David_Bowie

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David Robert Jones (8 January 1947 â€" 10 January 2016), known as David Bowie (/ˈboÊŠ.i/), was an English singer, songwriter, multi-instrumentalist, record producer, painter, and actor. He was a figure in popular music for over five decades, and was considered by critics and musicians as an innovator, particularly for his work in the 1970s. His career was marked by reinvention and visual presentation, and his music and stagecraft significantly impacted popular music. During his lifetime, he sold an estimated 140 million records worldwide. In the UK, he was awarded nine platinum album certifications, eleven gold and eight silver, and released eleven number-one albums. In the US, he received five platinum and seven gold certifications. He was inducted into the Rock and Roll Hall of Fame in 1996.
Born and raised in South London, Bowie developed an interest in music as a child, eventually studying art, music and design before embarking on a professional career as a musician in 1963. "Space Oddity" became his first top-five entry on the UK Singles Chart after its release in July 1969. After a period of experimentation, he re-emerged in 1972 during the glam rock era with his flamboyant and androgynous alter ego Ziggy Stardust. The character was spearheaded by the success of his single "Starman" and album The Rise and Fall of Ziggy Stardust and the Spiders from Mars, and it won him widespread popularity. In 1975, Bowie's style shifted radically towards a sound he characterised as "plastic soul", initially alienating many of his UK devotees but garnering him his first major US crossover success with the number-one single "Fame" and the album Young Americans. In 1976, Bowie began a sporadic acting career, starring in the cult film The Man Who Fell to Earth. The following year, he f
urther confounded musical expectations with the electronic-inflected album Low (1977), the first of three collaborations with Brian Eno that would come to be known as the "Berlin Trilogy". "Heroes" (1977) and Lodger (1979) followed; each album reached the UK top five and received 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, with its title track topping both UK and US charts. Throughout the 1990s and 2000s, Bowie continued to experiment with musical styles, including industrial and jungle. Bowie also continued acting; his roles included Major Celliers in Merry Christmas, Mr. Lawrence (1983), the Goblin King Jareth in Labyrinth (1986), Pontius Pilate in The Last Temptation of Christ (1988), and Nikola Tesla in The Prestige (2006), among other film and television appearances and cameos. He stopped concert touring after 2004, and last performed live at a charity event in 2006. In 2013, Bowie returned from a decade-long recording hiatus with the release of The Next Day. He remained musically active until his death on 10 January
2016, two days after the release of his final album, Blackstar.


Early life
Bowie was born in Brixton, south London. His mother, Margaret Mary "Peggy" (née Burns), who although born in Kent was of Irish descent, worked as a waitress, while his father, Haywood Stenton "John" Jones, from Yorkshire, was a promotions officer for the children's charity Barnardo's. The family lived at 40 Stansfield Road, near the border of the south London areas of Brixton and Stockwell. Bowie attended Stockwell Infants School until he was six years old, acquiring a reputation as a gifted and single-minded childâ€"and a defiant brawler.
In 1953, Bowie moved with his family to the suburb of Bromley, where, two years later, he started attending Burnt Ash Junior School. His voice was considered "adequate" by the school choir, and he demonstrated above-average abilities in playing the recorder. 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. 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. Upon listening to "Tutti Frutti", Bowie would later say, "I had heard God".
Presley's impact on him was likewise emphatic: "I saw a cousin of mine dance to ... 'Hound Dog' and I had never seen her get up and be moved so much by anything. It really impressed me, the power of the music. I started getting records immediately after that." By the end of the following year he had taken up the ukulele and tea-chest bass, 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 Berryâ€"complete with gyrations in tribute to the original artistsâ€"to his local Wolf Cub group was described as "mesmerizing ... like someone from another planet." After taking his eleven plus exam at the conclusion of his Burnt Ash Junior education, Bowie went to Bromley Technical High School.
It was an unusual technical school, as biographer Christopher Sandford wrote:

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.

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. Bowie received a serious injury at school in 1962 when his friend George Underwood punched him in the left eye during a fight over a girl, and doctors feared he would become blind in that eye. After a series of operations during a four-month hospitalisation, his doctors determined that the damage could not be fully repaired and Bowie was left with faulty depth perception and a permanently dilated pupil, which gave a false impression of a change in the iris' colour. Despite their altercation, Underwood and Bowie remained good friends, and Underwood went on to create the artwork for Bowie's early albums.


Career


1962â€"67: Early career to debut album

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. 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 Beatlesâ€"and make another million." Bloom did not respond to the offer, but his referral to Dick James's partner Leslie Conn led to Bowie's first personal management contract.
Conn quickly began to promote Bowie. The singer's debut single, "Liza Jane", credited to Davie Jones and the King Bees, had no commercial success. Dissatisfied with the King Bees and their repertoire of Howlin' Wolf and Willie Dixon blues numbers, Bowie quit the band less than a month later to join the Manish Boys, another blues outfit, who incorporated folk and soulâ€""I used to dream of being their Mick Jagger", Bowie was to recall. "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 The Velvet Underground material, went unreleased. Ken Pitt, introduced by Horton, took over as Bowie's manager.
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. His April 1967 solo single, "The Laughing Gnome", using speeded-up thus high-pitched 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 was his last release for two years.


1968â€"71: Space Oddity to Hunky Dory

Bowie met dancer Lindsay Kemp in 1967 and enrolled in his dance class at the London Dance Centre. He commented in 1972 that meeting Kemp was when his interest in image "really blossomed". "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." 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. In January 1968 Kemp choreographed a dance scene for a BBC play The Pistol Shot in the Theatre 625 series, and used Bowie with a dancer, Hermione Farthingale; the pair began dating, and moved into a London flat together. Playi
ng acoustic guitar, Farthingale formed a group with Bowie and bassist John Hutchinson; between September 1968 and early 1969 the trio gave a small number of concerts combining folk, Merseybeat, poetry and mime. Bowie and Farthingale broke up in early 1969 when she went to Norway to take part in a film, Song of Norway; this had an impact on him, and several songs, such as "Letter to Hermione" and "Life on Mars?" reference her, and for the video accompanying "Where Are We Now?" he wore a T-shirt with the words "Song for Norway". They were last together in January 1969 for the filming of Love You till Tuesday, a 30-minute film, not released until 1984, intended as a vehicle to promote him, featuring performances from Bowie's repertoire, including an as yet unreleased "Space Oddity".
After the breakup with Farthingale, Bowie moved in with Mary Finnigan as her lodger. During this period he appeared in a Lyons Maid ice cream commercial, and was rejected for another by Kit Kat. In February and March 1969, he undertook a short tour with Marc Bolan's duo Tyrannosaurus Rex, as third on the bill, performing a mime act. On 11 July 1969, "Space Oddity" was released five days ahead of the Apollo 11 launch, and reached the top five in the UK. 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.
Influenced by the Arts Lab Movement, this developed into the Beckenham Arts Lab, and became extremely popular. The Arts Lab hosted a free festival in a local park, the subject of his song "Memory of a Free Festival". Bowie's second album 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; it was re-released internationally in 1972 by RCA as Space Oddity. 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.
Bowie met Angela Barnett in April 1969. They married within a year. Her impact on him was immediate, and her involvement in his career far-reaching, leaving manager Ken Pitt with limited influence which he found frustrating. Having established himself as a solo artist with "Space Oddity", Bowie began to sense a lacking: "a full-time band for gigs and recordingâ€"people he could relate to personally". The shortcoming was underlined by his artistic rivalry with Marc Bolan, who was at the time acting as his session guitarist. 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 bandmates 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. 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 an enraged Bowie accused the drummer of the disturbance, exclaiming "You're fucking up my album." Cambridge summarily quit and was replaced by Mick Woodmansey. Not long after, in a move that resulted in years of litigation, at the conclusion of which Bowie was forced to pay Pitt compensation, the singer fired his manager, replacing him with Tony Defries.

The studio sessions continued and resulted in Bowie's third album, The Man Who Sold the World (1970), which contained references to schizophrenia, paranoia and delusion. 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 US, 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 depicted the singer wearing a dress: taking the garment with him, he wore it during interviewsâ€"to the approval of critics, including Rolling Stone's John Mendelsohn who described him as "ravishing, almost disconcertingly reminiscent of Lauren Bacall" â€" and in the street, to mixed reaction including laughter and, in the case of one male pedestrian, producing a gun and tellin
g Bowie to "kiss my ass". During the tour Bowie's observation of two seminal American proto-punk artists led him to develop a concept that eventually found 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". 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".
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. (His parents chose "his kooky name"â€"he was known as Zowie for the next 12 yearsâ€"after the Greek word zoe, life.) Elsewhere, the album explored more serious themes, and found Bowie paying unusually direct homage to his influences with "Song for Bob Dylan", "Andy Warhol", and "Queen Bitch", a Velvet Underground pastiche. It was not a significant commercial success at the time.


