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I would go to the East End markets and then I would go to Regent Street and Liberties where all the great fashion stores are and there were some incredible Indian ones in the back of Wardour Street and I would go and buy all the fabrics and take them back.
To try and get Trevor to do something that was in keeping with what Freddie was designing now and what David wanted was easy because Trevor was new, he was a young guy and he was really short! I wondered what we were going to do about this, but finally we got Trevor into platforms, and then we got Freddie to make his pants real long! They had another extra four inches for the platforms and he looked really tall. He was thrilled. They were both wonderful to work with.
I loved Woody. I really did. Woody was an absolute dream. I think when you tour with people internationally you really get to know them. We did a couple of shows and they went off and they did more down in Florida and then I saw them again on the east coast when they played Carnegie Hall. The played out of New York City gigs first then they went down to Florida. They were moving forward. Q What did the Americans think? The Americans were crazy about the band.
That was what was so dumb. Tony DeFries had a plan. He had to get rid of the band as quickly as possible. Make David a solo artist so that way his plan would work. Q Looking back, what are your views on MainMan Productions? If I were to do a cost analysis on the performance of the company I would say David was paying for a lot less than he was getting and he had a very good reason to be miffed.
The Lou Reed album was different because David produced that and that made money but all this other stuff was peripheral. There was a disparity. Who are we spending it on? They had already banned me. Q What was the marriage like? It was funny because the first two or three years I guess is what confused people because we were happy and excited to have found someone we could talk to or work with so I guess we acted married. I stayed and stayed and stayed and tried to make it work but in the end I gave up.
So I just ran away. The drugs were what caused him to be unbearable to work with. The drugs in America caused him to be completely uncommunicative. What I was interested in was whether we were delivering quality material. I really wanted to know it was a great show and the I was persona non gratis; all he wanted to do was to get rid of me. That was hard because I was used to being cherished because of my ability to make things happen so when you take away cherishing somebody and you expect them to still make things happen I was able to survive for three of four years in that kind of void but I was so unhappy, I was so miserable, my life was just awful.
Q What did you think of the music? I loved the music. I knew we needed something rousing, a big anthem at the end. People liked it. All little kids liked that so some songs were more important than others because they aroused the audience. I like songs that arouse an audience. It was a fabulous song.
It would have been funny as heck! Q What did you think of the artwork used on the covers? Anyway, he did this incredible album cover which is so rare now. I was listening to it the other day. It was a great album.
Everyone was writing nice things and being encouraging at that time. It was a good time. Q If you could go back what would you change? If I could go back what would I change? The session was great. I was booked by Gus Dudgeon who was the producer because I had a stupid name! Q Did you know Gus Dudgeon well? What kind of a person or producer did he strike you as? Well Gus Dudgeon started out like most tape ops or sound engineers, taking a job for work experience in a studio and then learning the ropes, learning how to edit and probably going up to singers and saying.
Why not someone your own age? Do you agree with that? Q After that album, when was the next time that you saw Bowie? I saw him not long after that on a few other projects. Q Those sessions with Tony, how did you get the gig, do you remember? Like most men of my age I I can vaguely recall epic moments, for example if it was a session with Tom Jones, Shirley Bassey, David Bowie or Marc Bolan but, half the time we were booked to roll up, play the bass and go home.
Q Was David producing at that point in time or was he just the artist? Do you remember what impression you had of him?
We probably recorded four tracks in three hours that morning, and then went somewhere else. A lot of the work I did was for Gus Dudgeon. I did do a little project for David as well though. Q What did you think of Lou Reed? What do I think of Lou Reed?
The highlight of my career has been doing things for Lou Reed, and it was David that suggested to Lou that he used me. Q So did you jump at the chance to go on the tour? I blew it a little bit because I was kind of bolshy and you know, just thought about myself too much instead of the company. I think the tour was particularly difficult for David because he was breaking new ground, I mean imagine a bit of eyeliner, the costumes and heading down south to Nashville or wherever, to do that kind of music.
It was a brave thing to do. Q When you say properly, what do you mean? Did Tony DeFries kind of cock it up for you guys? Tony DeFries, he was no doubt a good manager to have put together such a project. Q I thought you were paid two years later. Like a residual payment for something.
Q Did you have to wear anything in particular on stage for the Diamond Dogs tour? The costumes were brilliant, yes. Q Were you all supposed to be a gang or punks or something, what was the concept? At least, someone as beautiful as David could do it. Yes, as far as I know.
