who else do you go for?"[16]
Osmond and professional Kym Johnson were paired for the ninth season of Dancing with the Stars; he participated in the show to prove he was a better dancer than his sister. It was very difficult for him to manage to get to rehearsals and host his show in Las Vegas with sister Marie. For the first week, the two were assigned to dance a Foxtrot and a 30-second Salsa. His Foxtrot was said to be "too theatrical" and was scored 20/30 from the judges. He however managed to maintain a good score when his Salsa scored 10 points and was safe that week. He danced a Jive the following week which was guest judged by Baz Luhrman. He scored 25 and was scored 2nd place, called first to be safe. That following week he danced a Rumba and scored 21.
After his comments, he "attacked" openly homosexual judge Bruno Tonioli, first kissing him, before embracing him and tipping him back in a mock-passionate move after Bruno called Donny's dance "a bit airy fairy". The following week introduced 4 new dances including the Charleston which he danced and scored 24. That following week, the two danced an Argentine Tango which scored 29/30, the highest scored dance to date until it was beaten by then leader topping scorer and future runner-up Mýa and her 70s-themed Samba. He had also received that week's encore.
Following that week, Osmond and Johnson danced a train-station themed Jitterbug and was scored a 24. He then danced a Mambo against all couples and was eliminated 6th receiving 7 points for a total of 31/40. The following week, he danced a Quickstep which he quotes "was one of the worst moments of my life" and scored 24 and a Team Tango along with Joanna Krupa and Kelly Osbourne and received 28/30 and the encore.
In the 8th week of competition, Osmond was required to dance a Ballroom and decade-themed Latin dance. His Ballroom Viennese Waltz received 26 but his 1980s themed Paso Doble received 24 being quoted by judge Len Goodman as "the most scariest, bizarre Paso Doble we've ever seen" being awarded last place on the judges' leaderboard for the first time. Following that week, he danced a Tango and got advice from past runner-up Gilles Marini. He got tangled in Johnson's dress and received 21 and saying the cause was that "I saw Marie". He then danced a samba to a song originally recorded by his brothers and himself called "One Bad Apple", receiving 26 and a Jitterbug scored 27. He once again was scored last place.
For the finals week, he danced a Cha-Cha-Cha (27), a Megamix dance alongside Mya and Kelly Osbourne (28), the only perfect-scoring Freestyle (30) and a repeat of his Argentine Tango (30) and won the competition. As he accepted his trophy, he hugged fellow finalist Mya and grabbed his wife, Debbie on stage.
Week | Dance & Song | Carrie Ann's Score |
Len/Baz's Score |
Bruno's Score |
Result |
---|---|---|---|---|---|
1 | Foxtrot/"All That Jazz" | 7 | 6 | 7 | N/A |
1 | Salsa Relay/"Get Busy" | Awarded 10 Points | Safe | ||
2 | Jive/"Secret Agent Man" | 8 | 9 | 8 | Safe |
3 | Rumba/"Endless Love" | 7 | 7 | 7 | Safe |
4 | Charleston/"Put a Lid on It" | 8 | 8 | 8 | Safe |
5 | Argentine Tango/"Tango a Pugliese" | 10 | 9 | 10 | Safe |
5 | Hustle Group Dance/"Do the Hustle" | N/A | N/A | N/A | N/A |
6 | Jitterbug/"Choo Choo Ch'Boogie" | 8 | 8 | 8 | Safe |
6 | Mambo Marathon/"Ran Kan Kan" | Awarded 7 Points | Safe | ||
7 | Quickstep/"Sing, Sing, Sing" | 8 | 8 | 8 | Safe |
7 | Team Tango/"You Give Love a Bad Name" | 9 | 9 | 10 | Safe |
8 | Viennese Waltz/"You Don't Know Me" | 9 | 8 | 9 | Safe |
8 | 1980s Paso Doble/"You Spin Me Round (Like a Record)" | 8 | 8 | 8 | Safe |
9 | Tango/"Black and Gold" | 7 | 7 | 7 | Safe |
9 | Samba/"One Bad Apple" | 8 | 9 | 9 | Safe |
9 | Jitterbug/"Jump Shout Boogie" | 9 | 9 | 9 | Safe |
10 | Cha-Cha-Cha/"September" | 9 | 9 | 9 | Winner |
10 | Megamix/"You and Me", "Whenever, Wherever", "Maniac" | Awarded 28 Points | Winner | ||
10 | Freestyle/"Back in Business" | 10 | 10 | 10 | Winner |
10 | Argentine Tango/"Tango a Pugliese" | Awarded 30 Points | Winner |
Donny and Marie were part of a Pepsi Twist commercial in 2006 with the Osbourne family. Osmond appeared in the North American version commercial for the PlayStation 2 video game Buzz! the Mega Quiz.
In 2007 Donny took part in the BBC Wales programme Coming Home about his partial Welsh family history.
Donny and Marie began a six month run as the new headlining act at the Flamingo hotel in Las Vegas, on September 9, 2008. On October 27, 2008, the Flamingo announced that Donny and Marie's contract had been extended until October 2010. Then on July 30, 2009, Donny & Marie made an announcement on NBC's Today Show that they had again extended their contract to go until October 2012.
On December 15, 2009, he appeared on The Paul O'Grady Show, along with his sister, Marie, being interviewed by the Channel 4 resident dinner lady, Susan.
Osmond states that he has had a tremendous public image struggle since Donny & Marie ended in 1979.[17] He has been described as 'unhip',[18] as a 'boy scout', and has been the butt of innumerable jokes, including appearing in the video "White & Nerdy" at the request of his friend, Yankovic, since he was 'the whitest guy [he] could think of'. His image has seemed such a liability that one professional publicist even suggested that Osmond purposefully get arrested for drug possession in order to change his image.[19] In March 2010, Osmond criticized Lady Gaga and Beyoncé for using profanity and sex in their Telephone video.[20]
Osmond married Debra Glenn (born in Billings, Montana on February 26, 1959) on May 8, 1978, in the Salt Lake Temple at age 20. Together they have five sons: Donald Clark Osmond, Jr. (b. July 31, 1979), Jeremy James Osmond (b. June 8, 1981), Brandon Michael Osmond (b. January 29, 1985), Christopher Glenn Osmond (b. December 12, 1990), and Joshua Davis Osmond (b. February 16, 1998).[21]
Osmond became a grandfather on August 21, 2005, when his second son Jeremy and daughter-in-law Melisa (married 2002) had a son, Dylan James Osmond. His granddaughter Emery Anne was born on February 25, 2008. Osmond's third son Brandon married Shelby Hansen in 2008. Their son, Daxton Michael was born on June 18, 2010. Donny's eldest son, Donald Jr married Jessica Nelson on October 1, 2010, in the Oquirrh Mountain Temple.