1972â€"73: Ziggy Stardust

Dressed in a striking costume, his hair dyed reddish-brown, Bowie launched his Ziggy Stardust stage show with the Spiders from Marsâ€"Ronson, Bolder and Woodmanseyâ€"at the Toby Jug pub in Tolworth on 10 February 1972. The show was hugely popular, catapulting him to stardom as he toured the UK over the next six months and creating, as described by Buckley, a "cult of Bowie" that was "uniqueâ€"its influence lasted longer and has been more creative than perhaps almost any other force within pop fandom." 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 remained in the chart for two years, was soon joined there by the 6
-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, were successful in the UK. The Ziggy Stardust Tour continued to the United States.
Bowie contributed backing vocals to Lou Reed's 1972 solo breakthrough Transformer, co-producing the album with Mick Ronson. His own Aladdin Sane (1973) topped the UK chart, his first number one album. Described by Bowie as "Ziggy goes to America", it contained songs he wrote while travelling to and across the US during the earlier part of the Ziggy tour, which now continued to Japan to promote the new album. Aladdin Sane spawned the UK top five singles "The Jean Genie" and "Drive-In Saturday".
Bowie's love of acting led his total immersion in the characters he created for his music. "Offstage I'm a robot. Onstage I achieve emotion. It's probably why I prefer dressing up as Ziggy to being David." With satisfaction came severe personal difficulties: acting the same role over an extended period, it became impossible for him to separate Ziggy Stardustâ€"and, later, the Thin White Dukeâ€"from his own character offstage. Ziggy, Bowie said, "wouldn't leave me alone for years. That was when it all started to go sour ... My whole personality was affected. It became very dangerous. I really did have doubts about my sanity." His later Ziggy shows, which included songs from both Ziggy Stardust and Aladdin Sane, were ultra-theatrical affairs filled with shocking stage moments, such as Bowie stripping down to a sumo wrestling loincloth or simulating oral sex with Ronson's guitar. Bowie toured and gave press conferences as Ziggy before a dramatic and abrupt on-stage "retirement" at Londo
n's Hammersmith Odeon on 3 July 1973. Footage from the final show was released the same year for the film Ziggy Stardust and the Spiders from Mars.
After breaking up the Spiders from Mars, Bowie attempted to move on from his Ziggy persona. His back catalogue was now highly sought after: 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 on the UK singles chart. Entering the same chart in September, Bowie's novelty record from 1967, "The Laughing Gnome", reached number six. 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 concurrently on the UK chart to six.


1974â€"76: Soul, funk, and the Thin White Duke

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

The fruit of the Philadelphia recording sessions was Young Americans (1975). Biographer Christopher Sandford writes, "Over the years, most British rockers had tried, one way or another, to become black-by-extension. Few had succeeded as Bowie did now." The album's sound, which the singer identified as "plastic soul", constituted a radical shift in style that initially alienated many of his UK devotees. Young Americans yielded Bowie's first US number one, "Fame", co-written with John Lennon, who contributed backing vocals, and Carlos Alomar. Lennon called Bowie's work "great, but it's just rock'n'roll with lipstick on". 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, which was originally offered to Elvis Presley, who declined it. Young Americans was a commercial success in both the US and the UK, and a re-issue of the 1969 single "Space Oddity" became Bowie'
s first number one hit in the UK a few months after "Fame" achieved the same in the US. Despite his by now well established superstardom, Bowie, in the words of Sandford, "for all his record sales (over a million copies of Ziggy Stardust alone), existed essentially on loose change." In 1975, in a move echoing 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." Michael Lippman, Bowie's lawyer during the negotiations, became his new manager; Lippman in turn was awarded substantial compensation when Bowie fired him the following year.

Station to Station (1976) introduced a new Bowie persona, "The Thin White Duke" of its title track. Visually, the character was an extension of Thomas Jerome Newton, the extraterrestrial being he portrayed in the film The Man Who Fell to Earth the same year. Developing the funk and soul of Young Americans, Station to Station also prefigured the Krautrock and synthesiser music of his next releases. The extent to which drug addiction was now affecting Bowie was made public when Russell Harty interviewed the singer for his London Weekend Television talk show in anticipation of the album's supporting tour. Shortly before the satellite-linked interview was scheduled to commence, the death of the Spanish dictator 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 lengthy conversation with Harty, Bowie was incoherent and looked "disconnected
". His sanityâ€"by his own later admissionâ€"had become twisted from cocaine; he overdosed several times during the year, and was withering physically to an alarming degree. Bowie's positive comments about Hitler, and Eric Clapton's about immigration in 1976, led to the establishment of Rock Against Racism.
Station to Station's January 1976 release was followed in February by a 3 1⁄2-month concert tour of Europe and North America. Featuring a starkly lit set, the Isolar â€" 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 to produce this album and tourâ€"rhythm guitarist Alomar, bassist George Murray, and drummer Dennis Davisâ€"continued 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.
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, Bowie waved to the crowd in a gesture that some alleged was a Nazi salute, which was captured on camera and published in NME. Bowie said the photographer simply caught him in mid-wave. He later blamed his pro-Fascism comments and his behaviour during the period on his addictions and the character of the Thin White Duke. "I was out of my mind, totally crazed. The main thing I was functioning on was mythology ... that whole thing about Hitler and Rightism ... I'd discovered King Arthur". According to playwright Alan Franks, writing later in The Times, "he was indeed 'deranged'. He had some very bad experiences with hard drugs." Bowie's cocaine addiction, which had caused these controversies, had much to do with his time living in Los Angeles, a city which alienated him hugely. Discussing his flirtations with fascism in a 1980 interview with NME,
Bowie explained that Los Angeles was "where it had all happened. The fucking place should be wiped off the face of the Earth. To be anything to do with rock and roll and go and live in Los Angeles is, I think, just heading for disaster. It really is."


1976â€"79: Berlin era
Bowie moved to Switzerland in 1976, purchasing a chalet in the hills to the north of Lake Geneva. In the new environment, his cocaine use decreased and he found time for other pursuits outside his musical career. He devoted more time to his 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."

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. There he was often seen riding a bicycle between his apartment on Hauptstraße in Schöneberg and Hansa Tonstudio, the recording studio he used, located on Köthener Straße in Kreuzberg, near the Berlin Wall. While working with Brian Eno and sharing an apartment with Iggy Pop, he began to focus on minimalist, ambient music for the first of three albums, co-produced with Tony Visconti, that became known as his Berlin Trilogy. 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.

The album 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. Although he completed the album in November 1976, it took his unsettled record company another three months to release it. It received considerable negative criticism upon its releaseâ€"a release which RCA, anxious to maintain the established commercial momentum, did not welcome, and which Bowie's ex-manager, Tony Defries, who still maintained a significant financial interest in the singer's affairs, tried to prevent. Despite these forebodings, Low yielded the UK number three single "Sound and Vision", and its own performance surpassed that of Station to Station in the UK chart, where it reached number two. Leading contemporary composer Philip Glass described Low as "a work of genius" in 1992, when he used it as the basis for his Symphony No. 1 "Low"; subsequently,
Glass used Bowie's next album as the basis for his 1996 Symphony No. 4 "Heroes". Glass has praised Bowie's gift for creating "fairly complex pieces of music, masquerading as simple pieces".
Echoing 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. Incorporating ambient sounds from a variety of sources including white noise generators, synthesisers and koto, the album was another hit, reaching number three in the UK. Its title track, though only reaching number 24 in the UK singles chart, gained lasting popularity, and within months had been released in both German and French. Towards the end of the year, Bowie performed the song for Marc Bolan's television show Marc, and again two days later for Bing Crosby's final CBS television 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 proved a worldwide seasonal hit, charting
in the UK at number three on Christmas Day, 1982.
After completing Low and "Heroes", Bowie spent much of 1978 on the Isolar II world tour, bringing the music of the first two Berlin Trilogy albums to almost a million people during 70 concerts in 12 countries. By now he had broken his drug addiction; biographer David Buckley writes that Isolar II was "Bowie's first tour for five years in which he had probably not anaesthetised himself with copious quantities of cocaine before taking the stage. ... Without the oblivion that drugs had brought, he was now in a healthy enough mental condition to want to make friends." Recordings from the tour made up the live album Stage, released the same year.
The final piece in what Bowie called his "triptych", Lodger (1979), eschewed the minimalist, ambient nature of the other two, making a partial return to the drum- and guitar-based rock and pop of his pre-Berlin era. The result was a complex mixture of new wave and world music, in places incorporating Hijaz non-Western scales. Some tracks were composed using Eno and Peter Schmidt's Oblique Strategies cards: "Boys Keep Swinging" entailed band members swapping instruments, "Move On" used the chords from Bowie's early composition "All the Young Dudes" played backwards, and "Red Money" took backing tracks from "Sister Midnight", a piece previously composed with Iggy Pop. The album was recorded in Switzerland. Ahead of its release, RCA's Mel Ilberman stated, "It would be fair to call it Bowie's Sergeant Pepper ... a concept album that portrays the Lodger as a homeless wanderer, shunned and victimized by life's pressures and technology." As described by biographer Christopher Sandford, "The
record dashed such high hopes with dubious choices, and production that spelt the endâ€"for fifteen yearsâ€"of Bowie's partnership with Eno." Lodger reached number 4 in the UK and number 20 in the US, and yielded the UK hit singles "Boys Keep Swinging" and "DJ". Towards the end of the year, Bowie and Angela initiated divorce proceedings, and after months of court battles the marriage was ended in early 1980.


