The Early Years (1947–1969)

David Robert Jones was born on 8 January 1947 in Brixton, South London, a city still carrying the scars of the Second World War. The London of his youth was grey and damaged, but also full of new energy: immigration, new musical movements, and a young generation no longer satisfied with the old rules.

Birth & Family

Bowie grew up in a working-class family. His father, Haywood Stenton “John” Jones, worked for the children’s charity Barnardo’s. His mother, Margaret Mary “Peggy” Burns, of Irish descent, worked as a waitress. The family later moved to Bromley, a suburb southeast of London. This mix of urban life and suburban calm made Bowie feel early on that he lived between different worlds.

School & Personality

At school, David stood out as a boy with a vivid imagination, a strong will, and a flair for drama. Teachers described him as intelligent, unconventional, sensitive, and creative – but also as someone who struggled to fit into a rigid system. He could be charming and funny, but also fiery and rebellious. Even as a child it was clear: this was not someone destined for an ordinary, predictable life.

Discovering Music

A defining moment came when his father brought home a stack of American 45-rpm singles. On them were Little Richard, Elvis Presley, Fats Domino, and The Platters. When David heard “Tutti Frutti” by Little Richard, he later described it as if a bomb exploded in his mind. He said: “I heard God.”

From that moment on, music was no longer background noise but a whole new world. He began collecting records, studying artists, and imagining how he might one day stand on a stage himself.

First Instruments & Performances

In his teenage years, Bowie began playing several instruments: first ukulele and tea-chest bass, then piano, guitar, and especially saxophone. He played for friends, family, and scouting groups, practising not only the music but his stance and gestures. Even in small rooms he acted as if he were already on a grand concert stage.

The Eye Injury

In 1962 Bowie received a hard punch in his left eye during a fight with school friend George Underwood over a girl. The damage was serious: even after several surgeries his pupil remained permanently dilated, giving him his distinctive gaze. Many believed he had different-coloured eyes. It became an iconic part of his mystique and appearance.

Remarkably, Bowie and Underwood remained close friends. Underwood later designed album covers for Bowie, turning the accident into a strange but meaningful part of Bowie’s artistic story.

Art School & Design

Bowie attended the Bromley Technical School, a school with a strong focus on art, design, and creativity. Here he learned drawing, typography, layout, as well as theatre, mime, and stage movement. His teacher, Owen Frampton (father of guitarist Peter Frampton), recognised Bowie’s talent and encouraged him to become not just a “musician”, but an artist in the broadest sense.

This period taught Bowie that an artist is more than sound alone: appearance, movement, light, clothing, language and symbolism are equally important. This idea became the core of his later iconic personas.

The First Bands

In the early 1960s he played in several bands, including The Konrads, The King Bees, The Manish Boys, and The Lower Third. He performed in youth clubs, small halls, and dance events. Commercially it meant little: singles flopped, gigs were modest, and he remained largely unknown.

But these were formative years. Bowie learned how studio sessions worked, how to lead a band, how to deal with disappointment, and how to keep moving forward. Every failure was a lesson. Every rejection pushed him closer to the idea that he had to do something different — something greater — than the average beat group.

The Name “David Bowie”

Because there was already a well-known Davy Jones (of The Monkees), he needed a new stage name. He found inspiration in the American frontiersman Jim Bowie, known for the “Bowie knife”. The name sounded sharp, powerful, and unique.

From that moment on, David Robert Jones was officially David Bowie. Not just a person but a concept — someone who could reinvent himself and build his own mythology.

Space Oddity — The First Breakthrough

In 1969 his first real breakthrough came with the single “Space Oddity”, the story of astronaut Major Tom losing communication with Earth. The timing was perfect: the world was watching the Apollo 11 mission, and Bowie’s song became instantly tied to the era of space exploration and technological dreams.

“Space Oddity” entered the UK charts and gave Bowie his first visible recognition. But this was only the beginning — the real revolution of Ziggy Stardust, glam rock, and worldwide influence was yet to come.

(Pre)Ziggy Stardust Era (1969–1973)

After the first success of “Space Oddity”, David Bowie spent years searching for his own artistic identity. In the late ’60s and early ’70s he experimented with folk, rock, theatre, and performance art. He felt that music alone was not enough — he wanted to create a total experience: a character, a story, a universe.