Like the rest of his family, he is a member of The Church of Jesus Christ of Latter-day Saints. In retrospect, he has written, "It would have been nice to be able to have served a regular full-time mission, but when I was of that age, my career was such that everyone, including my parents and the leaders of the church, thought that I could do a lot of good in the world by continuing being in the public eye, by living an exemplary life and sharing my beliefs in every way that I could".[22] He continues sharing his beliefs in an extensive letters-and-comments portion of his website.[23]
In the aftermath of Proposition 8 in California, which received large Mormon support, Osmond stated that he opposes same-sex marriage but that he condemns homophobia. He believes that homosexual and lesbian Mormons should be accepted in the church if they remain celibate.[24]
He stated on his website:
We all determine for ourselves what is right and what is not right for our own lives and how we live God's commandments. I am not a judge and I will never judge anyone for the decisions they make unless they are causing harm to another individual. I love my friends, including my homosexual friends. We are all God's children. It is their choice, not mine on how they conduct their lives and choose to live the commandments according to the dictates of their own conscience.[25]
Osmond's two older brothers are deaf and his nephew is hard of hearing. He has talked about the experience of growing up with his brothers and their use of sign language when performing together:
"My oldest brother was born 85 percent deaf and the next was born worse with almost total deafness. My parents were told by everyone, doctors included, to stop having kids. Thank God, they at least went as far as seven! Anyhow, they decided they were not going to treat my brothers differently [or lower their expectations.] My brothers talk and communicate verbally. They also sign and do have that down quite well. As a matter of fact, we used sign language when we were performing together as a group. There's this one number we did on the Donny and Marie Show, it was amazing—even when we were taping it. It was a huge production number and my brothers learned the routine. Obviously they couldn't really hear the music, but they could feel the beat and they'd watch us out of the corner of their eyes to make sure they were still in tempo."[26]
Wikimedia Commons has media related to: Donny Osmond |
Awards and achievements | ||
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Preceded by Shawn Johnson & Mark Ballas |
Dancing with the Stars (US) winner Season 9 (Fall 2009 with Kym Johnson) |
Succeeded by Nicole Scherzinger & Derek Hough |
Media offices | ||
Preceded by John Davidson |
Host of Pyramid 2002–2004 |
Succeeded by None; end of series |
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|
Persondata | |
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Name | Osmond, Donny |
Alternative names | |
Short description | |
Date of birth | December 9, 1957 |
Place of birth | |
Date of death | |
Place of death |
David Bowie | |
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Bowie during the Heathen Tour in 2002. |
|
Background information | |
Birth name | David Robert Jones |
Born | (1947-01-08) 8 January 1947 (age 65) Brixton, London, England |
Genres | Rock, glam rock, art rock, pop |
Occupations | Musician, singer-songwriter, record producer, actor |
Instruments | Vocals, guitar, keyboards, harmonica, saxophone, viola, cello, koto, percussion |
Years active | 1964–2008 |
Labels | Deram, RCA, Virgin, EMI, ISO, Columbia, BMG, Pye |
Associated acts | The Riot Squad, Arnold Corns, Tin Machine, The Hype, The Lower Third, The Konrads |
Website | davidbowie.com |
David Bowie ( /ˈboʊ.i/ BOH-ee;[1] born David Robert Jones on 8 January 1947) is an English musician, actor, record producer and arranger. A major figure for over four decades in the world of popular music, Bowie is widely regarded as an innovator, particularly for his work in the 1970s. He is known for his distinctive voice and the intellectual depth and eclecticism of his work.
Bowie first caught the eye and ear of the public in July 1969, when his 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."[2] The relatively short-lived Ziggy persona proved merely one facet of a career marked by continual reinvention, musical innovation and striking visual presentation.
In 1975, Bowie achieved his first major American crossover success with the number-one single "Fame" and the hit album Young Americans, which the singer characterised as "plastic soul". The sound constituted a radical shift in style that initially alienated many of his UK devotees. He then confounded the expectations of both his record label and his American audiences by recording the minimalist album Low (1977)—the first of three collaborations with Brian Eno over the next two years. The so-called "Berlin Trilogy" albums all reached the UK top five and garnered lasting critical praise.
After uneven commercial success in the late 1970s, Bowie had UK number ones with the 1980 single "Ashes to Ashes", its parent album Scary Monsters (and Super Creeps), and "Under Pressure", a 1981 collaboration with Queen. He then reached a new commercial peak in 1983 with Let's Dance, which yielded several hit singles. Throughout the 1990s and 2000s, Bowie continued to experiment with musical styles, including blue-eyed soul, industrial, adult contemporary, and jungle. His last recorded album was Reality (2003), which was supported by the 2003–04 Reality Tour.
Buckley says of Bowie: "His influence has been unique in popular culture—he has permeated and altered more lives than any comparable figure."[2] In the BBC's 2002 poll of the 100 Greatest Britons, Bowie was placed at number 29. Throughout his career, he has sold an estimated 140 million albums. In the UK, he has been awarded nine Platinum album certifications, 11 Gold and eight Silver, and in the US, five Platinum and seven Gold certifications. In 2004, Rolling Stone ranked him 39th on their list of the "100 Greatest Artists of All Time", and 23rd on their list of the best singers of all-time.