1980â€"88: New Romantic and pop era

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"â€"the main New Romantic hangoutâ€"to recruit several of the regulars (including Steve Strange of the band Visage) to act in the accompanying video, renowned as one of the most innovative of all time. While Scary Monsters utilised principles established by the Berlin albums, it was considered by critics to be far more direct musically and lyrically. The album's hard rock edge included conspicuous guitar contributions from Robert Fripp, Pete Townshend and Chuck Hammer. As "Ashes to Ashes" hit number one on the UK charts, Bowie opened a three-month run on Broadway on 24 September, starring in The Elephant Man.
Bowie paired with Queen in 1981 for a one-off single release, "Under Pressure". The duet was a hit, becoming Bowie's third UK number one single. Bowie was given the lead role in the BBC's 1982 televised adaptation of Bertolt Brecht's play Baal. Coinciding with its transmission, a five-track EP of songs from the play, recorded earlier in Berlin, was released as David Bowie in Bertolt Brecht's Baal. In March 1982, the month before Paul Schrader's film Cat People came out, Bowie's title song, "Cat People (Putting Out Fire)", was released as a single, becoming a minor US hit and entering the UK top 30.
Bowie reached a new peak of popularity and commercial success in 1983 with Let's Dance. Co-produced by Chic's Nile Rodgers, the album went platinum in both the UK and the US. Its three singles became top twenty hits in both countries, where its title track reached number one. "Modern Love" and "China Girl" made number two in the UK, accompanied by a pair of acclaimed promotional videos that, as described by biographer David Buckley, "were totally absorbing and activated key archetypes in the pop world. 'Let's Dance', with its little narrative surrounding the young Aborigine couple, targeted 'youth', and 'China Girl', with its nude (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. Stevie Ray Vaughan was guest guitarist playing solo on "Let's Dance", although the video depicts Bowie miming this part. By 1983, Bowie had emerged as one of the most important video ar
tists 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."

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.
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". 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.


1989â€"91: Tin Machine
Bowie shelved his solo career in 1989, retreating to the relative anonymity of band membership for the first time since the early 1970s. A hard-rocking quartet, Tin Machine came into being after Bowie began to work experimentally with guitarist Reeves Gabrels. The line-up was completed by Tony and Hunt Sales, whom Bowie had known since the late 1970s for their contribution, on bass and drums respectively, to Iggy Pop's 1977 album Lust For Life.

Although he intended Tin Machine to operate as a democracy, Bowie dominated, both in songwriting and in decision-making. The band's album debut, Tin Machine (1989), was initially popular, though its politicised lyrics did not find universal approval: Bowie described one song as "a simplistic, naive, radical, laying-it-down about the emergence of neo-Nazis"; in the view of biographer Christopher Sandford, "It took nerve to denounce drugs, fascism and TV ... in terms that reached the literary level of a comic book." EMI complained of "lyrics that preach" as well as "repetitive tunes" and "minimalist or no production". The album nevertheless reached number three in the UK.
Tin Machine's first world tour was a commercial success, but there was growing reluctanceâ€"among fans and critics alikeâ€"to accept Bowie's presentation as merely a band member. A series of Tin Machine singles failed to chart, and Bowie, after a disagreement with EMI, left the label. Like his audience and his critics, Bowie himself became increasingly disaffected with his role as just one member of a band. Tin Machine began work on a second album, but Bowie put the venture on hold and made a return to solo work. Performing his early hits during the seven-month Sound+Vision Tour, he found commercial success and acclaim once again.
In October 1990, a decade after his divorce from Angela, Bowie and Somali-born supermodel Iman were introduced by a mutual friend. Bowie recalled, "I was naming the children the night we met ... it was absolutely immediate." They married in 1992. Tin Machine resumed work the same month, but their audience and critics, ultimately left disappointed by the first album, showed little interest in a second. Tin Machine 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. 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.


1992â€"98: Electronic period
On 20 April 1992, Bowie appeared at The Freddie Mercury Tribute Concert, following the Queen singer'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; during his appearance, Bowie knelt and recited the Lord's Prayer at Wembley Stadium. 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.

In 1993, Bowie released his first solo offering since his Tin Machine departure, the soul, jazz and hip-hop influenced Black Tie White Noise. Making prominent use of electronic instruments, the album, which reunited Bowie with Let's Dance producer Nile Rodgers, confirmed Bowie's return to popularity, hitting the number one spot on the UK charts and spawning three top 40 hits, including the top 10 song "Jump They Say". Bowie explored new directions on The Buddha of Suburbia (1993), a soundtrack album of incidental music composed for the TV series adaptation of Hanif Kureishi's novel. It contained some of the new elements introduced in Black Tie White Noise, and also signalled a move towards alternative rock. The album was a critical success but received a low-key release and only made number 87 in the UK charts.
Reuniting Bowie with Eno, the quasi-industrial Outside (1995) was originally conceived as the first volume in a non-linear narrative of art and murder. Featuring characters from a short story written by Bowie, the album achieved UK and US chart success, and yielded three top 40 UK singles. In a move that provoked mixed reaction from both fans and critics, Bowie chose Nine Inch Nails as his tour partner for the Outside Tour. Visiting cities in Europe and North America between September 1995 and February 1996, the tour saw the return of Gabrels as Bowie's guitarist. On 7 January 1997 Bowie celebrated his half century with a 50th birthday concert at Madison Square Garden, New York, at which he was joined in playing his songs and those of his guests, Lou Reed, Dave Grohl and the Foo Fighters, Robert Smith of the Cure, Billy Corgan of the Smashing Pumpkins, Frank Black of the Pixies and Sonic Youth.
Bowie was inducted into the Rock and Roll Hall of Fame on 17 January 1996. Incorporating experiments in British jungle and drum 'n' bass, Earthling (1997) was a critical and commercial success in the UK and the US, and two singles from the album became UK top 40 hits. Bowie's song "I'm Afraid of Americans" from the Paul Verhoeven film Showgirls was re-recorded for the album, and remixed by Trent Reznor for a single release. The heavy rotation of the accompanying video, also featuring Reznor, contributed to the song's 16-week stay in the US Billboard Hot 100. The Earthling Tour took in Europe and North America between June and November 1997. In November 1997, Bowie performed on the BBC's Children in Need charity single "Perfect Day", which reached number one in the UK. 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 was later re-recorded and released as "Safe" on the B-side of Bowie'
s 2002 single "Everyone Says 'Hi'". The reunion led to other collaborations including a limited-edition single release version of Placebo's track "Without You I'm Nothing", co-produced by Visconti, with Bowie's harmonised vocal added to the original recording.


Bowie Bonds
Bowie Bonds, an early example of celebrity bonds, were asset-backed securities of current and future revenues of the 25 albums (287 songs) that Bowie recorded before 1990. Bowie Bonds were pioneered by rock and roll investment banker David Pullman. Issued in 1997, the bonds were bought for US$55 million by the Prudential Insurance Company of America. The bonds paid an interest rate of 7.9% and had an average life of ten years, a higher rate of return than a 10-year Treasury note (at the time, 6.37%). Royalties from the 25 albums generated the cash flow that secured the bonds' interest payments. Prudential also received guarantees from Bowie's label, EMI Records, which had recently signed a $30m deal with Bowie. By forfeiting ten years worth of royalties, Bowie received a payment of US$55 million up front. Bowie used this income to buy songs owned by his former manager. Bowie's combined catalogue of albums covered by this agreement sold more than 1 million copies annually at the time
of the agreement. By March 2004, Moody's Investors Service lowered the bonds from an A3 rating (the seventh highest rating) to Baa3, one notch above junk status. The downgrade was prompted by lower-than-expected revenue "due to weakness in sales for recorded music" and that an unnamed company guaranteed the issue. Nonetheless, the bonds liquidated in 2007 as originally planned, without default, and the rights to the income from the songs reverted to Bowie.


BowieNet
In September 1998, Bowie launched his own Internet service provider, BowieNet, developed in conjunction with Robert Goodale and Ron Roy. Subscribers to the dial-up service were offered exclusive content, as well as a BowieNet email address and Internet access. The service was closed by 2006.