The Birth of a Persona

Around 1971 Bowie began imagining an alien rock star who came to Earth to bring hope to humankind. A figure larger than life — glamorous, mysterious, androgynous, and dangerous.

He named him: Ziggy Stardust.

The character combined science fiction, glam rock, theatrical fashion, and a presence that was both provocative and vulnerable. Bowie didn’t see Ziggy as an alter ego but as a living work of art.

The Rise and Fall of Ziggy Stardust…

In June 1972 the album The Rise and Fall of Ziggy Stardust and the Spiders from Mars was released.

The album was revolutionary: a concept record full of drama, identity, style, sexuality, and rock mythology. Critics called it “the rebirth of rock”. Fans saw it as the beginning of something entirely new.

The Look: Shock and Desire

Bowie created a visual universe that stunned everyone — red hair spikes, glitter outfits, platform shoes, theatrical makeup, and a futuristic aesthetic. It was shocking, magnetic, and unlike anything seen before.

Live: Pure Transformation

On stage, Bowie turned every performance into a ritual. He didn’t play Ziggy — he became Ziggy. His band, The Spiders from Mars, provided the raw, sharp, dangerous sound that completed the experience.

For many fans it felt as if he had opened a door to another world.

Worldwide Breakthrough

With Ziggy Stardust Bowie became internationally famous. Interviews, TV appearances, sold-out tours — the world couldn’t ignore him anymore. Young people saw Bowie not just as a star, but as a symbol of freedom, otherness, courage, and self-invention.

The Fall of Ziggy

In July 1973 Bowie announced live on stage: “Not only is this the last show of the tour — it’s the last show we’ll ever do. Thank you.” The band had no idea. The world was shocked. The persona had completed its purpose — its time was over.

Bowie had to move on. He refused to become a prisoner of his own creation.

Legacy

Ziggy Stardust became a cultural icon whose influence continues decades later in:

• music
• fashion
• performance art
• gender expression
• visual identity in pop culture

The Ziggy era did not just change Bowie — it changed pop music forever.

Soul / Drugs & Berlin (1974–1979)

After the explosive rise of Ziggy Stardust, Bowie felt he needed to reinvent himself once again. Fame, the persona, the excessive nightlife, and constant pressure had taken their toll. The mask of Ziggy had made him a superstar, but it had also drained him. He longed for a new direction, a new identity, and above all: a new sound.

Moving to America

In 1974 Bowie moved to the United States. There he discovered new musical influences: American funk, rhythm & blues, soul, and early disco. These styles directly shaped his album Young Americans (1975), which marked a radical departure from his glam rock past.

He called it: “Plastic soul”.

The single Fame, co-written with John Lennon, became his first U.S. number-one hit.

The Deep Downfall

Despite the commercial success, Bowie struggled intensely with himself. Cocaine use became a daily part of his life. His physical health deteriorated, and his mental state became unstable. The years ’75 to early ’76 were chaotic, dark, and destructive.

He would later speak openly about this period, describing it as a time of paranoia, hallucinations, and existential fear.

The Escape to Europe

In 1976 Bowie fled to Europe to save his life. He chose a city that symbolised division, tension, war, and rebuilding: Berlin.

In Berlin he found calm, anonymity, and inspiration. He shared an apartment with Iggy Pop and lived a sober, focused, and disciplined life. The city became a mirror of his own internal struggle.

The Berlin Trilogy

Working with Brian Eno and Tony Visconti, Bowie created three albums now regarded as milestones in modern music:

• Low (1977)
• “Heroes” (1977)
• Lodger (1979)

The trilogy blended rock with ambient textures, electronic experimentation, improvisation, and emotional restraint. These albums represented a profound personal and artistic transformation.

“Heroes”

The title track “Heroes” was recorded in West Berlin, right next to the Berlin Wall. The lyrics speak of hope, connection, and impossible love — a poetic monument to bravery.

It became one of Bowie’s most beloved and timeless songs.

End of the Berlin Period

By the end of the ’70s, Bowie had regained control of his life. He was cleaner, more focused, creatively stronger, and fully reinvented. The chaos of the mid-decade had given way to clarity. His Berlin years transformed his music — but most of all, they transformed himself.