I think often great friendship is based on a deep respect and kind of a camaraderie, which I enjoy. Q Finally, what stands out most in your mind when you think of David Bowie? What do I think of mostly about David? I rue the fact that when we did the Diamond Dogs tour I had a little bit of a barny with him about the live recording, which I have to say to this day is a masterpiece. But a couple of hours before the concert I made up my mind after that I would stay away from trade union matters, I would never sign anything, just be the buffoon.
Interview with Woody Woodmansey Q So how did you get into drumming? I was fourteen when I got into drumming. Anyway, I kicked the ball, missed the goal and it flew over to the air raid shelter. When I went over to get the ball, I looked up at the door of the air raid shelter and it had the words The Cave painted on it and I could hear music coming out.
Two weeks later I was still pestering them and they let us go in and watch one song. So we walked in and it was pitch black, just a red bulb on and a stage at one end and they were playing a Muddy Waters song, the atmosphere was incredible and I was just like mesmerised. It just made me feel stronger, bigger, more me, in front of a live band.
I was fairly shy as a kid. I took my guitar home and I just sort of held it every night. Anyway, I just. Click the above photo for a video link Drummer Woody Woodmansey reflects upon his early years with Bowie. I got a drum kit for I think it was fifteen shillings, again off the Salvation Army, and it was painted bright yellow and it had real animal skins on it that had been sewn up.
So in those first few months I was buying albums and sitting listening to them, now as a potential musician, and watching bands on TV. And then I tried to figure out what the drummers were like in the big bands that were around at that time.
Q So who were your influences then? And then it was Keith Moon in The Who really, just as a showman. How the hell did he count through that? Tell me a bit about the history. Then it changed to a meatier part as it built up to the chorus, so I had to double up on the snare, which was a tricky manoeuvre to keep it still grooving in the same vein and build it up. Q What was the song about? Some dude in New York, having a hard time I think. Sounds very deep what you can actually do with a drum kit but you can do it.
The idea was to stay on that, no matter what, no matter where the arrangement goes, and it does get quite embellished on the way through, more desperate, the drum beat still has that apathetic, hopelessness about it all the way through.
It was good playing that, it was like being the stable point through all this mayhem. Was it complicated or simple? Fairly simple. Q How did it make you feel playing it? Especially live. It just went down so well every night. You knew when that was on they would be up on their feet, just from the rhythm of it and the whole atmosphere of it. David was good at that lyrically. Just when you thought you knew what it was about, it changed direction on you and put a little knife in the back or a little twist to it.
I think musically we mirrored that. That was the first time I think I had ever overdubbed drums. I played a really straight, heavy rock beat and then the tom fills; I overdubbed them all just to get as much power that I could possibly get into the toms.
It was like, forget about the feet, forget about anything else, just hit those toms as hard as you can possibly hit them. And it worked. It had little twisty bits in it, we were never conned. So as Mick was on tour with us taking photos every night, he shot the video as well. But ours was first! Q What was it like filming? It was filmed in a little dark studio with hardly any lights, just to create the strange atmosphere basically.
I remember lots of smoke blown across just to get that real sleazy atmosphere and then we had a friend that was on tour with us who looked a little bit like Marilyn Monroe but more hip, and we had her prancing about. Q How long did it take to shoot? Oh it was shot in about half a day, the whole thing. Q What did you think of the finished product? I thought it was brilliant, I still like watching it now. Mick Rock had a knack of capturing the particular action shot that was the one that was unusual.
Whether it was the angle of the body or if just the positioning on stage was different, he was able to shoot and shoot through the whole gig, through the whole tour, but got a lot of really good shots.
Q What kind of style does he have? I think he shot in both black and white, and colour. Then we had the opening night, I think it was in Tokyo, and Trevor had long hair then so we got a hairdresser to come in and do him a samurai hairdo, and he had the big bamboo sticks or whatever sticking out, Japanese make-up, Japanese costume, and we all wore something a little bit Japanese and it looked very strange playing the sort of space rock music.
So he went on stage that night and did one of them. That was just from going to a little theatre! It was quite simple really. It was more feel than anything which is why it works so well. If you were going to get work in a rhythm and blues band, you really had to be able to play the blues and you had to feel it, you had to really like believe in the blues to pull it off.