David Bowie was born David Robert Jones in Brixton, London, on 8 January 1947. His mother, Margaret Mary "Peggy" (née Burns), of Irish descent,[3] worked as a cinema usherette, while his father, Haywood Stenton "John" Jones was a promotions officer for Barnardo's. The family lived at 40 Stansfield Road, located near the border of the south London areas of Brixton and Stockwell. A neighbour recalled that "London in the forties was the worst possible place, and the worst possible time for a child to grow up in." Bowie attended Stockwell Infants School until he was six years old, acquiring a reputation as a gifted and single-minded child—and a defiant brawler.[4][5]
In 1953 the family moved to the suburb of Bromley, where, two years later, Bowie progressed to Burnt Ash Junior School. His voice was considered "adequate" by the school choir, and his recorder playing judged to demonstrate above-average musical ability.[6] 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.[6] The same year, his interest in music was further stimulated when his father brought home a collection of American 45s by artists including Frankie Lymon and the Teenagers, The Platters, Fats Domino, Elvis Presley and Little Richard.[7][8] Upon listening to "Tutti Frutti", Bowie would later say, "I had heard God".[9] 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."[8] 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 "mesmerizing ... like someone from another planet."[8] Failing his eleven plus exam at the conclusion of his Burnt Ash Junior education, Bowie joined Bromley Technical High School.[10]
It was an unusual technical school, as biographer Christopher Sandford writes:
Despite its status it was, by the time David arrived in 1958, as rich in arcane ritual as any [English] public school. There were houses, named after eighteenth-century statesmen like Pitt and Wilberforce. There was a uniform, and an elaborate system of rewards and punishments. There was also an accent on languages, science and particularly design, where a collegiate atmosphere flourished under the tutorship of Owen Frampton. In David's account, Frampton led through force of personality, not intellect; his colleagues at Bromley Tech were famous for neither, and yielded the school's most gifted pupils to the arts, a regime so liberal that Frampton actively encouraged his own son, Peter, to pursue a musical career with David, a partnership briefly intact thirty years later.[10]
Bowie studied art, music, and design, including layout and typesetting. After Terry Burns, his half-brother, introduced him to modern jazz, his enthusiasm for players like Charles Mingus and John Coltrane led his mother to give him a plastic alto saxophone in 1961; he was soon receiving lessons from a local musician.[11]
In 1962, George Underwood injured Bowie's eye in a fight over a girl. Bowie owes his unusual eyes to the fact that not all the damage could be surgically repaired. Despite their fisticuffs, Underwood and Bowie remained good friends, and Underwood went on to create the artwork for Bowie's early albums.[12]
Bowie received a serious injury at school in 1962 when his friend George Underwood, while wearing a ring on his finger, punched him in the left eye during a fight over a girl. Doctors feared he would become blind in that eye. After a series of operations during a four-month hospitalisation,[13] his doctors determined that the damage could not be fully repaired and Bowie was left with faulty depth perception and a permanently dilated pupil. The latter condition has misled some to believe that Bowie has different coloured eyes, when in reality both irises are the same blue colour. [14]
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 Konrads had a varying line-up of between four and eight members, Underwood among them.[15] 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 Konrads and joined 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.[16]
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.[16] "I Pity the Fool" was no more successful than "Liza Jane", and Bowie soon moved on again to join the Lower Third, a blues trio strongly influenced by The Who. "You've Got a Habit of Leaving" fared no better, signalling the end of Conn's contract. Declaring that he would exit the pop world "to study mime at Sadler's Wells", Bowie nevertheless remained with the Lower Third. His new manager, Ralph Horton, later instrumental in his transition to solo artist, soon witnessed Bowie's move to yet another group, the Buzz, yielding the singer's fifth unsuccessful single release, "Do Anything You Say". While with the Buzz, Bowie also joined the Riot Squad; their recordings, which included a Bowie number and Velvet Underground material, went unreleased. Ken Pitt, introduced by Horton, took over as Bowie's manager.[17]
Dissatisfied with his stage name as Davy (and Davie) Jones, which in the mid-1960s invited confusion with Davy Jones of The Monkees, Bowie renamed himself after the 19th century American frontiersman Jim Bowie and the knife he had popularised.[18] 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.[19]
Bowie's fascination with the bizarre was fuelled when he met dancer Lindsay Kemp: "He lived on his emotions, he was a wonderful influence. His day-to-day life was the most theatrical thing I had ever seen, ever. It was everything I thought Bohemia probably was. I joined the circus."[20] 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."[20] Studying the dramatic arts under Kemp, from avant-garde theatre and mime to commedia dell'arte, Bowie became immersed in the creation of personae to present to the world. Satirising life in a British prison, meanwhile, the Bowie-penned "Over the Wall We Go" became a 1967 single for Oscar; another Bowie composition, "Silly Boy Blue", was released by Billy Fury the following year.[21] 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.[22]
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.[23] 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.[23] Breaking up with Farthingale shortly after completion of the film, Bowie moved in with Mary Finnigan as her lodger.[24] 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.[24] This soon morphed into the Beckenham Arts Lab, and became extremely popular. The Arts Lab hosted a free festival in a local park, later immortalised by Bowie in his song "Memory of a Free Festival".[25] "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.[26]
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.[27] 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".[28] The shortcoming was underlined by his artistic rivalry with Marc Bolan, who was at the time acting as his session guitarist.[28] 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. Known as The Hype, the band members created characters for themselves and wore elaborate costumes that prefigured the glam style of The Spiders From Mars. After a disastrous opening gig at the London Roundhouse, they reverted to a configuration presenting Bowie as a solo artist.[28][29] Their initial studio work was marred by a heated disagreement between Bowie and Cambridge over the latter's drumming style; matters came to a head when Bowie, enraged, accused, "You're fucking up my album." Cambridge summarily quit and was replaced by Mick Woodmansey.[30] 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.[30]
The studio sessions continued and resulted in Bowie's third album, The Man Who Sold the World (1970). Characterised by the heavy rock sound of his new backing band, it was a marked departure from the acoustic guitar and folk rock style established by Space Oddity. To promote it in the United States, Mercury Records financed a coast-to-coast publicity tour in which Bowie, between January and February 1971, was interviewed by radio stations and the media. Exploiting his androgynous appearance, the original cover of the UK version unveiled two months later would depict the singer wearing a dress: taking the garment with him, he wore it during interviews—to the approval of critics, including Rolling Stone's John Mendelsohn who described him as "ravishing, almost disconcertingly reminiscent of Lauren Bacall"—and in the street, to mixed reaction including laughter and, in the case of one male pedestrian, producing a gun and telling Bowie to "kiss my ass".[31][32] 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".[31] A girlfriend recalled his "scrawling notes on a cocktail napkin about a crazy rock star named Iggy or Ziggy", and on his return to England he declared his intention to create a character "who looks like he's landed from Mars".[31]
Hunky Dory (1971) found Visconti, Bowie's producer and bassist, supplanted in both roles, by Ken Scott and Trevor Bolder respectively. The album saw the partial return of the fey pop singer of "Space Oddity", with light fare such as "Kooks", a song written for his son, Duncan Zowie Haywood Jones, born on 30 May.[33] (His parents chose "his kooky name"—he would be known as Zowie for the next 12 years—after the Greek word zoe, life.)[34] 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[35] but was ranked No.16 by voters in the All Time Top 1000 Albums.
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".[2] Dressed in a striking costume, his hair dyed red, Bowie launched his Ziggy Stardust stage show with the Spiders from Mars—Ronson, Bolder and Woodmansey—at the Toby Jug pub in Tolworth on 10 February 1972.[36] The show was hugely popular, catapulting him to stardom as he toured the UK over the course of the next six months and creating, as described by Buckley, a "cult of Bowie" that was "unique—its influence lasted longer and has been more creative than perhaps almost any other force within pop fandom."[36] 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.[37]
Bowie contributed backing vocals to Lou Reed's 1972 solo breakthrough Transformer, co-producing the album with Mick Ronson.[38] 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".[39][40]
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."[41] 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.[42] 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.[43]
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Sample of "Ziggy Stardust" (1972). A pioneer of glam rock, Bowie performed as the character Ziggy Stardust, backed by The Spiders from Mars.