Superstar of the ’80s (1980–1989)

The 1980s became the most visible and commercially successful chapter of David Bowie’s career. During this decade, he transformed from an influential artist into a global superstar. His sound, his image, and his role in pop culture changed dramatically. Bowie became the face of a new musical era.

New Energy, New Direction

At the start of the ’80s, Bowie slowly moved away from the dark, experimental tone of his Berlin years. He began searching for a new balance — a mix of artistic depth and accessible pop music. The emphasis shifted toward clear melodies, rhythm, and strong hooks, without abandoning his unique creative edge.

Scary Monsters (And Super Creeps)

In 1980 he released Scary Monsters (And Super Creeps), often considered both the closing chapter of his most creative ’70s period and a bridge into the new decade. The single Ashes to Ashes revisited the character Major Tom — now portrayed as a broken, addicted figure. Its groundbreaking music video became one of the most expensive of the time and set a new standard for artistic music videos.

The Worldwide Hit: Let’s Dance

In 1983 came Bowie’s massive commercial breakthrough with the album Let’s Dance, produced by Nile Rodgers. Here Bowie blended pop, rock, funk, and dance rhythms into a fresh, bright sound that fit perfectly with the emerging MTV era.

With the singles Let’s Dance, Modern Love, and China Girl, he conquered charts around the world. The album turned Bowie into a true mainstream superstar — admired not only by music fans but by the global pop audience.

Serious Moonlight Tour

The enormous success of Let’s Dance led to the Serious Moonlight Tour, a large-scale world tour filling arenas and stadiums. For millions of fans, Bowie became the face of the ’80s: stylish, energetic, charismatic, and omnipresent.

Bowie on the Big Screen

Beyond music, Bowie strengthened his presence in the ’80s as an actor. He played notable roles in films such as Merry Christmas, Mr. Lawrence (1983), The Hunger, Absolute Beginners, and especially Labyrinth (1986), where he portrayed Jareth, the Goblin King. The film introduced him to a younger audience and cemented his image not only on album covers, but also in cinema.

The Downside of Success

The extraordinary commercial highs also came with pressure. After Let’s Dance, every new album was expected to become another global hit. Bowie increasingly felt trapped in the image of the superstar, while his creative instinct continued to pull him toward experimentation.

Albums like Tonight (1984) and Never Let Me Down (1987) were less well received by critics, and Bowie himself later spoke critically about parts of his output from this decade. Still, his live shows remained huge and influential, and he continued to be one of the most visible figures in pop culture.

Toward a New Beginning

By the end of the ’80s, Bowie felt he had reached another turning point. He had proven he could be not only an innovative artist but also a global pop icon. But to grow further, he needed to break free from expectations once more.

In 1989 he took a radical new step: he formed the band Tin Machine and returned to a more raw, aggressive rock sound. With this move, he closed the chapter of the ’80s and opened the door to a new era full of risk and reinvention.

Tin Machine (1989–1992)

By the end of the 1980s, David Bowie felt creatively trapped. The massive commercial success of the decade had turned him into a global superstar, but it had also pushed him into a restrictive mold. He no longer wanted to be “the big solo name” standing above everyone else — he wanted to be part of a band again. Raw, direct, without glamour, and free from expectations.

Return to the Band Format

In 1988, Bowie began working with guitarist Reeves Gabrels and brothers Tony and Hunt Sales. Together they formed a new band: Tin Machine. Deliberately not “David Bowie & …”, but a group in which everyone was equal. Bowie wanted to let go of his ego and start again as a band member among others.

A Rawer Sound

Musically, Tin Machine took a much harder direction than Bowie’s pop-oriented 1980s solo work. The sound was heavy, angular, and aggressive, with influences from hard rock and the rising alternative rock scene of the late ’80s. The lyrics were more direct and socially critical, touching on themes such as violence, war, fascism, and media manipulation.

The first album, Tin Machine (1989), was a shock to many listeners. After the polished pop of Let’s Dance and Tonight, this felt uncompromising and, at times, confrontational.

Audience & Critical Reception

Reactions were mixed. Some fans were disappointed that Bowie seemed to abandon his hit-driven, theatrical image in favor of a rough rock band. Critics were equally divided: some praised the move as bold and refreshing, while others saw it as confusing or misguided.