I guess you had to duplicate in the music what the writer had written. I love everything about it, the weird do-wappy backing vocals; the concept of the song is probably more current for nowadays than it was when it was written. Q And drumming? The drumming was again, a simplistic approach, it was just really let the arrangement come through and everything else ride on top of this groove.
It was again the stable point. I loved it. I think it was brilliant in that context. Q So what do you think made it different to the previous albums? It was different musicians. Probably up to that point the stretching was as much as they could actually tolerate. Q What was it like when you were on stage playing with Bowie? What were your feelings? What was going through your head? On stage? We seemed to communicate well with the audiences; we used to get fan mail, lots of fan mail where people actually did believe that we were actually the images we portrayed on stage.
Q What were the fans like? Brilliant, yeah, I mean really cool. I thought it was good. Some of the tracks I think worked, others would have been better left, most of them. I mean it helped us because when we did it live it was obviously recognised.
Q What was the story behind that then? Outside Andy Warhol Breaking Glass Nite Flights Under Pressure Disc 4: 1. Young Americans Medley 2. Fame 3. Can You Hear Me 4. Stay 5.
Heroes 7. Funtime 8. Sister Midnight 9. Life On Mars Ashes To Ashes Black Tie White Noise Strangers When We Meet The Heart's Filthy Lesson China Girl. Condition :. They do not. The versions of the tracks on it ["Boys Keep Swinging" 12"] are the same as on the 7" singles and the album. In Netherlands, an edited version of the album track was released. The singles had different B Sides. Nic Pegg claims that it replaced "Boys Keep Swinging".
This was after both the UK and the States had seen the single "D. From the Just a Gigolo soundtrack album. The French version was called "Disco Remix" but is just the full length version of the track as per the UK edition. The song had featured prominently and a live version from that tour would appear on the live album Stage. The studio version was thus recorded prior to the recording of the Lodger album which began in September It is a slight remix which 'notably extends the deafening silence after the line "may God's love be with you" by a full three-and-a-half seconds'.
It is the second version of the song that has been released as a single many times, beginning late and providing Bowie with his first UK hit. The song was originally to be the closing track of Scary Monsters It was, however, dropped and replaced during the recording process.
The song was instead used in on a Japanese television commercial for a sake brand called Crystal Jun Rock. Bowie also appeared in the commercial. The German 12" has the 'Disco mix' on the A Side, which is just the full length version of the song as on the album Scary Monsters This made a lot of sense as the song features Japanese vocals from Hisahi Miura.
This is because both 7" and 12" versions of this rather limited release had the same edit of the song, taken from the Scary Monsters Both 7" and 12" versions of this rather unusually used exactly the same cuts of the tracks.
The song runs at 5'58" on all these records, however, a special edit was created running at 3'34" for the music video. Again, as with the previous "Up the Hill Backwards" and "Under Pressure" singles, both 7" and 12" versions used exactly the same cuts of the tracks.
The album and single were focused upon UK and Europe. No single went out in the USA. In September , Bowie and Tony Visconti went to the Hansa studios in Berlin to re-record the five songs for this single release. The single came out in February just prior to the TV film broadcast on 2 March The album version ran at 6'08" and it was this that appeared on the standard 12" releases as well as the Portugal 7". The standard 7" single version of the track was an edit running at 4'08". In Australia, a special extended remix was released running at 9'20 with 'added saxophone and synthesiser'.
In addition, there were various promo edits and a USA DJ edit of the album version, varying between 3'08" and 5'32". And while an official retrospective release by his record company at the time RCA , Bowie was not happy about the release and it was essentially unsanctioned: 'a piece of opportunism which did little to improve Bowie's relationship with his soon-to-be-former label'.
There was also a USA DJ version of the song, named the 'extended edit', so longer than the standard single edit, but shorter than the full album version. At the time "Modern Love" [live] was a non-album track it has however later appeared on both the Serious Moonlight live DVD reissue  as an audio only extra and been included on the album of the same name  as its final track — although the film was recorded at the Pacific Coliseum, Vancouver, Canada on 12 September In some territories only the 7" was issued — such as the USA.
There was also, however, an extended mix issued in America on a various artists 12" via DJ subscription only label Disconet. Furthermore, while a single edit was prepared from both the album track and the dance mix, these were never used and the release only came out on 12".
In USA 12" 2 was replaced by a slightly different version which included the single edit and replaced the 'extended dub mix' with the 'extended dance mix'. There were also some other local variations of 12"s, including Germany and Brazil. Bowie also re-recorded the vocals in Spanish the song becoming known as Al Alba' and 'Dia Tras Dia , although it was only played on the radio in Spain once and was not originally released as a single.