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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.[44] 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.[45]
Bowie moved to the United States in 1974, initially staying in New York City before settling in Los Angeles.[46] 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.[47] 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.[48] 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.[49]
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."[50] 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.[51] Young Americans yielded Bowie's first US number one, "Fame", co-written with John Lennon, who contributed backing vocals, and Carlos Alomar. Lennon would call Bowie's work as "great, but just rock and roll with lipstick on".[52] 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 November single,[53] that it was offered to Elvis Presley to perform, but Presley declined it.[53] 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.[54] 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."[55] In 1975, in a move echoing Ken Pitt's acrimonious dismissal five 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."[55] Michael Lippman, Bowie's lawyer during the negotiations, became his new manager; Lippman in turn would be awarded substantial compensation when Bowie fired him the following year.[56]
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.[57] 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."[58] 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.[48][59]
Station to Station's January 1976 release was followed in February by a three-and-a-half-month concert tour of Europe and North America. Featuring a starkly lit set, the Isolar – 1976 Tour highlighted songs from the album, including the dramatic and lengthy title track, the ballads "Wild Is the Wind" and "Word on a Wing", and the funkier "TVC 15" and "Stay". The core band that coalesced around this album and tour—rhythm guitarist Alomar, bassist George Murray, and drummer Dennis Davis—would continue as a stable unit for the remainder of the 1970s. The tour was highly successful but mired in political controversy. Bowie was quoted in Stockholm as saying that "Britain could benefit from a Fascist leader", and was detained by customs on the Russian/Polish border for possessing Nazi paraphernalia.[60] 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.[61] He later blamed his pro-Fascism comments and his behaviour during the period on his addictions and the character of the Thin White Duke.[62] "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 ...".[59] According to playwright Alan Franks, writing later in The Times, "he was indeed 'deranged'. He had some very bad experiences with hard drugs."[63]
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, and produced 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".[64]
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.[65] During the same period, Iggy 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.[66] 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".[67][68] Glass has praised Bowie's gift for creating "fairly complex pieces of music, masquerading as simple pieces".[69]
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Sample of "Heroes" (1977). One of the ambient rock songs to emerge from Bowie's Berlin Trilogy era, "Heroes" gained lasting popularity.
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Echoing Low's 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.[70] 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.[71] 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.[72]
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."[73] Recordings from the tour made up the live album Stage, released the same year.[74]
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.[75] 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".[76][77] 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.[78]
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.[79] 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 Robert Fripp, Pete Townshend, Chuck Hammer and Tom Verlaine.[80] 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.[81] The same year, he made a cameo appearance in the German film 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 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. 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.[82]
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 Tour, during which Bowie was accompanied by guitarist Earl Slick and backing vocalists Frank and George Simms. The world tour lasted six months and was extremely popular.[83] Stevie Ray Vaughan was guest guitarist playing solo on "Let's Dance".
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 Mick 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.[84]
Bowie was given a role in the 1986 film Absolute Beginners. It 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".[85] 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.[86]
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, whom Bowie had known since the late 1970s for their contribution, on drums and bass respectively, to Iggy Pop's 1977 album Lust For Life.[87]
Though he intended Tin Machine to operate as a democracy, Bowie dominated, both in songwriting and in decision-making.[88] 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."[89] EMI complained of "lyrics that preach" as well as "repetitive tunes" and "minimalist or no production".[90] The album nevertheless reached number three in the UK.[89] Tin Machine's first world tour was a commercial success, but there was growing reluctance—among fans and critics alike—to accept Bowie's presentation as merely a band member.[91] A series of Tin Machine singles failed to chart, and Bowie, after a disagreement with EMI, left the label.[92] Like his audience and his critics, Bowie himself became increasingly disaffected with his role as just one member of a band.[93] 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.[94]
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.[95] 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 II's 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 four ancient nude Kouroi statues, judged by Bowie to be "in exquisite taste", "a show of wrong, obscene images", requiring air-brushing and patching to render the figures sexless.[96] Tin Machine toured again, but after the live album Tin Machine Live: Oy Vey, Baby failed commercially, the band drifted apart, and Bowie, though he continued to collaborate with Gabrels, resumed his solo career.[97]
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.[98] 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.[99]
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".[100] 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.[101]
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.[102] 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.[103]
Bowie was inducted into the Rock and Roll Hall of Fame on 17 January 1996.[104] 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.[105] 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'".[106] 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.[107]
Bowie created the soundtrack for Omikron, 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.[108] Making extensive use of live instruments, the album was Bowie's exit from heavy electronica.[109] 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 was the 2002 album Heathen.[110] Alexandria Zahra Jones, Bowie and Iman's daughter, was born on 15 August.[111]
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".[112] 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.[113] Reality (2003) followed, and its accompanying world tour, the A Reality Tour, with an estimated attendance of 722,000, grossed more than any other 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.[114]
Since recuperating from the heart surgery, Bowie has reduced his musical output, 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.[115] During a relatively quiet 2005, he recorded the vocals for the song "(She Can) Do That", co-written with Brian Transeau, for the film Stealth.[116] 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.[117] He contributed back-up vocals on TV on the Radio's song "Province" for their album Return to Cookie Mountain,[118] made a commercial with Snoop Dogg for XM Satellite Radio,[119] and joined with Lou Reed on Danish alt-rockers Kashmir's 2005 album No Balance Palace.[120]
Bowie was awarded the Grammy Lifetime Achievement Award on 8 February 2006.[121] In April, he announced, "I’m taking a year off—no touring, no albums."[122] 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.[123] He performed again in November, alongside Alicia Keys, at the Black Ball, a New York benefit event for Keep a Child Alive,[124] a performance that marks the last time Bowie performed his music on stage.[125]
Bowie was chosen to curate the 2007 High Line Festival, selecting musicians and artists for the Manhattan event,[126] and performed on Scarlett Johansson's 2008 album of Tom Waits covers, Anywhere I Lay My Head.[127] 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.[128] A Reality Tour, a double album of live material from the 2003 concert tour, was released in January 2010.[129]
In late March 2011, Toy, Bowie's previously unreleased album from 2001, was leaked onto the internet, containing material used for Heathen and most of its single B-sides, as well as unheard new versions of his early back catalogue.[130][131]
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."[132] 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."[133] 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 television film The Looking Glass Murders).[134] In the black-and-white short The Image (1969), he played a ghostly boy who emerges from a troubled artist's painting to haunt him.[135] The same year, the film of Leslie Thomas's 1966 comic novel The Virgin Soldiers saw Bowie make a brief appearance as an extra.[135] In 1976 he earned acclaim for his first major film role, portraying Thomas Jerome Newton, an alien from a dying planet, in The Man Who Fell to Earth, directed by Nic Roeg. Just a Gigolo (1979), an Anglo-German co-production directed by David Hemmings, saw Bowie in the lead role as Prussian officer Paul von Przygodski, who, returning from World War I, is discovered by a Baroness (Marlene Dietrich) and put into her Gigolo Stable.