1999â€"2012: Neoclassicist Bowie

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. Making extensive use of live instruments, the album was Bowie's exit from heavy electronica. Sessions for the planned album Toy, intended to feature new versions of some of Bowie's earliest pieces as well as three new songs, commenced in 2000, but the album was never released. Bowie and Visconti continued their collaboration, producing a new album of completely original songs instead: the result of the sessions was the 2002 album Heathen.
On 25 June 2000, Bowie made his second appearance at the Glastonbury Festival in England, playing 30 years after his first. On 27 June, Bowie performed a concert at BBC Radio Theatre in London, which was released in the compilation album Bowie at the Beeb, which also featured BBC recording sessions from 1968 to 1972. Bowie and Iman's daughter was born on 15 August.
In October 2001, Bowie opened the Concert for New York City, a charity event to benefit the victims of the 11 September attacks, with a minimalist performance of Simon & Garfunkel's "America", followed by a full band performance of "Heroes". 2002 saw the release of Heathen, and, during the second half of the year, the Heathen Tour. Taking place 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 Dandy Warhols. As well as songs from the new album, the tour featured material from Bowie's Low era. 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 Festi
val in Scheeßel, Germany. Originally thought to be a pinched nerve in his shoulder, the pain was later diagnosed as an acutely blocked coronary artery, requiring an emergency angioplasty in Hamburg. The remaining 14 dates of the tour were cancelled. That same year, his interest in Buddhism led him to support the Tibetan cause by performing at a concert to support the New York Tibet House.

In the years following his recuperation from the heart attack, Bowie 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.
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. He returned to the stage on 8 September 2005, appearing with Arcade Fire for the US nationally televised event Fashion Rocks, and performed with the Canadian band for the second time a week later during the CMJ Music Marathon. He contributed backing vocals on TV on the Radio's song "Province" for their album Return to Cookie Mountain, made a commercial with Snoop Dogg for XM Satellite Radio and joined with Lou Reed on Danish alt-rockers Kashmir's 2005 album No Balance Palace.
Bowie was awarded the Grammy Lifetime Achievement Award on 8 February 2006. In April, he announced, "I'm taking a year offâ€"no touring, no albums." He made a surprise guest appearance at David Gilmour's 29 May concert at the Royal Albert Hall in London. The event was recorded, and a selection of songs on which he had contributed joint vocals were subsequently released. He performed again in November, alongside Alicia Keys, at the Black Ball, a New York benefit event for Keep a Child Alive, a performance marking the last time Bowie performed his music on stage.
Bowie was chosen to curate the 2007 High Line Festival, selecting musicians and artists for the Manhattan event, including electronic pop duo Air, surrealist photographer Claude Cahun and English comedian Ricky Gervais. Bowie performed on Scarlett Johansson's 2008 album of Tom Waits covers, Anywhere I Lay My Head. On the 40th anniversary of the July 1969 moon landingâ€"and Bowie's accompanying commercial breakthrough with "Space Oddity"â€"EMI released the individual tracks from the original eight-track studio recording of the song, in a 2009 contest inviting members of the public to create a remix. A Reality Tour, a double album of live material from the 2003 concert tour, was released in January 2010.
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.


2013â€"16: Final years
On 8 January 2013 (his 66th birthday), his website announced a new album, to be titled The Next Day and scheduled for release 8 March for Australia, 12 March for the United States and 11 March for the rest of the world. Bowie's first studio album in a decade, The Next Day contains 14 songs plus 3 bonus tracks. His website acknowledged the length of his hiatus. Record producer Tony Visconti said 29 tracks were recorded for the album, some of which could appear on Bowie's next record, which he might start work on later in 2013. The announcement was accompanied by the immediate release of a single, "Where Are We Now?", written and recorded by Bowie in New York and produced by longtime collaborator Visconti.
A music video for "Where Are We Now?" was released onto Vimeo the same day, directed by New York artist Tony Oursler. The single topped the UK iTunes Chart within hours of its release, and debuted in the UK Singles Chart at No. 6, his first single to enter the top 10 for two decades (since "Jump They Say" in 1993). A second video, "The Stars (Are Out Tonight)", was released 25 February. Directed by Floria Sigismondi, it stars Bowie and Tilda Swinton as a married couple. On 1 March, the album was made available to stream for free through iTunes. The Next Day debuted at No. 1 on the UK Albums Chart, his first since Black Tie White Noise (1993), and was the fastest-selling album of 2013 at the time. The music video for the song "The Next Day" created some controversy, initially being removed from YouTube for terms-of-service violation, then restored with a warning recommending viewing only by those 18 or over.
According to The Times, Bowie ruled out ever giving an interview again. An exhibition of Bowie artefacts, called "David Bowie Is", was organized by the Victoria and Albert Museum in London, and shown there in 2013. The London exhibit was visited by 311,956 people, making it one of the most successful exhibitions ever staged at the museum. Later that year the exhibition began a world tour, starting in Toronto and including stops in Chicago, Paris, Melbourne, and Groningen. Bowie was featured in a cameo vocal in the Arcade Fire song "Reflektor". A poll carried out by BBC History Magazine, in October 2013, named Bowie as the best-dressed Briton in history.
At the 2014 Brit Awards on 19 February, Bowie became the oldest recipient of a Brit Award in the ceremony's history when he won the award for Best British Male, which was collected on his behalf by Kate Moss. His speech read: "I'm completely delighted to have a Brit for being the best male â€" but I am, aren't I Kate? Yes. I think it's a great way to end the day. Thank you very, very much and Scotland stay with us." Bowie's reference to the forthcoming September 2014 Scottish independence referendum garnered a significant reaction throughout the UK on social media. On 18 July, Bowie indicated that future music would be forthcoming, though he was vague about details.
New information was released in September 2014 regarding his next compilation album, Nothing Has Changed, which was released in November. The album featured rare tracks and old material from his catalogue in addition to a new song titled "Sue (Or in a Season of Crime)". In May 2015, "Let's Dance" was announced to be reissued as a yellow vinyl single on 16 July 2015 in conjunction with the "David Bowie is" exhibition at the Australian Centre for the Moving Image in Melbourne.
In August 2015, it was announced that Bowie was writing songs for a Broadway musical based on the SpongeBob SquarePants cartoon series. Bowie wrote and recorded the opening title song to the television series The Last Panthers, which aired in November 2015. The theme that was used for The Last Panthers was also the title track for his January 2016 release Blackstar which is said to take cues from his earlier krautrock influenced work. According to The Times: "Blackstar may be the oddest work yet from Bowie".
Blackstar was released on 8 January 2016, Bowie's 69th birthday, and was met with critical acclaim. Following his death on 10 January, producer Tony Visconti revealed that Bowie had planned the album to be his swan song, and a "parting gift" for his fans before his death. Several reporters and critics subsequently noted that most of the lyrics on the album seem to revolve around his impending death, with CNN noting that the album "reveals a man who appears to be grappling with his own mortality". Visconti later said that Bowie had been planning a post-Blackstar album, and had written and recorded demo versions of five songs in his final weeks, suggesting that Bowie believed he had a few months left. The day following his death, online viewing of Bowie's music skyrocketed, breaking the record for Vevo's most viewed artist in a single day. On 15 January, Blackstar debuted at number one on the UK Albums Chart, nineteen of his albums were in the UK Top 100 Albums Chart, and thirteen sing
les were in the UK Top 100 Singles Chart. Blackstar also debuted at number one on album charts around the world, including Australia, France, Germany, Italy, New Zealand and the US Billboard 200.
As of 11 January 2016, more than 1.3 million people had visited the "David Bowie Is" exhibition, making it the most successful exhibition ever staged by the Victoria and Albert Museum in terms of worldwide attendance. The museum stated that the exhibition would continue to tour, with confirmed travel to Japan in 2017.


Acting career
The beginnings of Bowie's 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). 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. The same year, the film of Leslie Thomas's 1966 comic novel The Virgin Soldiers saw Bowie make a brief appearance as an extra. 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 Nicolas 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 Stab
le.
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 157 times between 1980 and 1981. Christiane F. â€" 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. Bowie starred in The Hunger (1983), 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 de
clined to play the villain Max Zorin in the James Bond film A View to a Kill (1985).
Absolute Beginners (1986), a rock musical based on Colin MacInnes's 1959 novel about London life, featured Bowie's music and presented him with a minor acting role. The same year, Jim Henson's dark fantasy Labyrinth found him with the part of Jareth, the king of the goblins. Two years later, he played Pontius Pilate in Martin Scorsese's 1988 film The Last Temptation of Christ. Bowie portrayed a disgruntled restaurant employee opposite Rosanna Arquette in The Linguini Incident (1991), and the mysterious FBI agent Phillip Jeffries in David Lynch's 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. He played the ageing gangster Bernie in Andrew Goth's Everybody Loves Sunshine (1999), and appeared in t
he TV horror serial of The Hunger. In Mr. Rice's Secret (2000), he played the title role as the neighbour of a terminally ill 12-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. In the same year, he voice-acted in the animated film Arthur and the Invisibles as the powerful villain Maltazard and appeared as himself in an episode of the Ricky Gervais television series Extras. In 2007, he 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 (1976).