Despite the song "Tin Machine" appearing on the label as 'A' for 7" and 12", and '1' for the CD, as well as the back sleeves track listings putting "Tin Machine" at the top, the front cover of the single listed "Maggie's Farm [live]" before "Tin Machine", and the single was promoted with a video of "Maggie's Farm [live]".
However, it went unboradcast. Reasons include the sexual nature of some of the images in the video, and that - given this was the earliest days of the music video - Bowie's manager Tony Defries wanted to charge the BBC what they saw as exorbitant fee.
The first version was recorded on 2 February during the making of the music video film Love You Till Tuesday , and consequently had a contemporaneous video made for it see 'Music video films', below. This single did not have a video made for it at the time.
European versions of the single were the full-length album recording 5' It contains one complete take, and 8 partial takes of "Heroes" [ The only complete take of "Heroes", Take 1, was barely used — all that was included was the 10 seconds of "I would be king, and you, you would be queen" [ And about 3 minutes of close-ups of Bowie slowly bringing his hand to his face, mimicking the "Heroes" album cover whilst Sense of Doubt plays in the background.
It seems there was no intention of creating promos for the latter two songs; the footage was merely to be used in the two TV commercials for the "Heroes" album. Pegg, Nicholas . The Complete David Bowie 4th edition. David Bowie. Retrieved 24 April London: HiT Entertainment. Retrieved 16 April Guinness Publishing Ltd. Entertainment Weekly. Time Inc. Retrieved on 10 August The Guardian. Retrieved 18 January Australian Chart Book — Illustrated ed. St Ives, N. Hung Medien.
Retrieved 12 January Australia's Music Charts — Australian Recording Industry Association Ltd. Retrieved 16 January Retrieved on 14 October Retrieved on 20 October Retrieved on 13 March Rovi Corporation. Retrieved on 12 March British Phonographic Industry. Archived from the original on 8 January Retrieved 3 February The Australian. Retrieved 16 September Recording Industry Association of America. Retrieved 27 August Retrieved 3 February — via American Radio History.
Music Canada. Retrieved 18 September Nederlandse Vereniging van Producenten en Importeurs van beeld-en geluidsdragers in Dutch. Retrieved on 24 August Retrieved 20 October Archived from the original on 24 July Hits Daily Double.
Archived from the original on 14 December Australian Recording Industry Association. Archived from the original on 22 August Retrieved 23 January Bowie played Joseph Merrick in the Broadway theatre production The Elephant Man , which he undertook wearing no stage make-up, and which earned high praise for his expressive performance. He played the part times between and Its soundtrack album, Christiane F. To promote the single " Blue Jean " Bowie filmed the 21 minute short film Jazzin' for Blue Jean with director Julien Temple , and played the dual roles of romantic protagonist Vic and arrogant rock star Screaming Lord Byron.
The prequel to the television series was poorly received at the time of its release, but has since been critically reevaluated. Despite having several episodes which focus on vampires and Bowie's involvement, the show had no plot connection to the film of the same name. In Mr. Rice's Secret , Bowie played the title role as the neighbour of a terminally ill year-old.
Nolan later claimed that Bowie was his only preference to play Tesla, and that he personally appealed to Bowie to take the role after he initially passed. In a interview with Consequence of Sound , director Denis Villeneuve revealed his intention to cast Bowie in Blade Runner as the lead villain, Niander Wallace, but when news broke of Bowie's death in January of the same year, Villeneuve was forced to look for talent with similar "rock star" qualities.
Talking about the casting process, Villeneuve said: "Our first thought [for the character] had been David Bowie, who had influenced Blade Runner in many ways.
When we learned the sad news, we looked around for someone like that. He [Bowie] embodied the Blade Runner spirit.
His character was portrayed via archival footage. At Bowie's request, Lynch overdubbed Bowie's original dialogue with a different actor's voice, as Bowie was unhappy with his Cajun accent in the original movie.
Bowie was also a painter and artist. He moved to Switzerland in , purchasing a chalet in the hills to the north of Lake Geneva. In the new environment, his cocaine use decreased and he found time for other pursuits outside his musical career. When on tour, he took to sketching in a notebook, and photographing scenes for later reference. After his death, his family decided to sell most of the collection because they "didn't have the space" to store it.