Bowie took the title role in the Broadway theatre production The Elephant Man, earning high praise for an expressive performance. He played the part 157 times between 1980 and 1981.[81] Christiane F. – Wir Kinder vom Bahnhof Zoo, a 1981 biographical film focusing on a young girl's drug addiction in West Berlin, featured Bowie in a cameo appearance as himself at a concert in Germany. Its soundtrack album, Christiane F. (1981), featured much material from his Berlin Trilogy albums.[136] Bowie starred in The Hunger (1983), a revisionist vampire film, 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. 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).[137]
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.[138] 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 Twin Peaks: Fire Walk with Me (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.[139] He played the ageing 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 physicist Nikola Tesla in the Christopher Nolan film, The Prestige (2006), which was about the bitter rivalry between two magicians in the late 19th century. He voice-acted in the animated film 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 television film. 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.[140][141]
Buckley writes, "If Ziggy confused both his creator and his audience, a big part of that confusion centred on the topic of sexuality."[142] Bowie declared himself bisexual in an interview with Michael Watts of Melody Maker in January 1972, a move coinciding with the first shots in his campaign for stardom as Ziggy Stardust.[42] In a September 1976 interview with Playboy, Bowie said: "It's true—I am a bisexual. But I can't deny that I've used that fact very well. I suppose it's the best thing that ever happened to me."[143]
In a 1983 interview with Rolling Stone, Bowie said his public declaration of bisexuality was "the biggest mistake I ever made" and "I was always a closet heterosexual".[144] 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".[145][146]
Asked in 2002 by Blender whether he still believed his public declaration was the biggest mistake he ever made, he replied:
Interesting. [Long pause] I don’t think it was a mistake in Europe, but it was a lot tougher in America. I had no problem with people knowing I was bisexual. But I had no inclination to hold any banners nor be a representative of any group of people. I knew what I wanted to be, which was a songwriter and a performer, and I felt that bisexuality became my headline over here for so long. America is a very puritanical place, and I think it stood in the way of so much I wanted to do.[147]
Buckley's view of the period is that Bowie, "a taboo-breaker and a dabbler ... mined sexual intrigue for its ability to shock",[148] 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'."[149] 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."[150] 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."[150]
From the time of his earliest recordings in the 1960s, Bowie has employed a wide variety of musical styles. His early compositions and performances were strongly influenced by not only rock and rollers like Little Richard and Elvis Presley but also 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).[19][151] Bowie's music hall fascination continued to surface sporadically alongside such diverse styles as hard rock and heavy metal, soul, psychedelic folk and pop.[152]
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."[153]
Voice instructor Jo Thompson describes Bowie's vocal vibrato technique as "particularly deliberate and distinctive".[154] Schinder and Schwartz call him "a vocalist of extraordinary technical ability, able to pitch his singing to particular effect."[155] 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."[156]
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.[157][158][159][160]
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.[161] At the same time, he inspired the innovators of the punk rock music movement—historian 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."[162][163] 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..."[164] 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.[161][165][166]
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."[2]
Bowie was inducted into the Rock and Roll Hall of Fame in 1996.[104] Through perpetual reinvention, he has seen his influence continue to broaden and extend: music reviewer Brad Filicky writes that over the decades, "Bowie has become known as a musical chameleon, changing and dictating trends as much as he has altered his style to fit, influencing fashion and pop culture."[167] 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."[168]
Bowie married Mary Angela Barnett (also known as Angie Bowie) on 19 March 1970 at Bromley Register Office in Beckenham Lane, Kent. They had a son together, Zowie Bowie (also known as Duncan Jones, film director), and divorced on 8 February 1980 in Switzerland.
The 1971 song "Kooks" on the album Hunky Dory was written for his newborn son.
In 1992 Bowie married Somali-American model Iman. They have one daughter, Alexandria Zahra Jones, born 15 August 2000.[169] The couple resides primarily in Manhattan and London.[170]
Regarding his compositions, in 2005 he said "Questioning my spiritual life has always been germane to what I was writing. Always." because he is "not quite an atheist and it bothers me."[171]
Bowie's 1969 commercial breakthrough, the song "Space Oddity", won him an Ivor Novello Special Award For Originality.[172] For his performance in the 1976 science fiction film The Man Who Fell to Earth, he won a Saturn Award for Best Actor.[173] In the ensuing decades he has been honoured with numerous awards for his music and its accompanying videos, receiving, among others, two Grammy Awards[174][175] and two BRIT Awards.[176]
In 1999, Bowie was made a Commander of the Ordre des Arts et des Lettres by the French government.[177] He received an honorary doctorate from Berklee College of Music the same year.[178] He declined the royal honour of Commander of the British Empire in 2000, and turned down a knighthood in 2003,[179] 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."[180]
Throughout his career he has sold an estimated 250 million albums.[181] In the United Kingdom, he has been awarded 9 Platinum, 11 Gold and 8 Silver albums, and in the United States, 5 Platinum and 7 Gold.[182][183] In the BBC's 2002 poll of the 100 Greatest Britons, he was ranked 29.[181] In 2004, Rolling Stone magazine ranked him 39th on their list of the 100 Greatest Rock Artists of All Time[184] and the 23rd best singer of all time.[185] Bowie was inducted into the Rock and Roll Hall of Fame on 17 January 1996.[104]
|
|
Year | Film | Role | Notes |
---|---|---|---|
1967 | The Image | The Boy | short film |
1969 | The Virgin Soldiers | Soldier | (extra) |
1970 | Pierrot in Turquoise or The Looking Glass Murders | Cloud | television film |
1976 | The Man Who Fell to Earth | Thomas Jerome Newton | Saturn Award for Best Actor |
1978 | Just a Gigolo | Paul Ambrosius von Przygodski | |
1981 | Christiane F. (Wir Kinder vom Bahnhof Zoo) | Himself | cameo |
1982 | The Snowman | Narrator | re-released version |
Baal | Baal | television film | |
1983 | Merry Christmas, Mr. Lawrence | Maj. Jack 'Strafer' Celliers | |
The Hunger | John | ||
Yellowbeard | The Shark | cameo (uncredited) | |
1985 | Into the Night | Colin Morris | cameo |
1986 | Labyrinth | Jareth the Goblin King | |
Absolute Beginners | Vendice Partners | ||