Musicianship

From the time of his earliest recordings in the 1960s, 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 1967 debut release, David Bowie (to the disgust of Newley himself, who destroyed the copy he received from Bowie's publisher). Bowie's music hall fascination continued to surface sporadically alongside such diverse styles as hard rock and heavy metal, soul, psychedelic folk and pop.
Musicologist James Perone observes Bowie's use of octave switches for different repetitions of the same melody, exemplified in his commercial breakthrough single, "Space Oddity", and later in the song "Heroes", to dramatic effect; Perone notes that "in the lowest part of his vocal register ... his voice has an almost crooner-like richness."
Voice instructor Jo Thompson describes Bowie's vocal vibrato technique as "particularly deliberate and distinctive". Schinder and Schwartz call him "a vocalist of extraordinary technical ability, able to pitch his singing to particular effect." Here, too, as in his stagecraft and songwriting, the singer's role playing 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." In a 2014 analysis of 77 "top" artists' vocal ranges, Bowie was 8th, just behind Christina Aguilera and just ahead of Paul McCartney. In addition to the guitar, Bowie was also a fluent player of the keyboard, harmonica, saxophone, stylophone, viola, cello, koto, thumb piano, drums and percussion.


Personal life


Family

Bowie married Mary Angela Barnett on 19 March 1970 at Bromley Register Office in Bromley, London. Their son Duncan, born on 30 May 1971, was at first known as Zowie. Bowie and Angela divorced on 8 February 1980 in Switzerland.
On 24 April 1992, Bowie married the Somali-American model Iman in a private ceremony in Lausanne. The wedding was later solemnised on 6 June in Florence. They had one daughter, Alexandria "Lexi" Zahra Jones, born in August 2000. The couple resided primarily in New York City and London, as well as owning an apartment in Sydney's Elizabeth Bay.


Sexuality
Bowie declared himself gay in an interview with Michael Watts for a 1972 issue of Melody Maker, coinciding with his campaign for stardom as Ziggy Stardust. According to Buckley, "If Ziggy confused both his creator and his audience, a big part of that confusion centred on the topic of sexuality". In a September 1976 interview with Playboy, Bowie said, "It's trueâ€"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". According to Angie, Bowie had a relationship with Mick Jagger.
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". 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 of his own feelings.
Blender asked Bowie in 2002 whether he still believed his public declaration was his biggest mistake. After a long pause, he said, "it was a lot tougher [here] in America [than in Europe]. 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". Bowie said he wanted to be a songwriter and performer rather than a headline for his bisexuality, and in "puritanical" America, "I think it stood in the way of so much I wanted to do".
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'". Biographer Christopher Sandford said, according to Mary Finniganâ€"with whom Bowie had an affair in 1969â€"the singer and his first wife Angie "created their bisexual fantasy". Sandford wrote that 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".


Religion and spirituality
Over the years, Bowie made numerous references to religions and to his evolving spirituality. Beginning in 1967, he showed an interest in Buddhism; after a few months' study at Tibet House in London, he was told by a Lama, "You don't want to be Buddhist. ... You should follow music". By 1975 Bowie admitted, "I felt totally, absolutely alone. And I probably was alone because I pretty much had abandoned God".
After Bowie married Iman in a private ceremony in 1992, he said they knew that their "real marriage, sanctified by God, had to happen in a church in Florence". Earlier that year, he knelt on stage at The Freddie Mercury Tribute Concert and recited the Lord's Prayer before a TV audience of up to one billion people. In 1993, Bowie said he had an "undying" belief in the "unquestionable" existence of God. Interviewed in 2005, Bowie said whether God exists "is not a question that can be answered. ... 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'". In his will, Bowie stipulated that he be cremated and his ashes scattered in Bali "in accordance with the Buddhist rituals".
"Questioning my spiritual life has always been germane" to Bowie's songwriting. "Station to Station" is "very much concerned with the Stations of the Cross"; the song specifically references Kabbalah. Bowie called the album "extremely dark ... the nearest album to a magick treatise that I've written". Earthling showed "the abiding need in me to vacillate between atheism or a kind of gnosticism ... What I need is to find a balance, spiritually, with the way I live and my demise." Released shortly before his death, "Lazarus"â€"from his final album, Blackstarâ€"began with the words, "Look up here, I’m in Heaven".


Politics
In 1976, 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." He was also quoted as saying: "Adolf Hitler was one of the first rock stars" and "You've got to have an extreme right front come up and sweep everything off its feet and tidy everything up." Bowie later retracted these comments in an interview with Melody Maker in October 1977, blaming them on mental instability caused by his drug problems at the time, saying: "I was out of my mind, totally, completely crazed."
In the 1980s and 1990s, Bowie's public statements shifted sharply towards anti-racism and anti-fascism. In an interview with MTV in 1983, Bowie criticised the channel for not providing enough coverage of black musicians, and the music videos for "China Girl" and "Let's Dance" were described by Bowie as a "very simple, very direct" statement against racism. The album Tin Machine took a more direct stance against fascism and Neo-Nazism, and was criticised for being too preachy.
In 2016, filmmaker and activist Michael Moore said he had wanted to use "Panic in Detroit" for his 1997 documentary The Big One; denied at first, he was given the rights after calling Bowie personally. "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."


Death

On 10 January 2016, 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 had been diagnosed 18 months earlier but had not made the news of his illness public. The Belgian theatre director Ivo van Hove, who had worked with the singer on his Off-Broadway musical Lazarus, explained that Bowie was unable to attend rehearsals due to the progression of the disease. He noted that Bowie had kept working during the illness.
Bowie's producer Tony Visconti wrote:

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 â€" 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. At the mural of Bowie in his birthplace of Brixton, south London, which shows him in his Aladdin Sane character, fans laid flowers and sang his songs. Other memorial sites included Berlin, Los Angeles, and outside his apartment in New York. Bowie had insisted that he did not want a funeral; according to his death certificate, he was cremated in New Jersey on 12 January.


Legacy and influence

Bowie's songs and stagecraft brought a new dimension to popular music in the early 1970s, strongly influencing both its immediate forms and its subsequent development. A pioneer of glam rock, Bowie, according to music historians Schinder and Schwartz, has joint responsibility with Marc Bolan for creating the genre. At the same time, he inspired the innovators of the punk rock music movement. While punk musicians trashed the conventions of pop stardom, Bowie moved on againâ€"into a more abstract style of music making that in turn became a transforming influence. Biographer David Buckley writes, "At a time when punk rock was noisily reclaiming the three-minute pop song in a show of public defiance, Bowie almost completely abandoned traditional rock instrumentation." Bowie's record company sought to convey his unique status in popular music with the slogan, "There is old wave, there is new wave, and there is Bowie". Musicologist James Perone credits him with having "brought sophisticati
on to rock music", and critical reviews frequently acknowledge the intellectual depth of his work and influence.
Buckley writes that, in an early 1970s pop world that was "Bloated, self-important, leather-clad, self-satisfied, ... Bowie challenged the very 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 uniqueâ€"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 cultureâ€"he has permeated and altered more lives than any comparable figure."
Through continual reinvention, his influence broadened and extended. 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." In 2000, Bowie was voted by other music stars as the "most influential artist of all time" in a poll by NME. Alexis Petridis of The Guardian has written that Bowie was confirmed by 1980 to be "the most important and influential artist since the Beatles".
Numerous figures from the music industry whose careers Bowie had influenced paid tribute to him following his death; panegyrics on Twitter 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 German Foreign Office, which thanked Bowie for his part in the Fall of the Berlin Wall and referenced "Heroes". At the 58th Annual Grammy Awards, Lady Gaga performed a medley of several Bowie songs, including "Fame", "Let's Dance", "Space Oddity", and "Ziggy Stardust".