Bowie used this income to buy songs owned by his former manager, Tony Defries. Bowie's songs and stagecraft brought a new dimension to popular music in the early s, strongly influencing both its immediate forms and its subsequent development. Bowie was a pioneer of glam rock, according to music historians Schinder and Schwartz, who credited Marc Bolan and Bowie with creating the genre.
Musicologist James Perone credited Bowie with having "brought sophistication to rock music", and critical reviews frequently acknowledged the intellectual depth of his work and influence.
I love when he's pulled equally in the directions of art and populism. Broadcaster John Peel contrasted Bowie with his progressive rock contemporaries, arguing that Bowie was "an interesting kind of fringe figure Peel said he "liked the idea of him reinventing himself Before Bowie came along, people didn't want too much change".
Buckley called the era "bloated, self-important, leather-clad, self-satisfied"; then Bowie "subverted the whole notion of what it was to be a rock star". 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 called Bowie "both star and icon. The vast body of work he has produced His influence has been unique in popular culture—he has permeated and altered more lives than any comparable figure. Through continual reinvention, his influence broadened and extended.
Easton concluded that Bowie had "changed the way the world sees Britain. And the way Britain sees itself". Numerous figures from the music industry whose careers Bowie had influenced paid tribute to him following his death; panegyrics on Twitter tweets about him peaked at 20, a minute an hour after the announcement of his death  also came from outside the entertainment industry and pop culture , such as those from the Vatican , namely Cardinal Gianfranco Ravasi , who quoted "Space Oddity", and the Federal Foreign Office , which thanked Bowie for his part in the fall of the Berlin Wall and referenced "Heroes".
It was announced on 31 January that musician and actor Johnny Flynn would be playing Bowie in an upcoming biopic titled Stardust which will be set around Bowie's first trip to the United States in Christopher Bell is writing the script and Gabriel Range will direct. On 1 February , Bowie's son Duncan Jones spoke out against the film saying that he knew nothing about it and was informed about it by a fan on Twitter.
Jones also said that the film would not have permission to use any of Bowie's music. I would know. I'm not saying this movie is not happening. I honestly wouldn't know.
From the time of his earliest recordings in the s, Bowie employed a wide variety of musical styles. His early compositions and performances were strongly influenced by rock and rollers like Little Richard and Elvis Presley , and 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 debut release, David Bowie to the disgust of Newley himself, who destroyed the copy he received from Bowie's publisher.
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 Voice instructor Jo Thompson describes Bowie's vocal vibrato technique as "particularly deliberate and distinctive".
But Bowie continually shifts from person to person as he delivers them His voice changes dramatically from section to section. 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. Bowie and Farthingale broke up in early when she went to Norway to take part in a film, Song of Norway ;  this affected him, and several songs, such as " Letter to Hermione " and " Life on Mars? They had an open marriage. Angela described their union as a marriage of convenience. I didn't think it would last and David said, before we got married, 'I'm not really in love with you' and I thought that's probably a good thing," she said.
Bowie said about Angela that "living with her is like living with a blow torch. After the gag order that was part of their divorce agreement ended, Angela wrote, Backstage Passes: Life on the Wild Side with David Bowie , a memoir of their turbulent marriage.
The wedding was later solemnised on 6 June in Florence. Bowie declared himself gay in an interview with Michael Watts for a issue of Melody Maker ,  coinciding with his campaign for stardom as Ziggy Stardust.
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. In a 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. Blender asked Bowie in whether he still believed his public declaration was his biggest mistake.
After a long pause, he said, "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. Buckley wrote that Bowie "mined sexual intrigue for its ability to shock",  and was probably "never gay, nor even consistently actively bisexual", instead experimenting "out of a sense of curiosity and a genuine allegiance with the 'transgressional'.
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.
Over the years, Bowie made numerous references to religions and to his evolving spirituality. Beginning in , he became interested in Buddhism and considered becoming a Buddhist monk. You should follow music. And I probably was alone because I pretty much had abandoned God. After Bowie married Iman in a private ceremony in , he said they knew that their "real marriage, sanctified by God, had to happen in a church in Florence". I'm not quite an atheist and it worries me. There's that little bit that holds on: 'Well, I'm almost an atheist.