Yet Tin Machine was crucial for Bowie personally. It gave him space to take risks without every step being compared to his past successes.

Tin Machine II and the End of the Band

In 1991, Tin Machine II was released. It continued the raw rock approach and sharp thematic tone, but once again the band struggled to convince a broad audience. A live album followed, but by then the momentum had begun to fade.

Around 1992, Tin Machine slowly dissolved. However, Bowie had achieved what he needed: he freed himself from the image of the perfect pop star and felt ready to return to solo work with renewed artistic clarity.

Legacy of Tin Machine

Although Tin Machine never matched the popularity of Bowie’s solo career, the band plays an important role in his history. The period pushed him to take risks, be raw and honest, and rediscover why he made music in the first place. Without Tin Machine, Bowie’s creative renaissance in the 1990s would likely have unfolded very differently.

Since the ’90s (1993–1999)

In the early 1990s, David Bowie began to transform once again. After the Tin Machine experiment, he felt freer, recharged, and ready to take musical risks. His career shifted once more toward reinvention, exploration, and surprising collaborations.

Back to Solo Work – A New Direction

In 1993, Bowie released Black Tie White Noise, a strongly electronic and soul-oriented album filled with strings, saxophone, modern beats, and refined production. The album was influenced by Bowie’s marriage to Iman as well as the aftermath of the Los Angeles riots.

The album marked a major comeback in the United Kingdom, debuting at number 1.

The Buddha of Suburbia

Later that same year, Bowie released the underrated The Buddha of Suburbia, inspired by the BBC series of the same name. Although it received less attention at the time, it is now regarded as one of his most creative works of the decade.

Outside & The Dark Mid-’90s

In 1995, Bowie reunited with Brian Eno — for the first time since the Berlin Trilogy. The result was the experimental, industrial, and conceptual album Outside.

Built around a narrative about art, crime, and technology, the album explored themes that anticipated the rise of internet and cyberculture. The accompanying world tour paired Bowie unexpectedly with Nine Inch Nails — a bold and often controversial combination.

The 50th Birthday Year

Bowie celebrated his 50th birthday in grand fashion in New York in 1997, joined by guests such as Lou Reed, Billy Corgan, Dave Grohl, Sonic Youth, and Robert Smith. It was a celebration of his own musical legacy and his influence on entire generations of artists.

Earthling

That same year, Bowie released Earthling, an explosive album infused with jungle, techno, and drum’n’bass influences — once again embracing new youth cultures. With tracks like Little Wonder and I’m Afraid of Americans, he proved once more that he was never afraid to swim against the current.

The End of the ’90s

In 1999, Bowie released Hours… — a calmer, more introspective album reflecting on life, aging, and the passage of time. It was a fitting closing chapter to one of his most diverse and experimental decades.

The 1990s were a period in which Bowie dared once again to let go, evolve, and take risks. The decade laid an essential foundation for his late masterpieces.

Since 2000 / 2007 (Heathen & Reality Era)

At the start of the 21st century, David Bowie proved once again that he was not a “heritage act,” but a restless and relevant artist. Rather than relying on past successes, he chose new collaborations, fresh material, and a renewed presence on stage.

Prelude: Hours… and a New Millennium

In the late 1990s, Bowie had already struck a more introspective tone with Hours…. The 2000s began with a sense of reflection and reinvention: he was now a firmly established legend, but still behaved like an artist eager to surprise.

Heathen (2002)

In 2002, Bowie released Heathen, produced by Tony Visconti. Critics and fans viewed it as a major artistic revival: atmospheric, dark, melancholic, yet clearly and beautifully produced. Bowie sounded mature, weathered, and still curious.

The songs on Heathen reflect on faith, technology, aging, and the anxieties of the modern world. The album was widely praised and is regarded as one of the standout works of his later career.

Heathen Tour & Return to the Stage

With the Heathen Tour, Bowie made a strong return to live performance. He combined new material with classics from the ’70s and ’80s, proving he was still a charismatic and powerful performer. The shows confirmed that Bowie had lost none of his energy or command of the stage.