Awards and recognition

Bowie's 1969 commercial breakthrough, the song "Space Oddity", won him an Ivor Novello Special Award For Originality. For his performance in the 1976 science fiction film The Man Who Fell to Earth, he won a Saturn Award for Best Actor. In the ensuing decades he has been honoured with numerous awards for his music and its accompanying videos, receiving, among others, two Grammy Awards and three Brit Awardsâ€"winning Best British Male Artist twice and in 1996 the award for Outstanding Contribution to Music.
In 1999, Bowie was made a Commander of the Ordre des Arts et des Lettres by the French government. He received an honorary doctorate from Berklee College of Music the same year. He declined the royal honour of Commander of the Order of the British Empire (CBE) in 2000, and turned down a knighthood in 2003. Bowie later stated "I would never have any intention of accepting anything like that. I seriously don't know what it's for. It's not what I spent my life working for."
Throughout his career he sold an estimated 140 million albums. In the United Kingdom, he was awarded 9 platinum, 11 gold and 8 silver albums, and in the United States, 5 platinum and 7 gold. Five of Bowie's studio albums appear on Rolling Stone's list of the 500 Greatest Albums of All Time.
In the BBC's 2002 poll of the 100 Greatest Britons, he was ranked 29. In 2004, Rolling Stone magazine ranked him 39th on their list of the 100 Greatest Rock Artists of All Time. Bowie was inducted into the Rock and Roll Hall of Fame on 17 January 1996 and named a member of the Science Fiction and Fantasy Hall of Fame in June 2013. In 2016, Rolling Stone proclaimed Bowie "the greatest rock star ever".
In 2008, the spider Heteropoda davidbowie was named in his honour. On 5 January 2015, a main-belt asteroid was named 342843 Davidbowie. On 13 January 2016, Belgian amateur astronomers at MIRA Public Observatory in conjunction with radio station Studio Brussels created a "Bowie asterism" of seven stars which had been in the vicinity of Mars at the time of Bowie's death; when appropriately connected they form the iconic lightning bolt seen on Bowie's face on the cover of his Aladdin Sane album.


Discography

Studio albums


Filmography

Selected film roles


See also

Nat Tate: An American Artist 1928â€"1960
Celebrity bond
List of artists by number of UK Albums Chart number ones
List of artists who reached number one in the United States
List of artists who reached number one on the U.S. dance chart
List of best-selling music artists
List of David Bowie concert tours
List of number-one dance hits (United States)
List of number-one hits (United States)


Notes


References


Sources


Further reading


External links
Official website
Bowieart â€" paintings, printmakings, etc.
David Bowie's channel on YouTube
David Bowie's channel on Vimeo
David Bowie â€" Sound and Vision BBC Documentary (YouTube), 2003, 1:26 h,
David Bowie at the Internet Movie Database
David Bowie at DMOZ
David Bowie at the Rock and Roll Hall of Fame
Works by or about David Bowie in libraries (WorldCat catalog)


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Tony_Parker

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William Anthony "Tony" Parker Jr. (born 17 May 1982) is a French professional basketball player for the San Antonio Spurs of the National Basketball Association (NBA). The son of a professional basketball player, Parker played for two years in the French basketball league before entering the 2001 NBA draft. He was selected by the San Antonio Spurs with the 28th overall pick in the draft and quickly became their starting point guard. Parker has helped the Spurs win four NBA championships in 2003, 2005, 2007 and 2014.

Employing his pace and high field goal percentage to great effect, Parker has been named to six NBA All-Star games, three All-NBA Second Teams, and an All-NBA Third Team. He was also the 2007 NBA Finals MVP.
Playing for the France national basketball team, Parker was named as the EuroBasket 2013 MVP following his team's victory over Lithuania (80â€"66) in the gold medal game. The point guard finished as the tournament's top scorer with 19 points per game. In 2015 he became the all-time leading scorer in the EuroBasket competition.
Parker is also a music artist with his own music album, TP. He married actress Eva Longoria on 7 July 2007. In November 2010, both parties filed for divorce.


Early lifeEdit
Parker was born in Bruges, Belgium, but raised in France. His father, Tony Parker Sr., an African American, played basketball at Loyola University Chicago as well as professionally overseas. His mother, Pamela Firestone, is a Dutch model. Parker enjoyed close relationships with his brothers and they would often attend their father's basketball games together. At first, Parker was more interested in soccer, but after watching the evolution of Michael Jordan into a global basketball superstar during summer trips to his father's native city of Chicago, he changed his mind. Moreover, Parker's two younger brothers were also heavily involved in basketball; T.J. and Pierre would go on to play basketball at college and professional levels. As Parker built his skill, his lack of size (notwithstanding a growth spurt at 15) decided his position on-court. He played the point guard position, recognizing that his speed and agility made this position ideal for him. He was eventually talent-spotted
and asked to attend the INSEP in Paris. After playing in the French amateur leagues for two seasons, Parker turned professional and signed with Paris Basket Racing in 1999.
In the summer of 2000, Parker was invited to the Nike Hoop Summit in Indianapolis. There, in front of professional scouts and college coaches, he competed against the likes of future NBA players Darius Miles, Zach Randolph and Omar Cook. In a contest between the American and European All-Stars, Parker recorded 20 points, seven assists, four rebounds and two steals. The Frenchman's performance prompted a recruiting war among several colleges, including UCLA and Georgia Tech, who were on the verge of persuading Parker to join them. However, Parker decided to forgo the NCAA and to remain in France; he spent the next year with Paris Basket Racing in the French League before entering the 2001 NBA draft.


Professional careerEdit


San Antonio SpursEdit


First championshipEdit

Before the 2001 NBA draft, Parker was invited to the San Antonio Spurs' summer camp. Parker's first experiences were daunting; coach Gregg Popovich had him play against Spurs scout and ex-NBA player Lance Blanks. Parker was so overwhelmed by Blank's tough and physical defense that Popovich was ready to send him away after just 10 minutes. But after seeing a "best of" mix tape of Parker's best plays, Popovich decided to invite Parker a second time. This time, Parker made a better impression against Blanks; the Frenchman later described Blanks as a "one-man wrecking crew". But while Popovich decided that Parker was worth the gamble, the Spurs still had to hope that other teams would not pick Parker during the draft. As it happened, Parker's name was barely mentioned in the pre-draft predictions and the point guard was drafted 28th overall by the Spurs on draft day.
After initially playing backup to Antonio Daniels, Parker became a starter and made 77 regular-season appearances in his rookie season, averaging 9.2 points, 4.3 assists and 2.6 rebounds in 29.4 minutes per game. When he played against the Los Angeles Clippers on 30 November 2001, he became the third French player to play in an NBA game, after Tariq Abdul-Wahad and Jerome Moiso. Parker increased the Spurs' game tempo, getting his teammates better looks at the basket whenever he was involved in transition offense. He could also hit open jump shots, and this created greater space for the big men on the team, Tim Duncan and David Robinson. By the end of the season, the rookie led San Antonio in assists and steals, and was named to the All-Rookie First Team for 2001â€"02, becoming the first foreign-born guard to earn the honor. Although the Spurs were eliminated during the playoffs, Parker's performances did not go unnoticed.
In 2002â€"03, Parker played in all 82 regular-season games as San Antonio's starting point guard on a team that was largely revamped from previous years. He improved his regular season statistics significantly, averaging 15.5 points per game (ppg), 5.3 assists per game (apg) and 2.6 rebounds per game (rpg). Parker's role as the team's playmaker was reflected in his leading the team in assists on 49 occasions. During the 2003 NBA All-Star Weekend, Parker represented the Sophomores in the Got Milk? Rookie Challenge, and also participated in the inaugural 989 Sports Skills Challenge. In the post season, the Spurs, led by Tim Duncan, defeated the New Jersey Nets 4â€"2 in the finals, and Parker earned his first NBA championship ring. Despite the victory, Parker struggled with inconsistent play throughout the playoffs, and was often substituted for the more experienced guards Steve Kerr and Speedy Claxton late in the games. Throughout the season, Parker also felt that he was often criticiz
ed too harshly by coach Popovich; in retrospect, coach Popovich admitted he was critical of his young playmaker, stating he wanted Parker to build a thick skin and mature sooner than his peers.


Second championshipEdit
Despite winning a championship with the Spurs, doubts lingered over Parker's future. The Spurs had attempted and failed to acquire New Jersey Nets' Jason Kidd, but Parker told coach Popovich that he wanted to be San Antonio's starting point guard and he was ready to work hard to become a great player. Parker played well during the regular season, recording 14.7 ppg, 5.5 apg and 3.2 rpg. However, the Spurs were defeated by perennial rivals Los Angeles Lakers in the Western Conference semi-finals in the 2004 NBA Playoffs, and the favorites were denied back-to-back titles.
During the 2004â€"05 season, Parker recorded improved regular season statistics, tallying 16.6 ppg, 6.1 apg and a career-high 3.7 rpg. He was also ranked 13th in the league in total assists, and was third among point guards in field goal percentage. The Spurs were strong in the playoffs, and Parker was instrumental in the victories over the Denver Nuggets, Seattle SuperSonics and Phoenix Suns. However, Parker struggled in the Finals series against the Detroit Pistons. Spurs colleagues Manu Ginóbili and Brent Barry often took over playmaking duties as Parker was unable to perform as well as he did in the regular season. Pitted against ex-Finals MVP and All-Defensive Team member Chauncey Billups, Parker's jump shot became inconsistent, and his trademark drives to the hoop were often smothered by the defensively strong Pistons frontcourt anchored by four-time NBA Defensive Player of the Year Ben Wallace. Nevertheless, with the combination of Tim Duncan's consistent performances, the em
ergence of Argentine star Ginóbili, clutch shooting by Robert Horry and Parker operating as playmaker, the Spurs won their third ever NBA championship by defeating the defending champions 4â€"3 in the 2005 NBA Finals.