1988 | The Last Temptation of Christ | Pontius Pilate | cameo |
1991 | The Linguini Incident | Monte | |
1991 | Twin Peaks: Fire Walk with Me | Phillip Jeffries | cameo |
1996 | Basquiat | Andy Warhol | |
1998 | Gunslinger's Revenge (Il mio West) | Jack Sikora | |
1999 | Everybody Loves Sunshine | Bernie | |
2000 | Mr. Rice's Secret | William Rice | |
2001 | Zoolander | Himself | cameo (nominated for MTV Movie Award) |
2006 | The Prestige | Nikola Tesla | |
2007 | Arthur and the Invisibles | Emperor Maltazard | voice: English version |
2008 | August | Cyrus Ogilvie | cameo |
2008 | Spongebob Squarepants | L.R.H | guest voice |
2009 | Bandslam | Himself | cameo |
Book: David Bowie | |
Wikipedia books are collections of articles that can be downloaded or ordered in print. |
Wikimedia Commons has media related to: David Bowie |
Wikiquote has a collection of quotations related to: David Bowie |
|
Persondata | |
---|---|
Name | Bowie, David |
Alternative names | David Robert Jones |
Short description | English singer, songwriter, musician |
Date of birth | 8 January 1947 |
Place of birth | London, England, UK |
Date of death | |
Place of death |
Chuck Berry | |
---|---|
Berry in Örebro, Sweden, on July 18, 2007 |
|
Background information | |
Birth name | Charles Edward Anderson Berry |
Born | (1926-10-18) October 18, 1926 (age 85) St. Louis, Missouri, U.S. |
Genres | Rock and roll, blues, rhythm and blues |
Occupations | Musician, songwriter |
Instruments | Guitar, vocals |
Years active | 1955–present |
Labels | Chess, Mercury, Atco |
Website | www.chuckberry.com |
Notable instruments | |
Gibson ES-355 |
Charles Edward Anderson "Chuck" Berry (born October 18, 1926) is an American guitarist, singer and songwriter, and one of the pioneers of rock and roll music. With songs such as "Maybellene" (1955), "Roll Over Beethoven" (1956), "Rock and Roll Music" (1957) and "Johnny B. Goode" (1958), Chuck Berry refined and developed rhythm and blues into the major elements that made rock and roll distinctive, with lyrics focusing on teen life and consumerism and utilizing guitar solos and showmanship that would be a major influence on subsequent rock music.[1]
Born into a middle class family in St. Louis, Missouri, Berry had an interest in music from an early age and gave his first public performance at Sumner High School. While still a high school student he served a prison sentence for armed robbery between 1944 and 1947. On his release, Berry settled into married life and worked at an automobile assembly plant. By early 1953, influenced by the guitar riffs and showmanship techniques of blues player T-Bone Walker, he was performing in the evenings with the Johnnie Johnson Trio.[2] His break came when he traveled to Chicago in May 1955, and met Muddy Waters, who suggested he contact Leonard Chess of Chess Records. With Chess he recorded "Maybellene"—Berry's adaptation of the country song "Ida Red"—which sold over a million copies, reaching No. 1 on Billboard's Rhythm and Blues chart. By the end of the 1950s, Berry was an established star with several hit records and film appearances to his name as well as a lucrative touring career. He had also established his own St. Louis-based nightclub, called Berry's Club Bandstand. But in January 1962, Berry was sentenced to three years in prison for offenses under the Mann Act—he had transported a 14-year-old girl across state lines.[2][3][4]
After his release in 1963, Berry had several more hits, including "No Particular Place to Go", "You Never Can Tell", and "Nadine", but these did not achieve the same success, or lasting impact, of his 1950s songs, and by the 1970s he was more in demand as a nostalgic live performer, playing his past hits with local backup bands of variable quality.[2] His insistence on being paid cash led to a jail sentence in 1979—four months and community service for tax evasion.
Berry was among the first musicians to be inducted into the Rock and Roll Hall of Fame on its opening in 1986, with the comment that he "laid the groundwork for not only a rock and roll sound but a rock and roll stance."[5] Berry is included in several Rolling Stone "Greatest of All Time" lists, including being ranked fifth on their 2004 list of the 100 Greatest Artists of All Time.[6] The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll included three of Chuck Berry's songs: "Johnny B. Goode", "Maybellene", and "Rock and Roll Music".[7] Today – at the age of 85 – Berry continues to play live.
Born in St. Louis, Missouri,[8] Berry was the fourth child in a family of six. He grew up in the north St. Louis neighborhood known as "The Ville," an area where many middle class St. Louis people lived at the time. His father, Henry, was a contractor and deacon of a nearby Baptist church, his mother Martha a certified public school principal. His middle class upbringing allowed him to pursue his interest in music from an early age and he gave his first public performance in 1941 while still at Sumner High School.[9] Just three years later, in 1944, while still at Sumner High School, he was arrested and convicted of armed robbery after robbing three shops in Kansas City and then stealing a car at gunpoint with some friends.[10][11] Berry's own account in his autobiography is that his car broke down and he then flagged down a passing car and stole it at gunpoint with a non-functional pistol.[12][13] Berry was sent to the Intermediate Reformatory for Young Men at Algoa, near Jefferson City, Missouri,[8] where he formed a singing quartet and did some boxing.[10]
After his release from prison on his 21st birthday in 1947, Berry married Themetta "Toddy" Suggs on October 28, 1948, who gave birth to Darlin Ingrid Berry on October 3, 1950.[14] Berry supported his family doing a number of jobs in St. Louis: working briefly as a factory worker at two automobile assembly plants, as well as being janitor for the apartment building where he and his wife lived. Afterwards he trained as a beautician at the Poro College of Cosmetology, founded by Annie Turnbo Malone.[15] He was doing well enough by 1950 to buy a "small three room brick cottage with a bath" in Whittier Street,[16] which is now listed as the Chuck Berry House on the National Register of Historic Places.[17]
By the early 1950s, Berry was working with local bands in the clubs of St. Louis as an extra source of income.[16] He had been playing the blues since his teens, and he borrowed both guitar riffs and showmanship techniques from blues player T-Bone Walker,[18] as well as taking guitar lessons from his friend Ira Harris that laid the foundation for his guitar style.[19] By early 1953 Berry was performing with Johnnie Johnson's trio, starting a long-time collaboration with the pianist.[20] Although the band played mostly blues and ballads, the most popular music among whites in the area was country. Berry wrote, "Curiosity provoked me to lay a lot of our country stuff on our predominantly black audience and some of our black audience began whispering 'who is that black hillbilly at the Cosmo?' After they laughed at me a few times they began requesting the hillbilly stuff and enjoyed dancing to it."[8]
Berry's calculated showmanship, along with mixing country tunes with R&B tunes, and singing in the style of Nat "King" Cole to the music of Muddy Waters, brought in a wider audience, particularly affluent white people.[2][21]