Reality (2003)

In 2003, Bowie released Reality, an album that sounded rawer and more direct than Heathen. It blended rock, pop, and reflective songwriting into an energetic yet mature sound. The lyrics explored themes of mortality, memory, and identity — recurring subjects for Bowie during this stage of life.

Though Reality was more accessible than some earlier experiments, Bowie continued to avoid simple nostalgia. He always looked forward, never backward.

A Reality Tour

The subsequent A Reality Tour became one of his most ambitious tours in years. With a strong band, a tightly crafted setlist, and commanding stage presence, Bowie demonstrated that he remained among the greatest live performers in the world.

The tour was captured in a live album and DVD, now considered an important document of Bowie’s late-stage performances.

Health Problems & an Unexpected Halt

In 2004, tragedy struck. During a concert, Bowie experienced severe health issues — later revealed to be caused by a heart problem. He was forced to cancel the remainder of the tour and step out of the spotlight.

The years after 2004 became quieter. Bowie appeared only sporadically on stage, and a major tour never followed. This period effectively marked the end of his intense live career, though he remained creative in the studio and through collaborations.

A Quiet but Strong Presence

Between 2004 and 2007, Bowie retreated further from public life, yet his influence remained tangible. He made occasional guest appearances, contributed to projects by other artists, and continued writing and sketching behind the scenes.

These years formed the transition into a more private phase — a silence that would later be broken in spectacular fashion with The Next Day and Blackstar.

The Next Day (2013)

After years of silence, rare appearances, and an ever-growing mystique surrounding his absence, David Bowie returned in spectacular fashion. No announcement, no interviews, no promotional campaign — exactly the kind of entrance only Bowie could make.

The Unexpected Return

On January 8th, 2013 — his 66th birthday — the single “Where Are We Now?” suddenly appeared online. For many fans, it felt like an electric shock: no one knew Bowie was still working on new studio material.

Shortly afterward, the album The Next Day was announced — Bowie’s first new studio album in ten years. Nobody saw it coming. It was his great comeback.

Themes & Style

The Next Day is raw and powerful — sometimes aggressive, sometimes melancholic. The music reflects a man looking back on his past, yet refusing to stand still. The album is filled with references to religion, war, fear, desire, and the cost of fame.

Even the album cover — a bold reworking of “Heroes” — was a statement in itself: Bowie was back, but not as an icon trapped in the past.

Reception & Success

The album received universal acclaim from critics and fans alike. It reached number 1 in the United Kingdom and number 2 in the United States. For Bowie, it was both an artistic and commercial triumph.

No Interviews, No Tour

Bowie’s return was both quiet and deafening. He refused interviews, photoshoots, television appearances, and touring. The music had to speak for itself.

This deliberate silence became part of the artwork — and amplified its impact.

Toward the Final Masterpiece

The Next Day was not an epilogue. It marked the beginning of Bowie’s final and most profound creative period.

Two years later, he would begin the work that culminated in Blackstar.

Blackstar / Final Years (2014–2016)

In his final years, David Bowie did not choose silence or repetition — instead, he made one last artistic leap into the unknown. Rather than looking back nostalgically, he created with Blackstar a modern, experimental, and deeply personal final statement.

A New Direction

Around 2014, Bowie began working on new material with a small group of musicians in New York. He drew inspiration from jazz, avant-garde music, experimental rock, and contemporary soundscapes. The songs were dark, complex, and multilayered.

Bowie worked quietly and privately. There were no major announcements, no external pressure. He knew he was ill, and he used the time he had left to shape his final artistic vision.

Blackstar (★)

On January 8th, 2016 — his 69th birthday — Bowie released Blackstar. It sounded unlike anything he had ever created: long compositions, unusual structures, dark themes, and an almost otherworldly atmosphere.

The lyrics were filled with symbolism, referencing mortality, farewell, faith, art, and transformation. Only after his passing did it become clear how consciously Bowie wove his own ending into the music.

Lazarus

The single Lazarus was accompanied by a haunting video in which Bowie appears in a hospital bed, eyes bandaged — as if he were already preparing to say goodbye. The line “Look up here, I’m in heaven” took on an overwhelming emotional weight after his death.

At the same time, Bowie was working on the stage musical Lazarus, inspired by The Man Who Fell to Earth. The project became an extension of this final creative period.