Third championshipEdit

Parker was selected for the first time in his career an NBA All-Star for the 2005â€"06 season as he managed 18.9 ppg and an impressive .548 in field goal percentage. Parker's scoring average was even higher than Duncan's, and his form propelled the Spurs to a 63â€"19 winâ€"loss record and qualification for the 2006 NBA Playoffs. However, the top-seeded Spurs were again unable to win back-to-back titles as they were eliminated in the second round by the Dallas Mavericks.
On 14 February 2007, after delivering consistent numbers in the first half of the 2006â€"07 season, Parker was selected to play in the 2007 NBA All-Star Game as a reserve guard. With Parker operating as the starting point guard in the 2006â€"07 season, the Spurs qualified for the 2007 NBA Playoffs and finished second in the Southwest Division. In the Western Conference Semifinals, the Spurs met the Phoenix Suns led by two-time and reigning NBA MVP Steve Nash. In the match-up versus the best point guard of his generation, Parker used his speed to score an easy layup, or hit with his improved mid-range jump shot. Suns coach Mike D'Antoni even used All-Defensive Team forward Shawn Marion to cover Parker, but the Frenchman used the pick and roll to beat his much bigger counterpart. After eliminating the Suns, the Spurs defeated the Utah Jazz 4â€"1 to win the Western Conference Finals. Parker and the Spurs went on to face the Cleveland Cavaliers and swept them 4â€"0 to win the 2007 NBA Fi
nals. In this series, Parker consistently outplayed his Cavaliers counterparts Daniel Gibson and All-Defensive Team member Larry Hughes and scored a series-high 24.5 points, accompanied by a high field goal percentage of 56.8% and of 57.1% from three-point range. For his performances, he was named the 2007 NBA Finals MVP, becoming the first European-born player to receive the award.


Falling shortEdit

In the 2007â€"08 regular season, Parker recorded similar averages as the previous two seasons for points and rebounds, and slightly increased his assists per game average. The Spurs finished third in the Western Conference and faced the Phoenix Suns in the first round of the 2008 NBA Playoffs. For the third time in four years, San Antonio prevailed over Phoenix; Parker had an outstanding first round series, averaging nearly 30 points and 7 assists a game. In the next round against Chris Paul's New Orleans Hornets, the Spurs dropped the first two road games before responding with a strong win in the third game. In that game, Parker recorded a double-double with 31 points and 11 assists. The experienced Spurs took seven games to defeat the Hornets, but were unable to get past arch-rivals Los Angeles Lakers in the Conference Finals, and the Spurs once again failed to capture back-to-back NBA championships.
San Antonio got off to a rocky start in their 2008â€"09 NBA season, losing the first three contests. In their fourth game against the Minnesota Timberwolves, however, Parker scored a career-high 55 points to lead the Spurs to their first victory of the campaign. The Spurs recovered soon enough, and approached the All-Star break ranked second in the Conference. With Parker averaging a career-high in points per game, he was named as a reserve for the 2009 All-Star game. The Spurs were without influential shooting guard Ginóbili for much for the season, and greater responsibility fell on Parker's shoulders. He helped lead the team to a 54â€"28 record and the third seed for the playoffs, In Game 4 of the first round against Dallas, Parker matched George Gervin's franchise playoff record for points in a half with 31. However, the Spurs were put on the back pedal from the start and eventually lost 4â€"1, bowing out of the playoffs in the first round for the first time since 2000. Parker's
28.6 points and 4.2 rebounds per game broke his previous playoffs career-best averages of 22.4 points and 3.7 rebounds. On 13 May 2009, he was named to the All-NBA Third Team.

During the 2011â€"12 NBA season, Parker helped the Spurs reach the best record in the West for the second straight season; the team tied the Chicago Bulls for the best overall record in the league. On 4 February 2012, Parker became the all-time assist leader of the franchise with 4,477, surpassing Avery Johnson, while adding 42 points in a victory against Oklahoma City Thunder. The Spurs secured their 13th straight 50 win season despite the lockout (a new NBA record), and Parker received his fourth All-Star nod. He finished fifth in MVP award voting, receiving four first-place votes. Late in the season, the Spurs signed Parker's longtime friend Boris Diaw, who was claimed off waivers from the Charlotte Bobcats, to add energy to the Spurs. In the 2012 NBA Playoffs, Parker averaged 20.1 points and 6.8 assists as the Spurs swept through the first two rounds, defeating the Utah Jazz and the Los Angeles Clippers. In the Western Conference Finals the Spurs faced the young Oklahoma City Thu
nder. After winning Game 1 and Game 2, 101â€"98 and 120â€"111 respectively, and taking a 2â€"0 series lead, the Spurs lost four consecutive games, thus losing the series 4â€"2.
In their second game of the 2012â€"13 season, the Spurs faced the Thunder in a rematch of the previous Western Conference Finals, and Parker hit a game-winner to secure a win for the Spurs. On 10 December 2012, Parker got his first career triple-double after 825 regular season games against the Houston Rockets in overtime with 27 points, 12 rebounds, and 12 assists. He was the 4th player in NBA history to have gone 800 games or more into their career before their first triple-double, joining Karl Malone (860), Patrick Ewing (834), and Cedric Maxwell (824). Parker was named Western Conference Player of the Month for the month of January 2013 for leading the Spurs to a 12â€"3 record, and the best record in the NBA. He averaged 21.9 points per game and 7.9 assists per game that month while shooting 56.3% from the field. He became the first Spurs player to receive the honor since Tim Duncan in April 2002. On May 21, 2013, Parker recorded a career high 18 assists to go with 15 points in t
he Spurs' Western Conference finals game 2 victory over the Memphis Grizzlies.
In game 1 of the 2013 NBA Finals against the defending champion Miami Heat, Parker hit a clutch jump shot off the glass with 5.2 seconds remaining in the game, securing a 92â€"88 victory for San Antonio. In Game 6, Parker hit a clutch game-tying 3 pointer with 1:27 remaining in regulation, but the Spurs lost the game in overtime. The Spurs eventually lost the series in seven games.


Fourth championshipEdit
On May 2014, thanks to a win in the first game of the Western Conference Finals against Oklahoma City Thunder, Tony Parker alongside Manu Ginobili and Tim Duncan tied the record for most wins in Playoffs History by a trio of players playing together; record held by LA Lakers trio of Magic Johnson, Kareem Abdul-Jabbar and Michael Cooper at 110 wins. The Spurs went on to beat the Thunder in six games and advance to the NBA Finals for the second straight year. San Antonio would once again face the Miami Heat and would win the 2014 NBA Finals in five games. This victory gave Parker his fourth championship and the fifth championship to the Spurs.


Chasing the fifth championshipEdit
On August 1, 2014, Parker signed a three-year, $43.3 million contract extension with the Spurs. On March 8, 2015, he scored a season-high 32 points in a 116â€"105 win over the Chicago Bulls.


ASVELEdit
During the 2011 NBA lockout, Parker signed with ASVEL, the team in which he owns a stake. However, unlike other players who signed lucrative contract overseas during the lockout, Parker opted to play in his home country for minimum wage. Parker, who in the summer had received a four-year contract extension from the Spurs worth over $50 million, received only $2,000 per month from ASVEL. He also paid his own insurance, which reportedly cost $250,000 for three months.


International careerEdit

Parker played for France's Junior National Teams at the 1997 FIBA Europe Under-16 Championship, both the 1998 and 2000 FIBA Europe Under-18 Championships, and the 2002 FIBA Europe Under-20 Championship. He was elected the Most Valuable Player of the 2000 FIBA Europe Under-18 Championship, when France captured the gold medal, as he averaged 14.4 points and 2.5 assists per game. Parker averaged 25.8 points, 6.8 assists, and 6.8 steals per game at the 2002 FIBA Europe Under-20 Championship. With the French senior national team, Parker has played in the 2001, 2003, 2005, 2007, 2009, 2011 and 2013 FIBA EuroBaskets.
France won the bronze medal in the 2005 FIBA EuroBasket, by defeating the Spanish national team 98â€"68 in the bronze medal game. As the captain of the French national team since 2003, Parker was slated to lead France at the 2006 FIBA World Championship, but he was unable to play after breaking a finger when he caught his hand in the jersey of a Brazilian national team player in France's final warm up for the tournament. During the EuroBasket 2007, Parker averaged 20.1 points per game and 2.8 assists per game in nine tournament games, but France was defeated in the quarter-finals by the Russian national team. He passed the 2010 FIBA World Championship to recover fully from some injuries he had during the 2009â€"10 NBA season. Parker returned to the team in 2011, and France reached the finals of the 2011 EuroBasket, losing to Spain. Parker also joined the team for the 2012 Summer Olympics in London. In 2013, Parker and the French national team won the 2013 FIBA EuroBasket tournament.
Playing for France in EuroBasket 2015, in a group game against Poland, Parker scored his 1032nd point, in doing so overtaking Nikos Galis as the all-time highest scorer in the history of the Eurobasket competition.