In May 1955, Berry traveled to Chicago where he met Waters, who suggested he contact Leonard Chess of Chess Records. Berry thought his blues material would be of most interest to Chess, but to his surprise it was an old country and western recording by Bob Wills, entitled "Ida Red" that got Chess's attention. Chess had seen the rhythm and blues market shrink and was looking to move beyond it, and he thought Berry might be the artist for that purpose. So on May 21, 1955 Berry recorded an adaptation of "Ida Red"—"Maybellene"—which featured Johnnie Johnson on piano, Jerome Green (from Bo Diddley's band) on the maracas, Jasper Thomas on the drums and Willie Dixon on the bass. "Maybellene" sold over a million copies, reaching No. 1 on Billboard's Rhythm and Blues chart and No. 5 on the September 10, 1955 Billboard Best Sellers in Stores chart.[8][22]
At the end of June 1956, his song "Roll Over Beethoven" reached No. 29 on the Billboard Top 100 chart, and Berry toured as one of the "Top Acts of '56". He and Carl Perkins became friends. Perkins said that "I knew when I first heard Chuck that he'd been affected by country music. I respected his writing; his records were very, very great." As they toured, Perkins discovered that Berry not only liked country music, but knew about as many songs as he did. Jimmie Rodgers was one of his favorites. "Chuck knew every Blue Yodel and most of Bill Monroe's songs as well," Perkins remembered. "He told me about how he was raised very poor, very tough. He had a hard life. He was a good guy. I really liked him."[23]
In late 1957, Berry took part in Alan Freed's "Biggest Show of Stars for 1957" United States tour with the Everly Brothers, Buddy Holly, and others.[24] He also guest starred on ABC's The Guy Mitchell Show, having sung his hit song "Rock 'n' Roll Music". The hits continued from 1957 to 1959, with Berry scoring over a dozen chart singles during this period, including the top 10 US hits "School Days", "Rock and Roll Music", "Sweet Little Sixteen", and "Johnny B. Goode". He appeared in two early rock and roll movies. The first was Rock Rock Rock, released in 1956. He is shown singing "You Can't Catch Me." He had a speaking role as himself in the 1959 film Go, Johnny, Go! along with Alan Freed, and was also shown performing his songs "Johnny B. Goode," "Memphis, Tennessee," and "Little Queenie." His performance of "Sweet Little Sixteen" at the Newport Jazz Festival in 1958 is captured in the motion picture Jazz on a Summer's Day.[25]
By the end of the 1950s, Berry was an established star with several hit records and film appearances to his name, as well as a lucrative touring career. He had established a racially integrated St. Louis-based nightclub, called Berry's Club Bandstand, and was investing in real estate.[26] But in December 1959, Berry was arrested under the Mann Act after an allegation that he had sex with a 14-year-old Apache waitress whom he had transported over state lines to work as a hat check girl at his club.[27] After an initial two-week trial in March 1960, Berry was convicted, fined $5,000, and sentenced to five years in prison.[28] Berry's appeal that the judge's comments and attitude were racist and prejudiced the jury against him was upheld,[3][29] and a second trial was heard in May and June 1961,[30] which resulted in Berry being given a three-year prison sentence.[12] After another appeal failed, Berry served one and one half years in prison from February 1962 to October 1963.[12] Berry had continued recording and performing during the trials, though his output had slowed down as his popularity declined; his final single released before being imprisoned was "Come On".[31]
When Berry was released from prison in 1963, he was able to return to recording and performing due to the British invasion acts of the 1960s—most notably The Beatles and The Rolling Stones—having kept up an interest in his music by releasing cover versions of his songs;[32][33] along with other bands reworking his songs, such as the Beach Boys basing their 1963 hit "Surfin' USA" on Berry's "Sweet Little Sixteen".[34] In 1964–65 Berry released eight singles, including three, "No Particular Place to Go" (a reworking of "School Day"),[35] "You Never Can Tell", and "Nadine,"[36] which achieved commercial success, reaching the top 20 of the Billboard 100. Between 1966 and 1969 Berry released five albums on the Mercury label, including his first live album Live at Fillmore Auditorium in which he was backed by the Steve Miller Band.[37][38]
While this was not a successful period for studio work,[39] Berry was still a top concert draw. In May 1964, he did a successful tour of the UK,[35] though when he returned in January 1965 his behavior was erratic and moody, and his touring style of using unrehearsed local backing bands and a strict non-negotiable contract was earning him a reputation as a difficult yet unexciting performer.[40] He also played at large events in North America, such as the Schaefer Music Festival in New York City's Central Park in July 1969, and the Toronto Rock and Roll Revival festival in October.[41]
Berry helped give life to a subculture... Even "My Ding-a-Ling", a fourth-grade wee-wee joke that used to mortify true believers at college concerts, permitted a lot of twelve-year-olds new insight into the moribund concept of "dirty" when it hit the airwaves...
Berry returned to Chess from 1970 to 1973. There were no hit singles from the 1970 album Back Home, then in 1972 Chess released a live recording of "My Ding-a-Ling", a novelty song which Berry had recorded in a different version on his 1968 LP From St. Louie to Frisco as "My Tambourine".[43] The track became Berry's only No. 1 single. A live recording of "Reelin' And Rockin'" was also issued as a follow-up single that same year and would prove to be Berry's final top-40 hit in both the US and the UK. Both singles were featured on the part-live/part-studio album The London Chuck Berry Sessions which was one of a series of London Sessions albums which included other Chess mainstay artists Muddy Waters and Howlin' Wolf. Berry's second tenure with Chess ended with the 1975 album Chuck Berry, after which he did not make a studio record until 1979's Rock It for Atco Records, his last studio album to date.[44]
In the 1970s Berry toured on the basis of his earlier successes. He was on the road for many years, carrying only his Gibson guitar, confident that he could hire a band that already knew his music no matter where he went. Allmusic has said that in this period his "live performances became increasingly erratic, [...] working with terrible backup bands and turning in sloppy, out-of-tune performances" which "tarnished his reputation with younger fans and oldtimers" alike.[45] Among the many bandleaders performing a backup role with Chuck Berry were Bruce Springsteen and Steve Miller when each was just starting his career. Springsteen related in the video Hail! Hail! Rock 'n' Roll that Berry did not even give the band a set list and just expected the musicians to follow his lead after each guitar intro. Berry neither spoke to nor thanked the band after the show. Nevertheless, Springsteen backed Berry again when he appeared at the concert for the Rock and Roll Hall of Fame in 1995. At the request of Jimmy Carter, Chuck Berry performed at the White House on June 1, 1979.[38]
Berry's type of touring style, traveling the "oldies" circuit in the 1970s (where he was often paid in cash by local promoters) added ammunition to the Internal Revenue Service's accusations that Berry was a chronic income tax evader. Facing criminal sanction for the third time, Berry pleaded guilty to tax evasion and was sentenced to four months in prison and 1,000 hours of community service—doing benefit concerts—in 1979.[46]