Passing

Just two days after the release of Blackstar — on January 10th, 2016 — David Bowie died from cancer. His illness had been kept almost entirely secret. The combination of his death and the album’s content made it clear that Blackstar had been crafted as a deliberate farewell.

Final Impact

Blackstar received universal praise and quickly became regarded as one of the most remarkable “final albums” in music history. It proved that Bowie — even in his very last days — continued to look forward, experiment, and use art to confront the inevitable.

His ending was, like his life, thoughtful, symbolic, and profoundly creative. Blackstar is more than an album — it is a final message, an artistic testament.

Passing (2016)

On January 10th, 2016, David Bowie passed away in New York — just two days after his 69th birthday and the release of his final album Blackstar. For most people, the news came as a complete shock: his illness had been deliberately kept secret from the public.

A Hidden Battle

Bowie had been fighting cancer for a year and a half, but only a very small circle knew about his diagnosis. While working on Blackstar and the stage production Lazarus, he was fully aware that his time was limited. Instead of withdrawing, he chose to pour his remaining energy into art.

A World in Mourning

News of his passing spread across the world within hours. Fans gathered at his birthplace in Brixton, at his New York apartment, and at murals, squares, and venues connected to him. Everywhere, flowers, candles, drawings, and messages appeared.

Radio stations played his music non-stop, social media filled with tributes, and artists from every generation spoke about the influence Bowie had on their lives and work.

No Public Funeral

Bowie had clearly stated that he did not want a public funeral or large ceremony. He was cremated quietly, without public attendance. It was later reported that his ashes were scattered privately, in accordance with his wishes.

A Lasting Legacy

In the months following his death, Bowie’s albums surged back into the charts. New generations discovered his work, while long-time fans viewed his music through an entirely new lens. Blackstar was recognized as a consciously crafted farewell — a final work of art in which Bowie faced his own mortality.

David Bowie left behind an unparalleled legacy: decades of music, imagery, characters, ideas, and inspiration. His death closed his life, but not his influence — that continues to shape countless artists, fans, and generations to come.

Discography – Studio Albums

Below is an overview of David Bowie’s official studio albums — the core releases of his career, from the 1960s up to Blackstar in 2016.

1960s

• 1967 – David Bowie
• 1969 – David Bowie (also known as Space Oddity)

1970s

• 1970 – The Man Who Sold the World
• 1971 – Hunky Dory
• 1972 – The Rise and Fall of Ziggy Stardust and the Spiders from Mars
• 1973 – Aladdin Sane
• 1973 – Pin Ups
• 1974 – Diamond Dogs
• 1975 – Young Americans
• 1976 – Station to Station
• 1977 – Low
• 1977 – “Heroes”
• 1979 – Lodger

1980s

• 1980 – Scary Monsters (And Super Creeps)
• 1983 – Let’s Dance
• 1984 – Tonight
• 1987 – Never Let Me Down

1990s

• 1993 – Black Tie White Noise
• 1993 – The Buddha of Suburbia
• 1995 – Outside
• 1997 – Earthling
• 1999 – Hours

2000s and Later

• 2002 – Heathen
• 2003 – Reality
• 2013 – The Next Day
• 2016 – Blackstar

Albums in Order – Timeline

A chronological overview of all official David Bowie studio albums, divided by decade. This timeline clearly shows how his musical style and artistic identity evolved through the years.

1960s

• 1967 – David Bowie
• 1969 – David Bowie (Space Oddity)

1970s

• 1970 – The Man Who Sold the World
• 1971 – Hunky Dory
• 1972 – Ziggy Stardust
• 1973 – Aladdin Sane
• 1973 – Pin Ups
• 1974 – Diamond Dogs
• 1975 – Young Americans
• 1976 – Station to Station
• 1977 – Low
• 1977 – “Heroes”
• 1979 – Lodger

1980s

• 1980 – Scary Monsters (And Super Creeps)
• 1983 – Let’s Dance
• 1984 – Tonight
• 1987 – Never Let Me Down

1990s

• 1993 – Black Tie White Noise
• 1993 – The Buddha of Suburbia
• 1995 – Outside
• 1997 – Earthling
• 1999 – Hours

2000–2016

• 2002 – Heathen
• 2003 – Reality
• 2013 – The Next Day
• 2016 – Blackstar

Film Roles & Acting Work

David Bowie was not only an influential musician, but also a versatile actor. His film career ran parallel to his musical work and produced several iconic, surprising and sometimes even groundbreaking roles.