International statsEdit


Player profileEdit
Parker plays the point guard position and has established himself as a potent offensive player. Voted by his peers in a 2007 poll as one of the quickest players in the NBA, he often slashes to the basket for a layup or teardrop shot. Despite his relatively small size for a basketball player (6'2"), he led the league in "points in the paint" for a large portion of the 2005â€"06 season.
In the initial part of his NBA career, Parker was still considered an erratic shooter of the ball and during the 2005 off-season, coach Popovich decided to work on this aspect of his play. Seeing his mediocre shooting percentages (at that point, Parker only hit 65% of his free throws, and only 27.6% of his three-point shots), he let him train extra sessions with Spurs shooting coach Chip Engelland. Engelland forbade Parker to shoot any three-point shots, and among others, corrected his shooting motion and his thumb position. As a result, by the 2006â€"07 season, Parker had reduced his three-point shots by 117 while shooting 147 more normal field goal attempts compared to 2005, and his accuracy rose by 4% (field goals and three-point shots) and he was able to connect on 78% of his free throws that season. Parker's field goal percentage is also high for a point guard, and his speed also makes him a fast break player. However, his style of play has had adverse effects on his knees (tend
initis).


HonorsEdit


NBA career statisticsEdit


Regular seasonEdit


PlayoffsEdit


Off the courtEdit


ASVELEdit
In 2009, Parker bought a 20 percent stake in the French ASVEL club; he currently holds the ceremonial title of Vice President of Basketball Operations. Parker has the option to purchase an additional 20 percent and assume the club's presidency, presumably when he retires from the NBA. During the 2011 NBA lockout, Parker signed to play for ASVEL for minimum wage until the lockout ended.


Family lifeEdit

Parker's parents continue to remain influential in his life even after their divorce. His mother, a health-food coach, gives him tips on healthy eating, while he discusses his performance after each game with his father over the phone.
Parker met actress Eva Longoria, seven years his senior, in November 2004. In August 2005, Longoria confirmed she and Parker were dating, and on 30 November 2006, the couple became engaged. Longoria, a Texas native from nearby Corpus Christi, was a courtside regular at Spurs home games. Parker was quoted during the 2007 NBA All-Star Game saying that, "Eva is doing everything, I'm just going to show up and say yes." They were officially married in a civil service on 6 July 2007, at a Paris city hall. It was followed by a full Roman Catholic wedding ceremony at the Saint-Germain l'Auxerrois Church in Paris, France, on 7 July 2007. Fellow Frenchman NBA player (and future teammate) Boris Diaw was Parker's best man for the wedding.

In December 2007, tabloid websites and magazines reported that Parker had been having an extramarital affair with supposed model Alexandra Paressant. Both Parker and Longoria vehemently denied these allegations through their spokespeople, saying "All high profile couples fall victim to these sorts of things in the course of their relationships. It appears that this is not the first time this woman has used an athlete to gain public notoriety." Parker initiated a $20 million lawsuit against the website that first reported the story, which later issued a full retraction and an apology, stating "X17online.com and X7 [sic], Inc. regret having been misled by Ms. Paressant and her representatives and apologize to Mr. Parker for any damage or inconvenience this may have caused him or his wife."
On 17 November 2010, Longoria filed for divorce in Los Angeles, citing "irreconcilable differences", and seeking spousal support from Parker. The couple had a prenuptial agreement that was signed in June 2007, the month before their wedding, and amended two years later in June 2009. Longoria believed that Parker had been cheating on her with another woman;. Extra identified the other woman as Erin Barry, the wife of Brent Barry, Parker's former teammate, and revealed that the Barrys were also in the midst of a divorce. On 19 November 2010, Parker filed for divorce from Longoria in Bexar County, Texas on the grounds of "discord or conflict of personalities", thus establishing a legal battle over where the divorce case would be heard. Unlike Longoria's divorce petition, Parker's did not mention a prenuptial agreement and claimed that the parties "will enter into an agreement for the division of their estate". The divorce was finalized in Texas on 28 January 2011, the same day Longoria'
s lawyer filed papers to dismiss her Los Angeles petition.
Parker began dating French journalist Axelle Francine in 2011. In June 2013, it was reported that they are engaged. Parker and Axelle Francine married on August 2, 2014. They have one son, Josh Parker, born in April 2014.


PhilanthropyEdit
In the field of philanthropy, Parker donates a block of 20 tickets for each home game to underprivileged youth. Parker is also the first ambassador for Make-A-Wish France. The Foundation is a non-profit organization that grants wishes to children with life-threatening medical conditions. On his personal website, Parker states: "I already knew Make-A-Wish as it is very famous around the world and I have previously taken part in the granting of wishes by meeting children and their families. I decided to commit to working with Make-A-Wish France when I understood the true dedication there and I realized that I could help to grant as many wishes as possible."


MusicEdit
Parker is an avid fan of hip-hop music and rap. He has released a French hip-hop album titled TP with producer Polygrafic (Sound Scientists). The album features collaborations with various artists including Booba, Don Choa, Eloquence, Eddie B, Jamie Foxx, K-Reen, Rickwel and Soprano. The singles taken from the album include:
"Bienvenue dans le Texas", featuring French rapper Booba and released on March 17, 2007 and made available via iTunes. This initial release did not chart in France.
"Balance-toi", which features Longoria. It reached the number one position in the SNEP official French chart, staying there for one week. It also charted in the Belgian French (Wallonia) Ultratip charts, reaching number 4.
"Premier Love" (with Parker doing the French part and singer Rickwel the English part). The single made it to #11 in SNEP, the official French Singles Chart.
Other singles releases include:
"Top of the Game", featuring American rapper Fabolous and French rapper Booba, was released in March 2007. The accompanying video features Spurs teammate Tim Duncan, as well as former teammates Robert Horry, Brent Barry, and Nazr Mohammed.
Albums
Singles


Other interestsEdit
Parker was also involved in the Paris bid for the 2012 Summer Olympics. His reaction to London's successful bid was: "I don't know what else we could have done. If we don't have it now, I guess we will never get it. The IOC seems to be very pro-Anglo-Saxon. I feel extremely gutted."
Parker has a well-known friendship with compatriot footballer Thierry Henry. The two were often seen together at some of Parker's NBA games. Parker was seen with his wife at Euro 2008 during one of France's matches.
In 2012, Parker and his brothers opened a nightclub, Nueve Lounge, in San Antonio. However, the business closed down within a year.


Nightclub injuryEdit
Parker was injured while present at the W.I.P nightclub in the SoHo district of New York City when a brawl broke out between Chris Brown and Drake. Parker filed a $20 million suit against the night club. Parker risked missing the 2012 Summer Olympics after a piece of glass thrown in the fight deeply penetrated his eye, requiring surgery to remove. However, on 6 July 2012, he was cleared to participate.


Movies and televisionEdit
In 2008, Tony Parker co-directed with Jean-Marie Antonini a 1-hour film, 9 - Un chiffre, un homme (meaning 9, a number, a man). The biographical documentary film narrated by Benoît Allemane was produced by Parker. Celebrities featured included basketball players Kobe Bryant, Tim Duncan, Sean Elliott, Magic Johnson, Michael Jordan, Steve Nash, and David Robinson, as well as footballers Thierry Henry and Zinédine Zidane, judo player David Douillet, and musician and DJ Cut Killer, as well as Parker and Eva Longoria.
Parker also appeared in the 2008 French film Asterix at the Olympic Games as Tonus Parker, and he has been given token roles in various TV series like En aparté (2005), in addition to the French series On n'est pas couché (2011). He also played himself in the short film The Angels (2011), directed by Stéphane Marelli.


See alsoEdit

List of National Basketball Association career assists leaders
List of National Basketball Association career playoff scoring leaders
List of National Basketball Association career playoff assists leaders
List of National Basketball Association career playoff turnovers leaders
List of French NBA players
List of NBA players who have spent their entire career with one franchise
List of sportspeople with dual nationality
List of European basketball players in the United States


ReferencesEdit


External linksEdit
Official website

Career statistics and player information from NBA.com, or Basketball-Reference.com
FIBA Profile
Tony Parker Player Profile (InterBasket)
Tony Parker at the Internet Movie Database


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