Berry continued to play 70 to 100 one-nighters per year in the 1980s, still traveling solo and requiring a local band to back him at each stop. In 1986, Taylor Hackford made a documentary film, Hail! Hail! Rock 'n' Roll, of a celebration concert for Berry's sixtieth birthday, organised by Keith Richards, in which Berry reveals his bitterness at the fame and financial success that Richards achieved on the back of Berry's songs.[47] Eric Clapton, Etta James, Julian Lennon, Robert Cray and Linda Ronstadt, among others, appeared with Berry on stage and film. During the concert, Berry played a Gibson ES-355, the luxury version of the ES-335 that he favored on his 1970s tours. Richards played a black Fender Telecaster Custom, Cray a Fender Stratocaster and Clapton a Gibson ES 350T, the same guitar Berry used on his early recordings.[48]
In the late 1980s, Berry bought a restaurant in Wentzville, Missouri, called The Southern Air,[49] and in 1990 he was sued by several women who claimed that he had installed a video camera in the ladies' bathroom. Berry claimed that he had the camera installed to catch red-handed a worker who was suspected of stealing from the restaurant. Though his guilt was never proven in court, Berry opted for a class action settlement with 59 women. Berry's biographer, Bruce Pegg, estimated that it cost Berry over $1.2 million plus legal fees.[50] It was during this time that he began using Wayne T. Schoeneberg as his legal counsel. Reportedly, a police raid on his house did find videotapes of women using the restroom, and one of the women was a minor. Also found in the raid were 62 grams of marijuana. Felony drug and child-abuse charges were filed. In order to avoid the child-abuse charges, Berry agreed to plead guilty to misdemeanor possession of marijuana. He was given a six-month suspended jail sentence, two years' unsupervised probation, and ordered to donate $5,000 to a local hospital.[51]
In November 2000, Berry again faced legal charges when he was sued by his former pianist Johnnie Johnson, who claimed that he co-wrote over 50 songs, including "No Particular Place to Go", "Sweet Little Sixteen" and "Roll Over Beethoven", that credit Berry alone. The case was dismissed when the judge ruled that too much time had passed since the songs were written.[52]
Currently, Berry usually performs one Wednesday each month at Blueberry Hill, a restaurant and bar located in the Delmar Loop neighborhood in St. Louis. In 2008, Berry toured Europe, with stops in Sweden, Norway, Finland, the United Kingdom, the Netherlands, Ireland, Switzerland, Poland, and Spain. In mid-2008, he played at Virgin Festival in Baltimore, MD.[53] He presently lives in Ladue, Missouri, approximately 10 miles west of St. Louis.[54] During a New Year's Day 2011 concert in Chicago, Berry, suffering from exhaustion, passed out and had to be helped off stage.[55]
While no individual can be said to have invented rock and roll, Chuck Berry comes the closest of any single figure to being the one who put all the essential pieces together. It was his particular genius to graft country & western guitar licks onto a rhythm & blues chassis in his very first single, "Maybellene."
A pioneer of rock music, Berry was a significant influence on the development of both the music and the attitude associated with the rock music lifestyle. With songs such as "Maybellene" (1955), "Roll Over Beethoven" (1956), "Rock and Roll Music" (1957) and "Johnny B. Goode" (1958), Chuck Berry refined and developed rhythm and blues into the major elements that made rock and roll distinctive, with lyrics successfully aimed to appeal to the early teenage market by using graphic and humorous descriptions of teen dances, fast cars, high-school life, and consumer culture,[2] and utilizing guitar solos and showmanship that would be a major influence on subsequent rock music.[1] His records are a rich storehouse of the essential lyrical, showmanship and musical components of rock and roll; and, in addition to The Beatles and The Rolling Stones, a large number of significant popular-music performers have recorded Berry's songs.[2] Though not technically accomplished, his guitar style is distinctive – he incorporated electronic effects to mimic the sound of bottleneck blues guitarists, and drew on the influence of guitar players such as Charlie Christian and T-Bone Walker[2] to produce a clear and exciting sound that many later guitar musicians would acknowledge as a major influence in their own style.[51] In the film Hail! Hail! Rock 'n' Roll Eric Clapton states 'If you wanna play rock and roll – or any upbeat number – and you wanted to take a guitar ride you would end up playing like Chuck...because there is very little other choice. There's not a lot of other ways to play rock and roll other than the way Chuck plays it; he's really laid the law down..." In 1992 Keith Richards told Best of Guitar Player "Chuck was my man. He was the one who made me say 'I want to play guitar, Jesus Christ!'...Suddenly I knew what I wanted to do." Berry's showmanship has been influential on other rock guitar players,[57] particularly his one-legged hop routine,[58] and the "duck walk",[59] which he first used as a child when he walked "stooping with full-bended knees, but with my back and head vertical" under a table to retrieve a ball and his family found it entertaining; he used it when "performing in New York for the first time and some journalist branded it the duck walk."[60][61]
The rock critic Robert Christgau considers him "the greatest of the rock and rollers,"[62] while John Lennon said that "if you tried to give rock and roll another name, you might call it 'Chuck Berry'."[63] Ted Nugent said "If you don't know every Chuck Berry lick, you can't play rock guitar."[64] Among the honors he has received, have been the Grammy Lifetime Achievement Award in 1984,[65] the Kennedy Center Honors in 2000,[66] and being named seventh on Time magazine's 2009 list of the 10 best electric guitar players of all-time.[67] On May 14, 2002, Chuck Berry was honored as one of the first BMI Icons at the 50th annual BMI Pop Awards. He was presented the award along with BMI affiliates Bo Diddley and Little Richard.[68]
Berry is included in several Rolling Stone "Greatest of All Time" lists. In September 2003, the magazine named him number 6 in their list of the "100 Greatest Guitarists of All Time".[69] This was followed in November of the same year by his compilation album The Great Twenty-Eight being ranked 21st in the Rolling Stone's 500 Greatest Albums of All Time.[70] The following year, in March 2004, Berry was ranked fifth out of "The Immortals – The 100 Greatest Artists of All Time".[6] In December 2004, six of his songs were included in the "Rolling Stone's 500 Greatest Songs of All Time", namely "Johnny B. Goode" (# 7), "Maybellene" (# 18), "Roll Over Beethoven" (# 97), "Rock and Roll Music" (#128), "Sweet Little Sixteen" (# 272) and "Brown Eyed Handsome Man" (# 374).[71] In June 2008, his song "Johnny B. Goode" ranked first place in the "100 Greatest Guitar Songs of All Time".[72]
A statue 8 feet (2.4 m) tall of Berry, funded by donations, has been erected along the St. Louis Walk of Fame. The dedication ceremony attended by Berry was held on July 29, 2011.[73]
Book: Chuck Berry | |
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Name | Berry, Chuck |
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Date of birth | 1926-10-18 |
Place of birth | St. Louis, Missouri |
Date of death | |
Place of death |