Main Film Roles

• 1976 — The Man Who Fell to Earth — Thomas Jerome Newton
• 1983 — Merry Christmas, Mr. Lawrence — Jack Celliers
• 1983 — The Hunger — John Blaylock
• 1986 — Labyrinth — Jareth, the Goblin King
• 1991 — The Linguini Incident — Monte
• 1992 — Twin Peaks: Fire Walk with Me — Philip Jeffries
• 1996 — Basquiat — Andy Warhol
• 2006 — The Prestige — Nikola Tesla

Other Notable Roles & Appearances

• 1978 — Just a Gigolo
• 1985 — Into the Night
• 1985 — Yellowbeard
• 1993 — Full Stretch
• 2000 — Zoolander (cameo)
• 2001 — The Last Five Years of David Bowie

Television

• 1980 — The Elephant Man (Broadway)
• 1999 — The Hunger (TV series, host)

Bowie’s acting career had a unique mix of artistic, mysterious and mainstream roles. His on-screen presence was just as iconic as his music — and left an equally lasting impression.

Top 40 Hits & Big Singles

David Bowie scored dozens of hits worldwide in various charts: from the Dutch Top 40 to the UK Singles Chart and the U.S. Billboard Hot 100. Below is a selection of his most famous and influential singles that charted highly.

International Classics

• 1969 – Space Oddity
• 1971 – Changes
• 1972 – Starman
• 1972 – The Jean Genie
• 1973 – Life on Mars?
• 1975 – Fame
• 1977 – “Heroes”
• 1980 – Ashes to Ashes
• 1981 – Under Pressure (with Queen)
• 1983 – Let’s Dance
• 1983 – China Girl
• 1983 – Modern Love
• 1985 – Dancing in the Street (with Mick Jagger)
• 1986 – Absolute Beginners
• 1997 – I’m Afraid of Americans
• 2013 – Where Are We Now?

Top 40 in the Netherlands

In the Dutch Top 40, singles like Space Oddity, Golden Years, Heroes, Let’s Dance, China Girl, Modern Love and Under Pressure performed particularly well. Bowie remained a recurring name in the charts for decades – both with new releases and reissues.

Chart Legacy

Even though not all of his most important songs reached the top positions, many singles grew into timeless classics that still appear in all-time rankings, radio lists and yearly overviews. Bowie’s impact reaches far beyond the numbers alone.

Fun Facts

Behind the many albums, personas and music videos was a man full of surprises, humour, talents and unexpected twists. These Fun Facts offer a lighter, more playful look at David Bowie’s life and personality.

Born as David Robert Jones.

Bowie was born as David Robert Jones in Brixton, London. He later changed his name to avoid confusion with Davy Jones of The Monkees.

His striking eyes were the result of a teenage injury.

After an argument at school, Bowie was punched in his left eye by childhood friend George Underwood. The damage was permanent: after several operations, his pupil remained permanently dilated. This caused the illusion that he had two different eye colours, becoming a defining part of his look and mystique.

The famous eyepatch (Toppop, 1974)

In February 1974, Bowie was in the Netherlands to record a Toppop video and to receive an Edison award. During preparations, Bowie had an eye infection that Toppop makeup artist Arjen van der Grijn couldn’t conceal. Van der Grijn suggested that Bowie wear an eyepatch he still had from his work on the Dutch TV series Kunt U Mij De Weg Naar Hamelen Vertellen, Mijnheer?

Bowie loved the idea immediately and performed “Rebel Rebel” on Toppop wearing the eyepatch. Two days later, at the Grand Gala du Disque, he wore it again. The images spread worldwide, and the eyepatch became one of the most iconic — and brief — style moments of Bowie’s career. Although he rarely wore it afterwards, the look became legendary and even appears on T-shirts today.

Sold an estimated 140 million records.

Bowie is one of the best-selling artists of all time, with more than 140 million albums sold worldwide.

Video Collection

A selection of iconic, influential and memorable video moments from David Bowie’s career. These clips clearly show how his visual style evolved throughout the years.