Give me a couple of months. I've nearly got it right. Bowie called the album "extremely dark What I need is to find a balance, spiritually, with the way I live and my demise. In , speaking as The Thin White Duke , Bowie's persona at the time, and "at least partially tongue-in-cheek", he made statements that expressed support for fascism and perceived admiration for Adolf Hitler in interviews with Playboy , NME , and a Swedish publication. Bowie was quoted as saying: "Britain is ready for a fascist leader I think Britain could benefit from a fascist leader.
After all, fascism is really nationalism I believe very strongly in fascism, people have always responded with greater efficiency under a regimental leadership. In the s and s, Bowie's public statements shifted sharply towards anti-racism and anti-fascism. In an interview with MTV anchor Mark Goodman in , Bowie criticised the channel for not providing enough coverage of black musicians, becoming visibly uncomfortable when the host suggested concerns among midwestern viewers was a reason.
His speech read: "I'm completely delighted to have a Brit for being the best male — but I am, aren't I Kate? I think it's a great way to end the day. Thank you very, very much and Scotland stay with us. Denied at first, Moore was given the rights after calling Bowie personally, recalling: "I've read stuff since his death saying that he wasn't that political and he stayed away from politics.
But that wasn't the conversation that I had with him. On 10 January , two days after his 69th birthday and the release of the album Blackstar , Bowie died from liver cancer in his New York City apartment. He noted that Bowie had kept working during the illness. He always did what he wanted to do. And he wanted to do it his way and he wanted to do it the best way. His death was no different from his life — a work of art.
He made Blackstar for us, his parting gift. I knew for a year this was the way it would be. I wasn't, however, prepared for it. He was an extraordinary man, full of love and life. He will always be with us. For now, it is appropriate to cry.
Following Bowie's death, fans gathered at impromptu street shrines. In the ensuing decades he was honoured with numerous awards for his music and its accompanying videos, receiving, among others, six Grammy Awards    and four Brit Awards —winning Best British Male Artist twice; the award for Outstanding Contribution to Music in ; and the Brits Icon award for his "lasting impact on British culture", given posthumously in I seriously don't know what it's for.
It's not what I spent my life working for. Bowie has sold over million records worldwide, making him one of the best-selling music artists. In , the spider Heteropoda davidbowie was named in Bowie's honour. On 25 March , a statue of Bowie was unveiled in Aylesbury , Buckinghamshire, the town where he debuted Ziggy Stardust.
From Wikipedia, the free encyclopedia. Redirected from David Robert Jones musician. For other uses, see David Bowie disambiguation.
English musician, actor, record producer, and arranger. Brixton , London , England. New York City , U. Angie Barnett. Art rock glam rock pop electronic experimental. Vocals guitar keyboards saxophone harmonica. Main article: David Bowie discography. Sample of " Ziggy Stardust " A pioneer of glam rock , Bowie performed as the character Ziggy Stardust, backed by the Spiders from Mars. Main article: Berlin Trilogy.
Sample of " Heroes " One of the ambient rock songs to emerge from Bowie's Berlin Trilogy era, "Heroes" gained lasting popularity. Main article: Tin Machine. Main article: David Bowie filmography. Main article: David Bowie's art collection.
Main article: Celebrity bond. Main article: David Bowie Is. Main article: Stardust film. Main article: Death of David Bowie. Main article: List of awards and nominations received by David Bowie. And just before I went on stage something just told me to say the Lord's Prayer. The great irony is that he died two days after the show". I very nearly got suckered into that narrow [view of] finding the Cross as the salvation of mankind".
Retrieved 16 September Rolling Stone. Retrieved 13 February BBC News. News Shopper. Retrieved 31 August Mojo Classic 60 Years of Bowie : 8—9. Retrieved 10 February Chicago: Anova Books. The Cut. Retrieved 21 January London, England: Omnibus Press. Senseless Acts of Beauty: Cultures of Resistance. Miamisburg, Ohio: Verso. The Quietus. London, England. Retrieved 14 December Wales Online.
Retrieved 12 October Retrieved 30 November Goodbye to Ziggy and All That Melody Maker. The Rough Guide to Rock. Rough Guides. Guinness World Records Ltd. Retrieved 23 DecemberMantra Studios Broadcast (Iggy Pop with David Bowie) Mantra Studios Broadcast, Chicago (Iggy Pop with David Bowie) Montreal - The Canadian Broadcast - Volume One Montreal - The Canadian Broadcast - Volume Two Never Let Me Down No Plan Nothing Has Changed. The Very Best Of Bowie Now Original Album Classics Outside + Heathen.